The interrelationships that shift and shape as the novel progresses are well handled by Hobb, such as the father-son dynamic between Wintrow Vestrit and his father, Kyle Haven. The viewpoints shift many times across a chapter, and though the characters are well-rounded and realistic, it can be difficult to empathise with them when they feel so distanced.
Hobb’s talent at characterisation continues to shine though the novel suffers from a number of characters that are downright dislikeable, such as the criminally selfish Malta Vestrit and her weak-willed mother, Keffria. It’s longer, more expansive and features more characters to track.
It’s a far more complicated story than the Farseers. Much of the plot revolves around the Vestrit family Liveship, Vivacia, who after a twist in events not long after her animation, is forced into the slave trade despite her youth and the Vestrit’s general aversion to the trade. It is said that “if a man can imagine a thing, he can buy it in Bingtown.” Even more interesting are the Liveships, ships with animated figureheads that quicken after three generations of the owning family die on deck. The story revolves around the southern city of Bingtown, renowned for its trade in rare and magical items.
Differing from the Farseer Trilogy through a range of viewpoint characters, a third-person narrative and a whole new setting, it challenges many things that we thought we knew about Hobb’s carefully crafted world. Ship of Magic, the first instalment, was first published in 1998. Though it doesn’t have the same accessibility or emotional impact as Fitzchivalry’s story, it remains wonderfully plotted with plenty of deeply created characters.
Miles (literally) away from the medieval workings of the Six Duchies, Hobb undertakes sea serpents, pirates, talking ships and a host of new mysteries in her nautical themed second trilogy. Credit goes to Robin Hobb for doing something new and challenging.
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