THE JUSTICE OF KINGS

Murder mystery meets grimdark political fantasy in this first of a trilogy.

Sir Konrad Vonvolt is a Justice of the Imperial Magistratum; accompanied by his taskman (a kind of bodyguard, enforcer, and investigator), Dubine Bressinger, and his law clerk, 19-year-old Helena Sedanka, he travels the Sovan Empire, solving, prosecuting, and judging criminal acts. A few decades after a dreadful period of war and conquest, Vonvolt is confident in the strength of the empire, the power of the law, and his magical abilities (necromancy and the Emperor’s Voice, which compels others to speak truth and obey his commands) to enforce his judgments. But all of those are threatened by a rising tide of religious zealotry and a call for a Crusade, both of which act as a cover for a shift in who holds the power in the Empire. As Vonvolt attempts to solve the murder of a noblewoman, the conspiracy of corruption he uncovers threatens everything he knows and loves. Meanwhile, Helena, the novel’s first-person protagonist, struggles with an internal conflict involving her loyalty to Vonvolt, who transformed her from a street orphan into an educated woman with the potential to become a Justice herself; her boredom and frustration with many aspects of her work; and her nascent desire to settle down with a young guardsman she meets during the investigation. The initial setup of the story—that of a traveling investigator/prosecutor/judge—will feel familiar to readers of Robert van Gulik’s classic Judge Dee series and Peter Tremayne’s Sister Fidelma novels (these especially, as they include a certain amount of plot tension around orthodoxy vs. heresy and newly established religion vs. paganism). But aside from the fantasy setting, this novel differs in that it focuses far more intensely on how brutal realities of war and politics can overpower a well-established legal system and, in the face of that, erode the ethical and moral structures of that system’s representatives. We have hope that Judge Dee and Fidelma of Cashel and the laws they uphold will prevail despite the obstacles against them; but although Vonvolt, Helena, and Bressinger solve the case and several of the perpetrators pay the ultimate price, our heroes, too, pay a terrible price, and what occurs seems a bit more primitive and angry than dispassionate justice; certainly, that’s what Helena thinks.

An intriguingly dark (and realistically depressing) deconstruction of a beloved mystery trope.