Jim Hines recently completed his fourth and final book in the Princess series, The Snow Queen’s Shadow.
I am a fan of Hines’ works. I am still convinced that Jig the Goblin is the modern day equivalent of Everyman (or, if you will, every geek, as I believe we can all see ourselves in Jig.) The Princess series was a real departure for Jim from his reputation as a humorous writer, and I believe that gamble has paid off. Over the course of the series he has re-interpreted and developed traditional characters into complex modern characters.
The Snow Queen’s Shadow is not Hines’ first treatment of a Hans Christian Anderson tale. That first outing was the moody, thought-provoking The Mermaid’s Madness, easily my favorite of the series. I have to admit, in this book, Hines has his work cut out for him. The Snow Queen is perhaps my favorite Anderson tale. Every time I look at it, I see a new dimension in what Anderson is trying to say about humanity. Go on, read it for yourself. See what you think.
Of course, Hines’ novel is not a mere re-telling of The Snow Queen. Hines uses his incarnations of Snow White, Sleeping Beauty, and Cinderella as the central cast, and he uses elements of The Snow Queen story to pull together their final adventure. There are twists and turns for fans of the series, so I will put a spoiler cut right here. Go further at your own peril.
Using the mirror motif from the original Snow Queen story is a natural fit. Snow, the series wizard, uses mirror magic that she inherits from her mother, the original wicked queen. In a far-reaching spell that overstretches her magic, Snow’s main mirror cracks. There is a demon in the mirror, and, as in The Snow Queen, the splinters of that mirror lead to delusion and an ugly view of the world that all those affected think is truth. Snow then kidnaps Danielle’s (Cinderella’s) son and takes off to revenge herself against the kingdom that exiled her.
Gerda (Gerta) is also included in the story. Gerta is created whole cloth from Snow’s magic before she is transformed by the demon. Like the Gerda in The Snow Queen, she is committed to the rescue of someone dear to her. Gerda in Anderson is trying to help her foster brother Kay by rescuing him from the Snow Queen. Gerta in The Snow Queen’s Shadow is not only trying to help rescue Danielle’s Jakob, obviously Kay’s substitute, but also Snow herself in her role as Snow Queen.
Hines has integrated Gerda’s sojourn in the garden from the original story in short form, using it as a plot device to try to stop Danielle, Talia (Sleeping Beauty), and Gerta from saving Snow, so that element is in there, albeit not as well developed. Of course, there’s enough unfinished business in Hines’ series that some of the tales from the novel are deleted, but this is not to the novel’s detriment. It’s hard for me to imagine working a conversation with a raven in her casually.
The pivotal final scene confronting the demon-possessed Snow brings the book to a satisfying climax for readers of the series. Talia makes some hard choices, Danielle proves to be clever and heroic, and, as in The Snow Queen, there’s no sacrifice Gerta won’t make for the good of those she cares for. It is the culmination of the three friends’ adventures, and a fitting ending for each princess, very much in character.
There is some denouement to wrap up the story and sort out the emotional aftermath. It seems a bit self-indulgent, but I don’t think series readers would forgive Hines if he didn’t do it. The book ends on a note of optimism. Danielle, now bound by duty, assumes her mentor’s role, and there is every indication that the princesses will still be writing wrongs in the various kingdoms after Hines stops writing their adventures.
Overall, the book is a successful blend of the traditional and the modern. Hines has made these characters his own. He imbues the characters with genuine emotions. He does not flinch from complicated issues of relationship and sexuality. The book is a satisfying conclusion to his four-book series.
Other reviews agree. This has been Hines’ most praised book so far. He is developing a voice and a sense of character, both playful and serious, that show a range many writers do not have. Hines has been a bit underrated because he writes humor. (I know good humor is harder to write than drama. I wish the Hugo and Nebula committees would figure that out.) Perhaps with these books, and future books that may fit more of the “dramedy” design of plot, he may be finally getting the recognition as a writer which his craft and careful plotting clearly deserve.
Read the book. Read all four. Writers, study the authentic character building. Mostly, enjoy the ride.
