78 pages • 2-hour read
John GwynneA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
John Gwynne’s Malice is the first novel in the four-book epic fantasy series The Faithful and the Fallen, which includes Malice (2012), Valour (2014), Ruin (2015), and Wrath (2016). The book’s prologue and front matter establish a detailed mythology that serves as the foundation for the entire series. An excerpt from “The Writings of Halvor” recounts an ancient conflict between the creator-god Elyon and his “first-created, Elyon’s beloved” (5), a celestial being named Asroth. After a war in the spiritual Otherworld, Asroth was defeated and banished. Later, he corrupted Elyon’s mortal creations—giants and men—by sending a starstone to earth, which the giants forged into powerful Treasures. In an event known as the Scourging, Elyon nearly destroyed the world before realizing his actions were part of Asroth’s plan. Overcome with grief, Elyon “turned […] from all creation, and retreated to a place of mourning” (6). The series is driven by a prophecy foretelling that the final God-War will be fought between avatars representing these two deities: the Bright Star and the Black Sun.
Gwynne has published two prequels adjacent to The Faithful and the Fallen series, which develop important historical context alluded to in the series. In the short story “Sundering,” Gwynne delves into the history of the giants to explore an event known as the Sundering, 1,000 years before the events of The Faithful and the Fallen. The story details the wars between the giants and their eventual breaking into clans. Another short story set 10 years before the events that open Malice, “Better to Live Than to Die,” the narrative follows a young Camlin, a character featured in the series, as he navigates the loss of his family and home and becomes part of Braith’s band of woodsman brigands. Each of these narratives develops the world of the series by focusing attention on the backstory behind both larger historical events and more personal stories, echoing the balance offered in the series itself.
Malice is a work of epic fantasy, a subgenre characterized by its grand scale, complex world-building, and high-stakes conflicts. The novel employs many of the genre’s key conventions, including a large cast of characters with multiple points of view, detailed maps of its sprawling world known as the Banished Lands, and intricate political maneuvering between rival kingdoms. In this regard, it shares common ground with contemporary series like George R. R. Martin’s A Song of Ice and Fire or Robert Jordan’s The Wheel of Time, focusing on both personal struggles and world-altering events.
However, Gwynne frames his narrative within a distinctly classical literary tradition by opening with an epigraph from John Milton’s 17th-century epic poem, Paradise Lost: “For whence / But from the author of all ill could spring / So deep a malice” (x). Milton’s poem famously recounts the biblical story of Satan’s rebellion against God and his subsequent corruption of humankind. By invoking this text, Gwynne aligns his antagonist, the fallen angel Asroth, with the literary figure of Satan. Asroth, like Satan, was his creator’s most beloved being before pride led to his fall, and the tension between Elyon, the creator, and Asroth both offers historical context for the novel and sets up the coming God-War. This Miltonic framework elevates the novel’s conflict beyond a simple battle of good versus evil, positioning it as an exploration of how a “deep malice” can corrupt creation from within, tempting characters like Evnis to make damning pacts in their quest for power.



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