“Within the tenth-floor boss room of the Sazardon Labyrinth, the mighty minotaur awakens once more. Unlike its predecessors, slain at the hands of treasure-seeking adventurers, this monster’s primal urges push it further than ever before. Kill. Consume. Grow stronger. The more powerful its opponent, the more powerful it becomes. Even the very rules of the labyrinth seem to bend to its indomitable will. Can none triumph against this bovine behemoth? Will the minotaur ever meet its match…?” (Yen Press)
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Before diving into the world of “King of Labyrinth“, readers must be aware of the work’s heavy inspiration drawn from fantasy RPG games, particularly video games and to a lesser extent, table top. Consequently, the novel becomes preoccupied with developing and explaining nuances like inventory system, boss ranking, adventurer classes and everything in-between, essentially setting the ground rules of the world within. An obvious downside to this approach is it will alienate those who are not ‘gamers’, as a love for the medium is essential towards embracing the fantasy realm within. Thankfully, Shien BIS‘s admiration of the genre comes across in his ability to explain, in a clear concise manner, that will be engaging to those ‘in the know’.
Off the back of strong understanding of how to convey ‘gameplay’, Shien BIS puts forth and interesting narrative that twists the traditional structure of the genre. Essentially, the series follows a pattern of using an adventurer to deeper explore how humans interact within Sazardon Labyrinth, only to have them wiped out in a violent fashion by the minotaur. The narrative then switches to the perspective of the minotaur, defying the system of the dungeon to leave his home as the ‘boss’ of level 20, and his insights into the world as a marginalized creature. While slightly repetitious in structure, this approach gives depth to the lore at a quick and entertaining pace. In addition, the observant minotaur brings into question the morality of the adventurers, who enjoy the endless slaughter of monsters. Despite the bloodlust conveyed by the creature, it is hard to not see it in a sympathetic manner with how well the author builds up the monster’s plight.
As the first in an ongoing series, “Cry of the Minotaur” does work as a stand-alone entry, concluding at a point that does leave for more exploration under another hero, while also wrapping up the legend of the minotaur in a satisfactory way. To speak to the strength of the ending, Shien BIS approaches it with an understanding of how important the creature’s struggle is to the reader, building him up as a deserved legend rivaling the greatest heroes.
The release is hardcover, bound with a removable dusk jacket, an ideal combo for the avid collector. In addition, the font and layout are easy to read and should not pose much of a challenge for those who struggle with eyesight. The volume is also available in digital, for those who like to keep their physical media minimal. Regardless, Yen Press continues to give reason to indulge in the physical release with great presentation.
“King of Labyrinth” explores the world of RPG with passion and clarity, showing Shien BIS is in his element when paying homage to the genre. Unfortunately, the work isolates itself from a broader fanbase as even readers of traditional fantasy may find the video game-based lore to be indulgent and redundant. However, for those who admire fantasy role playing games, the release is a special treat with its wonderful understanding of the genre and a creative narrative approach.
