She, a low-level analyst in an important military project, quickly rises through the ranks of the international team of egg-heads due to her practical mind and ownership of a star (it’s complicated).ĭeath’s End is the only book in the trilogy to feature a female lead, and her sex-or, rather, the perception of her sex as a delicate symbol of morality and compromise-plays a major part in the decisions that shape the novel. The character in the middle of this maelstrom of bad choices is Cheng Xin who comes out of college at the end of the Crisis Era, during which humanity puts all of its resources into staving off the Trisolaran invasion of Earth. It’s a hard slog through murky waters, and readers won’t take long to learn that this novel isn’t about narrative tricks. No philosophical meandering, no wishy-washy terrorist groups, no escapism-this time humankind learns or it burns. For those hoping this work will finally concentrate on the unbelievably powerful, technologically superior, psychologically advanced horde of brutal alien refugees barreling toward the Earth at one percent of light speed, forget about it. Return readers are warned, however, not to expect any fairy tale endings-though this installment does contain actual fairy tales (it’s complicated).ĭeath’s End builds on the Deterrence Era established by Dark Forest. You’ll need to know about Trisolaris politics, Dark Forest theory, and sophons to understand even a whiff of this novel. Translated by Ken Liu, readers can’t just jump in the deep end of Death’s End. So, if you’ve read this far into the review without having read the Hugo Award-winning Three-Body Problem and Dark Forest, you are a base knave, a failed Wallfacer, and a prick-eared cur of Trisolaris. Put simply, the man has never seen a well-manicured, rational plot that he didn’t want to kick down a flight of stairs, kind of like a George R.R. If you need to be told that even a simple review of the third in the Three-Body trilogy has spoilers, then you clearly don’t know Liu Cixin.
For a brief recap of the trilogy, Three-Body Problem asked, “Does humanity deserve its place in the universe?” The second, Dark Forest, asked, “Can humanity earn its chance to survive?” In Death’s End the question is somewhat simpler: “Would you sell your mother to a whorehouse?”
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