Death’s End is by far the darkest, longest and the most expansive of three books and is a satisfying conclusion to the trilogy, but in its own terms. When you wrap your head around the scope of this cosmic saga and ruminate on it like the title says, the intricately engineered story line, where everything was seeded in with careful future consideration, feels all the more epic.
While the 3BP opened with Red revolution and Dark Forest with detailed scanning of Chinese alphabets, Death’s End prefaced on a more familiar non eastern account – the fall of Constantinople. This western centric or rather international approach was a prevailing characteristic of the narrative, though story kept transcending inter gallactically. Wake of the novel is the failure of deterrence between Earth and Trisolaris under the new ‘sword-holder’ Cheng Xin, a female rocket scientist, and humanity’s efforts to evade annihilation in the Dark Forest universe. ‘The Staircase project’ is the first brain child out of this desperation, which sends a human brain for Trisolaris to intercept. Like the propagation mechanism of staircase project, readers are taken through the splintered timeline of Universe’s history, via main protagonist’s hibernation cycles, with divulged informations and throwbacks to previous legacies.
I didn’t have much patience after Liu’s direct reference to Bester-‘The Stars our Destination’ project, and my initial taking a sip of the book got elevated into full course dinner. Destruction of 187J3X1 by Luo Ji’s spell reminded me of Clarke’s Star, the Twilight Zone version in Dark Forest and original interpretation in this installment. The message in the bottle and unfolding of Universe from Garden of Eden state were reminiscent of The Last Question, though not directly referenced. Jovian space stations resembled Cooper Station of Interstellar or Rama in construction, and Liu traced it as far back as Poe’s Maelstrom. The initial existential questions of how natural nature is, and how much life has structured the universe offered interesting pov’s to the way we usually see things. The beauty of Liu’s writing was incorporation of all its Gordian knots into a comprehensive narrative, with invitation to view them from both sides of the equation. The obvious setback of this centenarian narrative was neglect for infos on galactic humans or decision making of humanity or relationships where the previous installments did well. And though imparted with understandable metaphors and detailing, much of book’s science felt like expositions.
For a book about higher dimensions, characters were a bit 2D. I actually prefer story/idea driven book where plots are way bigger than characters, but here, Cheng Xin and AA had little flesh on them. Unlike Ye Wenjie or Luo Ji, who propelled the plot, Cheng Xni felt like a badly written trope with a cardboard sidekick, whose sole existence was to provide a narrative perspective. Acknowledging the sheer scale of story might be one way to evade this, for the Deterrence, Bunker and Galaxy Eras were highly different from Crisis Era of previous installments, which shared a lot with the CE we are in, both in terms of science and events. But the pity I felt for Xin’s mother like attitude to hang in and avoid risk probabilities, changed eventually after getting through the brand new universe, brand new life concept. Like the first person who send out the message towards Trisolaris out of her frustration towards cultural revolution, one cannot blame Xin solely for her decisions without considering the circumstances and cultural eras she was in. Like Yifan puts it “A single individual cannot destroy a world. If that world was doomed, it was the result of the efforts of everyone, including those living and those who had already died”.
Tianming’s fairy tales deserves a special mention, for if read individually, they are quite Hugo worthy. Though well elucidated later, Liu urges readers to form a educated view, along with characters trying to debunk it. The metaphors in the story made great sense and offered an enriching experience on possible evasion strategies for humanity with black domain, curvature travel or using laws of physics as weapons, when revisited after finishing the book.
I couldn’t help but look back and wonder how perfectly titled the books in this were. In this retrospection, the title of trilogy, is all the more spectacular. Though the immediate response would be to attribute it with Cheng Xin’s ‘a past outside of time’ epitaph, Liu has been remembering or paying homage to epochal moments of Earth’s past as we know it, as well. The Great Ravine was a visible metaphor for Industrialization and Renaissance in general, Dark Forest deterrence stood for the nuclear stalemate and cold war history, Resettlement of humanity in Australia represented colonialism and genealogical migration. Sophones standing for Totalitarian regimes and welfare states, and the whole Trisolaran thing offering existential questions in Theocracy, were few other accounts where I suspected philosophical implications. The multitudes of universe was staggering as well, offering unlimited possibilities of ideas and persons, like diversity within a civilization, and in this grand scale Death itself wasn’t any fair or an ending for that matter.
3BP and The Dark Forest were slow burners for me, which I savoured over considerable time, but Death’s End hit me like a Trisolaran droplet. There was a part of me that wanted the darkness to be done with, and another part that couldn’t put the book down due to the cliffhangers and constantly mind blowing concepts. And, towards the end of the read, I found myself more eager to interpret the light at the end of tunnel as a speeding train than rescue dawn.
“The ultimate fate of all intelligent beings has always been to become as grand as their thoughts.”
Considering ‘Remembrance of Earth’s Past’ series, Cixin Liu is more close to this ultimate fate, by vacillating his ideas with probability and game theory, urging readers to think scientifically while constantly blowing their mind off.