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But his dreams are crushed when his Tier 1 Talent is rated as detrimental and no guild or group will take him. Working at a nearby inn, he meets a mysterious and powerful couple. They give him a chance to join the Path of Ascension, an empire-wide race to ascend the Tiers and become living legends.
Book Review: Yumi and the Nightmare Painter by Brandon Sanderson
For these reasons, this is why I will ALWAYS prefer human-created art over AI art. I want to feel awed by the story and illustrations painstakingly built by a fellow human. Sanderson handled this topic and theme magnificently in Yumi and the Nightmare Painter, and it is one of the big reasons I adore this book. The world is very much a character taking part in Yumi and Painter’s story, too. This of course plays to Sanderson’s strengths as a worldbuilder, and it fits the novel’s plot quite well. Yumi comes from a world where the ground is scorching hot, filled with floating plants avoiding the heat.
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Yumi wants to do some planning first, and asks Design if she has a survey of the planet. Design says she does not, but she does know someone who has traveled the planet extensively. Back in Nikaro's apartment Yumi rants about the arrival of the scholars and their machine. Painter defends the idea of the machine, pointing at the precise nature of the yoki-hijo's job and the way machines have improved the lives of people in his own world. Yumi continues searching for reasons she dislikes the machine, thinking it must be part of why the spirits called out for her aid. Eventually she settles and begins to practice painting bamboo, though she feels ready to advance to something new.
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Painter patrols the dark streets dreaming of being a hero - a goal that has led to nothing but heartache and isolation, leaving him always on the outside looking in. Yumi's life is spent in strict obedience, granting her the power to summon the spirits that bestow vital aid to her society—but she longs for a single day as a normal person. Painter patrols the dark streets dreaming of being a hero—which has led to heartache and isolation, leaving him always on the outside looking in. Lastly, Aliya Chen (the illustrator behind Yumi and the Nightmare Painter) deserves a standing ovation.
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In the shrine, Painter receives a map of Torio from Liyun and shares some empathetic words with her, thanking her for her patience. He sketches Masaka's map over it and they confirm that their worlds overlap each other. At Yumi's urging, Painter approaches Liyun and her attendants to explain that the spirits have directed her to destroy the machine.
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She is a priestess who can communicate with the spirits. Her art—stacking stones into sculpture—draws forth spirits to transform into the tools needed for the daily life of her people. In contrast, Painter lives in a chilly world of eternal night, where the inky Shroud conceals much of the planet.
They acknowledge the potential consequences but agree to help. Liyun sends Hwanji to get the bailiff, and they gather several villagers who will help them destroy the machine if the scholars stand in their way. When they reach the scholars' tent, they explain what they are there to do.
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For a thousand years the Skaa slaved in misery and lived in fear. For a thousand years the Lord Ruler, the "Sliver of Infinity," reigned with absolute power and ultimate terror, divinely invincible. Then, when hope was so long lost that not even its memory remained, a terribly scarred, heart-broken half-Skaa rediscovered it in the depths of the Lord Ruler's most hellish prison. Over time, they began to see each other more clearly and grow close, eventually falling in love.
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Tesuaka says some false words of encouragement, saying perhaps he will be good enough to be in the Dreamwatch one day. Hikiri guides Nikaro to the door and Hoid interjects some commentary about heroes not living up to your expectations. Painter asks about what Tesuaka said, and Hikri explains that he simply needs to be content with his job because joining the Dreamwatch is all about connections that Nikaro will never have. Yumi dreams, hearing the voices of the scholars discussing what to do with her memories. Then she awakens in her wagon, repeating the day once again. Her attendants never arrive and eventually, Liyun opens the door herself uncharacteristically disheveled.
I thoroughly enjoyed Yumi’s Sanderlanche, though it did have a little too much exposition. That exposition comes from Hoid, so it gets a half-pass here. Exposition is more fun when it’s Hoid doing the expositing, but it still feels a tad lazy.
Just as necessary to life in the city was the young man walking beneath them, although his role was quite different. He’d originally been named Nikaro by his parents—but by tradition, many nightmare painters went by their title to anyone but their fellows. The nightmare painter lingered outside his apartment building, locking his eyes on the star. He’d always found it strange, that sentry in the sky.
Within the re-created Snapshot of May 1, Davis and Chaz are the ultimate authorities. This, however, was until the father machine was activated in an attempt to replace the position, as it was perceived as more efficient. The activation was a disaster however, and nearly everyone on the planet had their souls consumed by the machine, with her being one of the only survivors.
They attract a spirit, and it begs them to stop the machine before being forcibly sucked away by the device. Yumi notices that the creations of the scholars are smaller, suggesting that the machine keeps a piece of the spirit's soul to itself, and she wonders why. Yumi awakens to a cold dark, world which she imagines to be the "place of dead spirits".
Scholars arrive in Yumi’s village that have a machine that can summon spirits. Nikaro and Yumi suspect that there is something suspicious about these scholars, and they snoop around, searching for information. Yumi and Nikaro successfully defeat the Father Machine, and though Yumi briefly dies, she comes back to life as a Cognitive Shadow. Design has willed her restaurant to Nikaro and Yumi, and receives letters from Masaka occasionally, which Hoid references to elaborate on what happened after. The planet survives the catastrophe, as society is able to adapt. The hion lines continue to be powered by the spirits, which now provide energy in response to viewer programs.
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