Book Review: First and Only

                                                                                                                                                      Black Library

Dan Abnett’s Gaunt’s Ghosts series changed the setting of Warhammer 40,000, both in and out of universe. The first installment, First and Only shares its setting with the Games Workshop wargame, in which an increasingly regressive galaxy is trapped in an endless war. The book was also the first one to be published under by Black Library, Games Workshop's publishing arm. First and Only established the current concept of 40K novels and arguably the direction of the entire property. Loosely modeled off of the Sharpe series, Gaunt's Ghosts follows Commissar Ibram Gaunt and the Tanith First and Only, the sole regiment of a destroyed planet. They belong to the Imperial Guard, the billions strong army of the oppressive, galaxy spanning Imperium of Man. Along with dozens of other regiments, they fight against the worshipers of the Chaos gods in the Sabbat Worlds Crusade. Abnett is the only author to capture the scale of the 40K universe while still focusing on well-developed individual characters, an approach he introduced to the setting with First and Only.

This premier chapter in the series established a few paradigms that ensured the success of Gaunt's Ghosts. Pitting the protagonists against fanatical demon worshippers helps offset the reprehensibility of the Imperium. This makes a more conventional narrative possible, while still giving the book a chance to explore the nightmare of living in the 41^st millennium. The backdrop of the Sabbat World Crusades also gave the series a chance to organically introduce a variety of allies, enemies, and planets. While 40K’s Imperium was meant to encompass every human culture imaginable, Gaunt’s Ghosts was one of the only instances where this was presented in a tangible way. It even taps into some of the most obscure parts of the lore, presenting its own additions alongside more long standing elements.

First and Only also introduced a cast of compelling, likable characters, rare for licensed fiction and especially a Warhammer 40K novel. Gaunt is convincing as a proud leader, who's a little quick to anger. Abnett constructs a convincing character through the flashbacks and warzones we see him in. The same goes for the Tanith “ghosts” under his command, like Corbec, Bragg, and Larkin. Major Rawne, formerly a wealthy man involved in criminal activities on his homeworld, serves as an antagonistic force that isn’t outright villainous. The most complex one is Dorden, the regiment’s sole medic. An elderly noncombatant, he’s lost the most from the destruction of his homeworld. His constant attempts to save the dwindling survivors of Tanith sells the tragedy of the regiment’s loss. The other Ghosts with names and backstories only exist to be torn to pieces and create further misery for the main cast. Those outside the regiment often face a similar fate, assuming they're even defined.

Unfortunately the book’s antagonists are much less developed, with a few exceptions. The Ghosts’ snobby rivals and commanding officers look down on them out of pride or petty rivalry. The regiment gets put in harm’s way constantly as a result. This is considerably less interesting then when the Ghosts suffer for failing to reconcile their tactics with the Imperium's military dogma. It’s more unique than arrogant, clueless commanders and more true to the setting. Also involved is Inquisitor Heldane, a renegade member of the Imperium’s secret police. He seeks compromise when battling nightmares, as opposed to the Imperium’s costly absolutist approach. Ironically you can write an inquisitor without a discernible motivation, as that’s consistent with their characterization as callous puppet masters willing to sacrifice others for their unknown agendas. Heldane is far removed from the events of First and Only, particularly during the otherwise strong climax. He could be written out of the book with little consequence. While it's leagues ahead of most licensed fiction, nearly every character in First and Only fits a specific archetype a little too well, though some more than others.

First and Only is not great literature by any metric but it stands above most of its genre. Outside of the occasional cliché or tired phrase, Abnett paints vivid images of hellish battlefields and largely pleasant worlds. He also gives them distinguishing features and practices outside of their physical differences. He manages to juggle constant changes in location and perspective and uses them to convey the vastness of the setting without losing sight of the story. 40K’s more iconic elements are mixed with some of the most esoteric ones, giving the story an identity while staying in line with the rest of the universe. The book even manages to have real themes about loyalty, as Gaunt manages to trust others, even after being betrayed so many times. First and Only is still licensed fiction but it manages to stand at the top of that genre, not only due to its strong writing but by marrying its own narrative with that of the larger setting.

Back in the second millennium, First and Only set the standard for Black Library. Today, most of its output is repetitive, featuring nearly indistinguishable power armored space marines fighting in equally monotonous conflicts. But Abnett’s work with Gaunt’s Ghosts proved there was a market for the more unique, meaningful stories that defined early Warhammer fiction. It also laid out a blueprint for presenting sympathetic characters while still staying true to the scale and horror of Warhammer 40K. It showed that with the right work, Warhammer 40K’s restrictive setting could handle a traditional action narrative without rejecting its identity. Future Black Library books would rarely meet the standards set by First and Only. But it at least provided them something to strive towards.