Willow tells the story of a Nelwyn, a halfling race similar to hobbits from what I can gather, who finds a baby washed up from the river bordering his lands. It turns out that this baby is the Elora Danan, the child foretold in prophecy whose birth would bring about the downfall of the evil sorceress Bavmorda who rules over the lands. Pursued by the Death Dogs and Bavmordafs minions, Willow must find the good sorceress Fin Raziel and, together with swordsman Madmartigan and some dubious brownies, journey to the castle of Tir Asleen to save the child and defeat Bavmorda.
I feel I should start out by saying that Ifve never seen the film Willow on which this book is based. Doubtless it is very entertaining in the same amusing, 80s fantasy way that Labyrinth and Legend are. The plot is riddled with cliches, but it trundles along at a fair old pace and probably makes quite good cinema (albeit with special effects that are no doubt incredibly dated). The book, however, is genuinely dreadful.
They say a picture is worth a thousand words and this book is definitely a case in point. When adapting a film that is (according to Amazon) approximately two hours in length into a book, that book can either try to capture and convey properly everything that takes place in the film and thus be quite lengthy, or it can be quite short and skim along the top of the action and appear shallow. Sadly, Drew appears to have gone for the latter, depthless option (although how much choice he had in the matter I donft know; he may have been making the best of a bad lot). The writing continually states the obvious and is entirely without subtlety: no character has a thought which they donft vocalise, an emotion which doesnft show in their face or contemplates an action without immediately following through. There is no sense that any of the people Drew writes about have inner lives or even minds. Because of this, their actions often seem arbitrary, perfunctory and unreasonable. A character will suddenly decide they are in love or that al their actions up until now have been evil and they must change to fight for good, then act on these thoughts without further ado. It might work in a film, but in a book it comes across as utterly ridiculous.
The dialogue is wooden at the best of times and laughable at the worst. At one point, one character refers to another as a ejackassf, which is incredibly inappropriate vocabulary choice for a fantasy with vaguely faux-medieval overtones, as this one attempts to be (most of the time). These may be faithfully reproduced lines from the film, I donft know, but whatever the reason for them they donft make for good reading.