The second Cosmere Secret Project is now under my belt, like a delicious bowl of Ramen—though not one prepared by a Spren masquerading as a human. Once more, Hoid regales us with tales of his woe, but this time, the narrative is a bit more… romantic.
To be fair, Tress of the Emerald Sea was a sweet tale in its own right. But before we get lost in the shroud of the story itself, I want to discuss the “worldbuilding behind the worldbuilding.” Brandon developed this alongside Tress during the pandemic, a time that afforded him the space to experiment. He was inspired by something I myself am a massive fan of: the manga Hikaru no Go.
The Shonen Jump Gateway
In the primordial mists of 2003, I found myself at Borders with my mom—one of my favorite places, and one I miss dearly. Instead of my typical wish for a Sonic comic (specifically the Ken Penders Archie series), I asked for a big, orangish book with Yugi on the front and “backwards” pages.
This was my first issue of Shonen Jump. It introduced me to Naruto years before its US television debut, followed by One Piece, Dragon Ball Z, and Shaman King. Eventually, Hikaru no Go joined the rotation. At the time, I wasn’t exactly refined; I wasn’t into Chess, and I had no hope of understanding the beauty and complexity of Go.
Go is a phenomenal game that, until the last decade or so, was nearly impossible to simulate on a computer. While Deep Blue beat Kasparov in ’97, Go didn’t pose a true challenge to a master until 2016. On its surface, you’re just placing stones to capture territory. Yet for centuries, this game has represented inner struggles and the nature of the universe. If you think that sounds boring, you’re in good company: you’re just like the protagonist of Hikaru no Go, and Painter, our protagonist today. Both characters eventually discover the art in the mundane, thanks to a specter of a friend.
A World of Cyan and Magenta
We visit the Komashi System during the Cosmere’s “Space Age.” While Hoid is retelling this after the events of Tress, the exact timeline remains a bit of a Hoid-ian mystery.
Hoid and his Spren, Design, traveled to this planet to investigate its strange Investiture. Unfortunately, Hoid found major trouble—due to “plot reasons”—and ended up frozen in time. This left Design alone in a seemingly human form, thanks to a clever combination of Invested Arts.
Hoid, ever cognizant, cataloged the tale of two drastically different people: Yumi and Nikaro (who prefers the title “Painter”).
Yumi: Her life is a ritualistic burden. As the Yoki-Hijo, she travels from town to town stacking stones to call spirits (hijo) that manifest boons for her people.
Painter: He is the reticent opposite. A Nightmare Painter in the city of Kilahito, he utilizes a power called Hion—vivid lines of Cyan and Magenta—to “capture” the soul-feasting Nightmares that emerge from the Shroud.
When Worlds Connect
These two are forced together when their souls become entangled. Painter is pulled to Yumi’s world as a Cognitive Shadow in her body, while Yumi physically appears in Painter’s world.
It is a confounding situation. Yumi believes Painter is a hero sent to save her; Painter plays along, struggling to learn the ritualistic stone-stacking he once viewed as pointless. Meanwhile, Yumi must learn the art of painting to protect herself in a world she finds cold and alien.
Both of their professions are double-edged swords. Nikaro is a lonely young man whose passion for painting has brought him nothing but pain and isolation. Yumi has lived a life so insular that she feels more like a machine than a person. Through this “world switching,” they don’t just learn each other’s crafts; they learn their struggles.
Final Thoughts: There’s Always Another Secret
I would love to tell you more, but as Kelsier famously says, “There’s always another secret.” To reveal more would ruin the delicate unfolding Sanderson has prepared.
I felt deeply connected to Painter. We all know that feeling—when you let someone down, or worse, you let yourself down. It becomes easier to lie and avoid the truth than to face it. It’s like a Sword of Damocles, gaining mass every day the charade continues.
The influences of Final Fantasy X are clear here, too. Yumi’s name and duty echo Yuna’s journey as a Priestess. Sanderson masterfully blends these Japanese and South Korean cultural influences (drawing from his own missionary service in Seoul) to create a meditation on the nature of art and connection.
Yumi and the Nightmare Painter is a fantastic on-ramp for newcomers, especially those fond of K-Pop, manga, or romantic fantasy. It’s a beautiful standalone story that still serves the greater Cosmere lore.