#fat kaladin

[cosmereplay]

If Brando is brave enough, ten years from now (in canon) we will be blessed with a 30-year old, settled Kaladin who sits all day working in mental health, and floats everywhere, and has enough to eat, and is content. A fat Kaladin. No more starving lankiness and muscles fed by desperation. He will be happy and he will be pudgy and soft because he deserves it (/positive)

i love art that depicts kaladin as a really beefy, towering, gruff man however i also adore art that shows him as a skinny malnourished teenage twink because he gives both vibes at the time and they are both true. hes just…..so yk

[isdalinarhot]

God learning Sadeas was canonically in modern day fat and so whenever Adolin is talking about Sadeas like what a bulbous freak get your bulbous hands off me he’s doing a microaggression instead of just being petty……… well it really put me off Adolin in a major way. Like oh :/ if we ever disagreed about something he’d be a bigot to me :/ sort of vibes

[hahahahawk]

“A layer of skin, a layer of fat, a layer of muscle, a layer of bone. That’s all men were”

Has Kaladin forgotten about internal fucking organs?

Some surgeon.

[brongusthearcanist]

I really can't wait until stormlight starts heavily using Renarin POVs. I wanna know what the world of Roshar feels like to someone with sensory issues. Getting characters with depression and other mental illnesses is dope, but how does Renarin, a boy with autism, deal with Wit. How many of those jokes does Renarin take completely seriously. Especially now that people know Wit isn't just some weird jester, but an immortal who used to break bread with gods. I need Renarin and Hoid scenes. I need a chapter with Renarin being forced to ride horses (I think he knows how, I just think they weird him out, he's mentioned that he thinks they don't fit, and I my head cannon is that he finds them to be mini Eldritch horrors).

Renarin: I don't think this horse can hold my weight

Adolin: you weigh less than Maya, what are you talking about?

Renarin: how, it's legs are like toothpicks and it's fat!?

Adolin: that's muscle

Renarin: I can feel the muscles moving under my saddle and it makes me uncomfortable. Also I feel like it's knees hurt and that it should have a coat cause it's cold out. I just don't understand why it has a skeleton, those are for people. This thing is an alien and I don't appreciate it's invasiveness.

Adolin: are you ok?

Renarin: I think they can speak, they just deem us unworthy to talk to, and as a Truthwatcher, this offends me. Keep your secrets you oblong meat demon!

Adolin: ok you NEED to talk to Kaladin, he's gotta a group for things like this.

[cosmereplay]

Just imagining a world in which Kaladin's Radiant body gets softer and fatter because his life is good and he's happy. He's no longer in crisis mode and he's not exhausting himself giving everything he has to others, so his body joyfully wants to give to himself too. Fat, happy Kaladin my beloved 💜

[annot8]

Remember this? This was a big fat lie. I read 20 pages

But!!! Now I am in it. Finished Part One!

Liking it so far! I really like Kaladin and I absolutely love Syl - she’s so sweet. I like Shallan as well but I’m struggling to feel much sympathy for her and her problems when Kaladin is in literal hell.

finally starting to read the starlight archive!

[witblessed]

me: :'(

me: *remembers that Dalinar has canonically called Kaladin "son," in the colloquial sense but Still*

me: :')

[m-i-n-t--t-e-a]

even more things my dnd group has said as cosmere

blackthorn: childcare is expensive, marriage is a pit

renarin about rlain: in my mind palace, we can be gay together

kaladin to adolin: wait who was the dumbass boy-kid

jasnah: don’t tell me to relax. that’s like telling a woman to relax. im a woman

hoid: see now i don’t go out in public with my ass out cause no one could focus on anything else other then my fat juicy ass

Kelsier to Vin: it just makes me happy because my little man is growing up

lift: cutely frolics through a warzone

wayne: my ranch is extra thick today 😩

odium and moash about kaladin:

odium: jesus this dude has some self esteem issues

moash: he's gonna have a lot more when we kick his ass

[cosmereclysmic]

I mean, Investiture shapes you into the self you see yourself as so maybe Kaladin sees himself with a fat ass. 🤷

Not to mention, muscles don't disappear that fast. I still have biceps from the packing part of my job before I started doing data entry. That was over a year ago. Hell, I still have biking calves from when I was a kid. They're just fatter. iirc I think the same thing happens to ballet kids, too. When muscles are trained to accommodate a specific movement for a long enough time, it changes the shape of your muscles for life, even if there's muscle atrophy.

It would also be weird if they didn't do ground drills in the case of Stormlight... deficiency?

And FINALLY... my last argument for buff/fatass Kaladin is this: no matter how accustomed one might be, you are ABSOLUTELY clenching that ass while flying.

The Ass Is Fat, Your Honor.

do the bridge four windrunners really have those luscious sculpted calves or not lets get into it. theres no way that, even with rocks stew, anyone from bridge four was getting sufficient nutrition for hypertrophy under sadeas' rule. i love Ripped Kal as much as the next girl but bridge running was his stealth build era sorry. and you just KNOW every windrunner is skipping leg day

[lizziestudieshistory]

Books of 2021 - Words of Radiance by Brandon Sanderson

It’s probably time to admit what is probably my most unpopular opinion about the Cosmere: I hate Words of Radiance. It’s the book I have to slog my way through to get to Oathbringer. Part of my dislike is heavily linked to my disillusionment about Shallan… However, I do think the big moments in this book – most notably the duel scene and final battle – cloud people to the genuine faults in it. It is a technical step up from The Way of Kings, but there are huge parts of this book that are unnecessarily slow to read and there is a huge thematic drop that starts in this book that I cannot forgive Sanderson for. I also dislike a lot of the individual plotlines, major characters are barely in this book, and a lot of the big reveals/developments feel unearned because they had to happen in this book so we could get on with the more important conflicts in the rest of the series.

This review has spoilers for The Stormlight Archive, you have been warned.

Structure and Plot

I don’t want to touch on the structure too much because a lot of my niggles for The Way of Kings continue into Words of Radiance. All of these books have too much fat around them – the interludes continue to feel irrelevant; the main bulk of the book is drawn out slightly too much; and the flashbacks are merely okay, they haven’t reached the level of Oathbringers’ flashback sequence yet. However, Sanderson does make some serious improvements in this book.

Shallan, our focus character, does have a much more interesting backstory and the flashbacks have slightly more bearing on the present-day plotline. However, for me, they lose interest on subsequent rereads and there are slightly too many of them that don’t add any new information once we’re aware of how terrible her family life is. They are an improvement on Kaladin’s, and I like them a lot more, however, considering how much we STILL don’t know about Shallan (as of Rhythm of War) Sanderson could have utilised them better in this book. Saying this, I do remember really liking the flashbacks on my first read, so I really do think my current negativity is a product of having read this book one too many times? I’m going to hold off on Sanderson for a couple of years after this reread so (if I remember) I’ll come back and reevaluate how I feel about Shallan’s flashbacks with a fresher eye.

Sanderson also gets us into this book a lot quicker than he did in The Way of Kings. Jasnah’s prologue is one of my favourites in the series so far, and part one does hit the ground running. It sucks the reader back into the world, refamiliarised with the essentials of the story, as well as introducing the next leg of the plot. It’s a fabulous introduction and it’s one of the strongest first parts in the series as a whole.

Unfortunately, the pacing doesn’t reflect this strong introduction – once Shallan loses Jasnah’s guidance, and Kaladin is established as Dalinar’s guard the book dramatically slows down. Kaladin’s chapters, while slow, have some differentiation to break them up with Bridge Four learning how to be guards. Shallan’s turns into an interminable slog across the countryside. One of the things I loathe in fantasy are the long journeys with nothing going on – sometimes they can be done beautifully. For example, I love Sam and Frodo’s section in The Two Towers, but Shallan’s is just painful. Sam and Frodo’s journey is so fascinating because of the internal struggle they are going through (together and separately), it’s atmospheric and powerful because of its character work. Yes they are trying to get to Mordor, but the goal isn’t what matters here – it’s whether Sam and Frodo can survive the journey, and what state they will be in when they get there.

Shallan’s journey is clearly a way to get her to the Shattered Plains in the right circumstances and it shows. We’re journeying from A to B, with a few obstacles thrown in. There is some development from Shallan as she learns the basics to being a conwoman from Tyn. However, again this is something thrown in to keep Shallan’s point of view interesting while she’s riding through the countryside. It’s not vital character growth that can only be done at this point in the journey. If we’re going to slog it through the wilderness there needs to be a point to it that can only be learnt from showing such a long journey – otherwise cut down Shallan’s chapters in this section and only show the necessary highlights, while hinting at the longer journey through her internal reflections.

I’m also just going to throw out that I was bored in part three – the end of this part is phenomenal, and contains the famous duel scene with Adolin and Kaladin, which is one of the highlights of the whole series. However, the build up to this scene is repetitive and a bit dull in places? It’s possibly because I’m not a huge fan of Shallan and Kaladins’ arcs in this book. I’ve never liked the Ghostbloods plotline (and it’s only gotten worse with the Thaidakar reveal in Rhythm of War), Shallan’s romance with Adolin is slightly cringey, and I’m going to have a rant about the Kaladin/Moash conflict when I get to writing about Kaladin’s character. The main plotlines in this book are a bit…painful? They scream filler for a lot of part three – I don’t necessarily mind it; I actually like the conflict between Adolin and Kaladin because it does make sense for both characters. It doesn’t do much except build a camaraderie between them and develop their characters, but there are a few too many scenes of it, along with the painful romance scenes. Sorry, romance isn’t Sanderson’s strong point…

Prose

Still painful, still don’t love it. I do think there is a slight improvement between The Way of Kings and Words of Radiance because there aren’t any egregious moments that stand out to me in this book. Some moments, such as Kaladin’s first flight through the chasms and then when he’s flying with Syl over the Shattered Plains, even stand out as highlights for Sanderson’s writing – I really feel Kaladin’s joy and sense of freedom. There are some lovely moments in this book, and it does mark an improvement in Sanderson’s writing style! However, I’m still not a fan of Sanderson’s prose as a whole, it still feels clunky in places, and I’d prefer it to be a little bit more refined. This is very much a personal preference complaint though, as I stressed in my The Way of Kings review.

Magic System

I should probably discuss Sanderson’s magic system in the Stormlight Archive at this point, especially as it’s becoming more and more relevant as we continue into the series.

So, for those of you who are reading this without having read the book (why?!), Stormlight is dominated by a hard magic system called Surgebinding. Human Surgebinders (I’ll probably discuss the Singer’s surgebinding abilities in a later review) are members of one of the ten orders of the Knight’s Radiant: Windrunners, Skybreakers, Dustbringers, Edgedancers, Truthwatchers, Lightweavers, Elsecallers, Willshapers, Stonewards, and Bondsmiths. Each order possess the ability to manipulate two of the ten surges using Stormlight to power their abilities:

Windrunners: adhesion and gravitation

Skybreakers: gravitation and division

Dustbringers: division and abrasion

Edgedancers: abrasion and progression

Truthwatchers: progression and illumination

Lightweavers: illimitation and transformation

Elsecallers: transformation and transportation

Willshapers: transportation and cohesion

Stonewards: cohesion and tension

Bondsmiths: tension and adhesion

They also gain magical armour and weapons known as Shardplate and Shardblades, although when each order gets their plate and plate depends on the order and spren/nahel bond. The order of the Radiant will depend on what oaths they swear and what type of spren they are bonded to:

Windrunners: honorspren

Skybreakers: highspren

Dustbringers: ashspren

Edgedancers: cultivationspren

Lightweavers: cryptics (“liespren”)

Elsecallers: inkspren

Willshapers: lightspren

Stonewards: peakspren

Bondsmiths: the Stormfather, Nightwatcher, or the Sibling (I don’t think we have a spren category for these three)

In Words of Radiance, we get the most insight into Windrunners and Lightweavers through Kaladin and Shallan, respectively, so I’m going to focus on these orders. This does actually work well because the Windrunners and Lightweavers can represent the two “styles” of orders quite well, each one being fairly structured or esoteric respectively.

Kaladin’s Windrunner powers are the most stereotypical magical ability – using gravitation Kaladin can fly, well technically fall in any direction, but the effect is the same. We see him using his powers to soar through the skies above the Shattered Plains, and run on walls. The effect is incredibly cinematic to read (although I suspect it would look ridiculous if poorly adapted into a visual medium) and enhances Kaladin’s status as an ‘action hero’. His other ability, adhesion, is slightly less dramatic – at least when it’s used straightforwardly. He can stick things together, or draw objects towards something else, including people, with magical superglue.

However, Kaladin’s, and the rest of the Knights Radiants’, powers are connected to the oaths he swears and his bond with Sylphrena (Syl). The Knights are granted the ability to surgebind and control their powers through 5 oaths, each order has different oaths but the first is universal: ‘Life before Death, Strength before Weakness, Journey before Destination’. In Kaladin’s case his oaths are connected to protecting others, which does slightly excuse Kaladin’s “saving people thing” and inability to let it go if people he cares about die. Whether Kaladin keeps his oath depends on whether Syl, his bonded Honorspren, best friend, and a tiny piece of divinity in her own right, agrees whether he is keeping them in spirit – something we explore at length with Kaladin’s plotline in this book.

Shallan’s Lightweaver powers are also incredibly visual, especially as she spends all of this book focusing on illumination, which gives her the ability to shape Stormlight into realistic illusions. Her abilities are particularly useful for subterfuge and lies as Shallan can use them on herself to change her appearance, or on their own to make it appear as if something is there when it’s not. Her other ability – soulcasting, the surge of transformation – still hasn’t been explored as of Rhythm of War. Soulcasting changes one substance into another, but exactly how it works and the extent of its power is still uncertain. However, from what we’ve seen through Jasnah, who also has the ability, it is overpowered and very cool.

Shallan’s oaths are less obvious than Kaladin’s and it’s hard to tell what oath she’s on by the end of the book – although this is also heavily linked to Shallan’s backstory and developments in her character in later books,Shallan is definitely a non-standard Radiant! Her oaths, after the initial oath, are made up of truths about herself. She speaks her truths to her spren, Pattern, in order to progress as a Radiant. Her oaths also force her to develop as a person, which has been a painful process because Shallan has been lying to herself since she was a child and doesn’t want to admit what she’s done.

The magic system is clearly very complicated, and we still don’t know everything about it, six of the ten orders haven’t been explored through their specific books, and even the orders we have seen a lot from through our viewpoint characters are shrouded in mystery – I’m still not entirely sure what Bondsmiths do despite having the Bondsmith book (Oathbringer) because the order is so esoteric. It’s well drawn and compelling, especially as Sanderson uses the progression of the Knights as a mystery throughout the books. Despite not being that interested in hard magic systems the magic in this book is interesting and I really like the structure around the Radiants – it also makes for interesting discussion, debates, and Harry Potter style quizzes in the fandom, which is fun!

Characters and Plotlines

Kaladin, Syl, and Moash – Unfortunately, my new found love of Kaladin was tried in this novel because Kaladin REALLY gets on my nerves in Words of Radiance. It’s not because I disagree with Kaladin per se… I actually agree with a lot of Kaladin’s anger, resentment, and sense of injustice with the social system in Vorin/Alethi society. Kaladin has a right to feel angry and seek retribution for what was done to him, and Bridge Four.

However, Kaladin walks around with a massive chip on his shoulder in this book, particularly in how he talks to and thinks about Dalinar and his immediate family. His motivation I can understand and sympathise with, but the impression of ‘I’m so hard done to, the world is against me’ that Kaladin radiates in this book feels completely at odds with the reality of his situation. Yes, Kaladin has a right to be angry. Yes, he has a right to seek justice. But there is no reason he should be so personally antagonistic towards everyone because of their social position. He is in a position of power, he’s outside the social hierarchy to a large extent, and in control of his own life (and the lives of the ex-Bridgecrews). Kaladin is angry at everyone and everything, but he’s losing the justification for a lot of his resentment, particularly when it’s expressed towards Dalinar and his sons.

In particular I have an issue with Kaladin’s main plotline around Moash and the attempt to assassinate Elhokar. Aside from the fact I hate Moash, to the extent where Moash could be dropped from the books without resolution and I wouldn’t bat an eye (sorry Moash fans - I’ve never liked him…), this plotline just doesn’t feel right for Kaladin’s character. It actually feels like a betrayal of the character we got to know in The Way of Kings and continue with in Oathbringer/Rhythm of War. I can’t see a world where Kaladin Stormblessed is okay with murder or assassination.

Kaladin’s whole deal is honour and justice - justice as in what’s morally right (legality is another thing entirely!) He also wants to protect everyone, including Syl - Syl perhaps above everyone else as Tien is dead - but this plot is something she explicitly isn’t comfortable with and is concerned about. I CAN see a world where Kaladin pursues a plan to see Elhokar removed from power, but not assassinated. The argument about Elhokar’s removal being like removing a gangrenous limb (or whatever the exact metaphor was) doesn’t hold up for his character.

What makes this whole plotline worse is it doesn’t really lead anywhere, other than placing Moash on the opposite side to Kaladin in the upcoming war. All that we really get from it is confirmation that Kaladin is a Windrunner to the core (which we already knew) and Moash is on whatever side Kaladin isn’t because they’re foils for each other. However, the only real outcome of this entire 1,000 page plotline is Moash is maneuvered into position for his arc in Oathbringer, and Kaladin gets to swear his third ideal. Yet Kaladin’s perspective doesn’t radically change and quite frankly working out the third ideal could have been done in another way, without betraying Kaladin’s character for two thirds of a book. It was there to conveniently get a few characters where they needed to be for the next book, and to let Kaladin have another superhero moment. I love Kaladin superhero moments as much as anyone else - I just wish it wasn’t prefaced with this plotline.

One thing I really don’t understand - and is why I dislike this plotline so much - is why we’re stressing so much on a Kaladin-Moash friendship anyway. They don’t feel like friends! Honestly, this is a larger problem with Bridge Four as a whole - their friendship with Kaladin doesn’t feel earnt. Well no, Rock, Teft, and Lopen do. But the larger part of Bridge Four feels like they’re just there? They definitely feel like they’re friends with each other, but not necessarily with Kaladin. 

I’ve already confessed that I’m not the biggest fan of Bridge Four at the best of times because they feel like a sports team underdog narrative, which is honestly my worst nightmare of a storyline. However, I DO want to see Sanderson actually show Kaladin being friends with them, especially as they are such a huge part of his motivation to protect. We have one scene - the bar scene - with a few of them acting like a genuine friendship group. Yet this doesn’t make for a genuine friendship, we need more little moments throughout the book, including Kaladin. 

Sanderson does improve on the Bridge Four dynamic, Oathbringer and Rhythm of War make me feel like Bridge Four are genuine mates a lot more than Words of Radiance does. However, for this book we do need to see Kaladin and Moash as real friends, maybe even as close as brothers, for the Elhokar assassination plotline to work. But we don’t! It’s easier for me to believe Adolin and Kaladin’s friendship than Moash and Kaladin! And Adolin and Kaladin spend most of this book bickering…

I think the real issue with this plotline is the execution. The way Kaladin’s character has been established, the lack of page time spent on Bridge Four as a whole and Moash in particular, and ultimately small outcomes for this plotline makes it feel tedious and slightly pointless. Sanderson needed to increase the REAL stakes - there was no way Kaladin was really going to lose his status as a radiant, just for narrative reasons - and work on the emotional impact. We need to believe Kaladin would really go through with the assassination, and his friendship with Moash before getting to this plotline. But as we don’t, or at least I don’t, feel this so Kaladin’s anger and it’s consequential plotline ends up frustrating me to the point where Kaladin is on thin ice for a lot of this novel.

Shallan - Okay, I’m going to address the elephant in the room later - the elephant is Shallan and the “Boots scene” if you weren’t aware. However, I do have a few other complaints about Shallan in this book. 

My main issue with Shallan, excluding the classism I’m addressing later, is that a lot of her character feels unearned (in this book specifically not as a general rule.) Not in the sense that her powers feel unearned, or her backstory isn’t believable (which I really love), but her achievements and relationships in Words of Radiance feel cheap. There are several moments that stick out to me as being particularly annoying.

Firstly, Shallan’s ability to control Tvlakv, Tyn, and the merchant caravans. Personally, I find this whole situation ridiculous when I think about it. I can go along with Shallan being able to get to the Shattered Plains miraculously meeting the slave trader who sold Kaladin. However, the fact Shallan is apparently capable of manipulating Tvlakv into taking her there with very little conflict is ludicrous. 

Shallan’s a shipwrecked, fairly middling noble with few resources at her immediate disposal, and a somewhat shy (if on later acquaintance bubbly) personality. It doesn’t make sense to me that she can have this influence over Tvlakv. Yes she’s been taught by Jasnah, and yes she does have some confidence/authority from her own position as a lighteyes. However, I’m really struggling to believe that, at this point in her story, she is a good enough actress to pull off an aloof lighteyed woman of significant enough rank to make Tvlakv do what she wants, especially when they’ve met in the middle of nowhere and Shallan has no other options. 

My second issue with this is with Adolin and Sabarial. Adolin also falls into my larger complaints about Sanderson’s romances, which are by far the weakest elements in any of his books. However, let’s start with Sabarial: 

So… Why the hell does Sabarial take her in? It makes ZERO sense. The ‘because it annoys Dalinar’ argument just doesn’t cut it, and neither does the ‘Sabarial is so weird’ perspective. As bonkers as he appears on the surface, we know Sabarial is a shrewd businessman. He’s lazy, but also a clever and manipulative leader, he doesn’t do anything without getting something in return. However, he doesn’t get anything from taking Shallan in except the satisfaction of getting one up on Dalinar? She doesn’t even do his accounts properly! It feels like an inconsistent character move that is only there to suit the storytelling and give Shallan more freedom, rather than demonstrate Sabarial's motivations. 

Okay Adolin is both better and worse than Sabarial. I can genuinely understand why Adolin likes Shallan so much and vice versa. I love the relationship they have once it’s been established - they’re good for each other (well I think Adolin is better for Shallan than she is for him, but the point stands.) However, it’s just so insta-lovey! They just meet and it’s like the heavens aligned, and a perfect relationship blossoms. It’s not quite that fast, but it’s pretty quick. And I just don’t buy that initial push into their bond.

I just find this initial meeting and first couple of dates unbelievable? It’s also very cringey… I can’t read some of their ‘banter’ because it’s painful for me at this point - I’m literally Kaladin whenever he has to watch them together. It’s the worst combination of Sanderson’s sense of humour, his poor romances, and annoyingly quirky characters. By Oathbringer I do think they have a good, settled relationship going on, but in this book I really dislike the way it’s sparked. (I’m also questioning why Adolin doesn’t seem to be mourning Jasnah and is going out on dates? It just seems off to me!)

Honestly, I could probably live with both of these aspects if it wasn’t for the final, most egregious issue I have with Shallan in Words of Radiance. Her discovering Urithiru.

I cannot stress enough how much I HATE that Shallan discovered the Oathgate on the Shattered Plains. The other successes feel unrealistic and unearnt but are ultimately small moments that would have to happen in some form - Shallan has to get to the Shattered Plains, and she has to meet/fall in love with Adolin. They’re irritating in how they’re executed but are ultimately okay instagatory moments.

On the other hand, finding Urithiru is one of the biggest moments in the whole series! It’s a significant part of the climax of the whole book! Without it we’d be reading a very different series in Oathbringer and beyond. But giving this huge moment to Shallan is completely out of proportion to the work she’s put in. Yes, Shallan has been looking for it for a few months, she wants to continue Jasnah’s work. However, Jasnah has been slaving away at this for YEARS, literally YEARS. Why does Shallan get this moment of triumph? It’s completely unwarranted for what she’s done, especially as she literally couldn’t have done it without Jasnah’s research. It just pisses me off that we seem to give all the credit to her when, in reality, she drew a map.

I think this annoys me so much because Sanderson went down the ‘kill the mentor’ trope for this book. There was actually very little reason to remove Jasnah in the way he did in Words of Radiance - Shallan could have easily been ignored by Jasnah once they reached Shattered Plains as she’s dealing with the high stakes politics/war effort with Dalinar, leaving Shallan to get embroiled with the Ghostbloods and Adolin. This would have left small amounts of time to see them working together on their scholarship, whilst also giving Shallan room to grow. Using ‘kill the mentor’ AND having Jasnah return from the ‘dead’ felt cheap the first time around (nevermind this one!) whilst achieving very little that couldn’t have been done in other ways.

Overall, I just think Sanderson overplays Shallan’s competence in this book. She’s still a 17/18 year old girl and he’s overdoing it with her abilities that aren’t related to her Radiant powers. The discoveries she makes don’t live up to her reality of character and I find it irritating.

I’ve said a lot that is negative about Shallan - I do get more positive after this book, so that’s something I guess? Nevertheless, I do want to say one thing I really love about Shallan and this book is her backstory. Apart from Dalinar, Shallan has the best backstory out of the main characters we’ve seen so far. The abuse from her father, casual cruelty and neglect within her family, and Shallan’s own darkness is fascinating to read about - if slightly distressing. I don’t have much to say about it as a whole because I think it’s very effective in adding a darker layer into Shallan’s character, as well as being a much more interesting story than Kaladin’s was in The Way of Kings.

Sanderson hasn’t quite mastered the interweaving of the flashbacks into the main storyline in Words of Radiance, then again Oathbringer was exceptionally good in comparison to all the other books for this aspect. However, the Words of Radiance flashbacks are a marked improvement and made for a great way to deepen Shallan’s character past the hints we’d seen in her chapters in the first book. I think it’s a very believable backstory. It’s probably the backstory that’s having the most ‘present day’ impact on the character in question (again Dalinar is a close second but Sanderson dropped the ball with his character growth in Rhythm of War.) Shallan’s past is fabulous and well utilised by Sanderson to make her grow - and I did want to say something positive about Shallan because, despite not liking her, I do think she is a very well written character.

Pattern - I want to say that, despite my apparent vendetta against Shallan, I REALLY love Pattern! He’s so annoyingly sweet, sincere, and genuine! Actually he reminds me a lot of one of my dogs, which might be a contributing factor to my enjoyment of him? Either way Pattern is one of the best spren characters we’ve met so far - he’s amazing!

Dalinar - I’m mainly here to complain there isn’t enough Dalinar in this book and I miss him… I understand why he isn’t as present in Words of Radiance as he is in The Way of Kings and Oathbringer. However, I do think the absence of both Dalinar and Jasnah - my two “problematic faves”, plus Kaladin feeling very off for most of this book, contributes to why I don’t like it very much. Their loss leaves a big hole for my personal enjoyment and attachment, especially on rereads. It’s a very personal problem and comes down to who you read the series for (and whether you like Shallan or not.)

Although, when we get one of the few Dalinar chapters I am ecstatic because they’re all particularly punchy in this book! Chapter 67 - Spit and Bile - when Wit and Dalinar discuss his nature as a ‘benevolent tyrant’ is one of my favourites in the whole series. It’s a real moment of character realisation for Dalinar and gives us some FANTASTIC food for thought before we get to the shocking revelations of Oathbringer.

Kaladin and Shallan, Class Status, and the Boots Scene

Okay, it’s time to address the elephant in the room – Sanderson dropping the ball on his discussion of class conflict. I loved Sanderson’s introduction of class conflict, it’s something I’m particularly interested in as a British person. However, he handles this theme badly in Words of Radiance and drops it completely in Oathbringer, and it was almost a deal breaker for me on this reread. I’m genuinely upset about it.

So, a lot of Kaladin’s arc in this book is centred around him learning to look past his (valid) anger over what was done to him by the lighteyes, and specifically Amaram. Of course, this can’t really be resolved in one book, and I do hope Sanderson listens to the very vocal criticism around his “resolving” of Kaladin’s anger by pressing Kaladin into siding with his oppressors without uncritically examining his choices in books 3 and 4 (as well as making him a de facto lighteyes himself). However, in Words of Radiance Kaladin is very much giving into his anger now he has the opportunity to live, rather than just survive, and Sanderson uses a lot of his interactions with Dalinar, Adolin, and Shallan to show him ‘not all lighteyes are bad’.

I do have issues with the way Sanderson handles this with Adolin and Dalinar - maybe Dalinar not so much because his character has A LOT of other issues going on and his interactions with Kaladin are very much structured by their positions in the army. Their relationship remains largely professional, especially in this book, and Kaladin is shown to trust and respect Dalinar and vice versa. Not to mention that Dalinar is actually prepared to listen to Kaladin’s version of events and do his best to get justice for Kaladin against Amaram - it’s just not an easy situation to prove or resolve, and it can’t be done in the way Kaladin wants.

As an aside for the rest of the series - I do have issues with Kaladin’s long term idolisation of Dalinar as a leader and ‘noble’ lighteyes. We haven’t really seen Kaladin’s reaction to the revelations from Oathbringer (the in-world version) which I do think would change the dynamic between them. After all, the revelations about Dalinar show him to be worse than Amaram in many respects! Kaladin should have a reaction to the morality around Dalinar’s actions in the past, even if he is trying to change, and not just continue as they did before. Although, this issue ties into the larger problems with the series structure and how Sanderson keeps all but dropping Dalinar’s character growth in every other book - we need to address the consequences for revealing his past to the world, particularly with his family and political allies, not just sweep them under the carpet as we did in Rhythm of War!

In contrast to Kaladin’s relationship with Dalinar, he and Adolin are on a slightly more (although not completely) equal level, as demonstrated by their bickering, banter, and eventual friendship. Their relationship begins with Adolin’s suspicions about Kaladin, Kaladin’s hatred for lighteyes, and a mutual grudge against each other, but their relationship grows into a very real friendship after the duel sequence. Their relationship is one that has never bothered me because they had that rocky start. They grow into a friendship of equals, their distrust turns into a genuine bond because they learn to trust each other as they prove to each other that they aren’t what they first assumed.

Most importantly, despite the rocky start, neither of them are actively dismissive of the other based on their social status - Adolin never demeens Kaladin for being darkeyed and once Kaladin gets to know Adolin better his hostility towards lighteyes in general vanishes as they established their personal bond. The only moment you can point to Adolin actively dismissing Kaladin due to his social status is in The Way of Kings when he asks him to take a message to someone in the prostitute scene (sorry I’m not looking up the page numbers.) Adolin never shows dislike of anyone because they are darkeyes and definitely does not toy with those of a lesser social status than himself. Yes, I do agree Sanderson could do a better job of using the relationships between Adolin, Kaladin, and Bridge Four to address some of the subconscious biases Adolin holds. But Adolin is never cruel or manipulative to those with less social status. 

This brings me to the big reason why I’ve come to loathe Shallan and the key reason I dislike Sanderson’s mishandling of the social class discussion. It’s not even necessarily Shallan herself that I dislike, it’s the way the narrative frames her character and Sanderson’s dismissal of Kaladin’s anger. I could look past most of the problems I’ve raised against Shallan if it wasn’t for the way Sanderson portrayed her in this book. I still don’t think she’d be my favourite character now but I wouldn’t feel the urge to close the book every time I have to read her chapters.

However, Shallan is probably the best example we have in a point of view character of the minor abuses of the lighteyes against anyone of a lower social class than themselves. I’m not talking about the major crimes committed by Sadeas or Amaram where they show a blatant disregard for life, but I am talking about the subtle abuses of those with wealth and rank against those less fortunate.

Throughout the series we see Shallan casually and absentmindedly manipulate, dismiss, and bully darkeyed individuals. She’s not maliciously cruel, but she is casually abusive. She treats people like Kaladin or the slaves she ends up owning as less than herself, especially when she first meets them. I’m not here to say this is Shallan’s fault per se. She has been taught to do so by her society, she’s been indoctrinated into a system that believes those with darkeyes are lesser than herself because the Almighty has deemed it to be this way. It’s an inbuilt, largely unconscious bias formed by the society she was brought up in. I’d actually like this character trait if Sanderson used it to challenge Shallan and make her grow as a character, like pretty much EVERYONE else has to do with aspects of their character! 

But Sanderson doesn’t. Shallan is given a free pass for toying with darkeyes or those of a lower dahn than herself and using them to amuse herself, or even for dismissing them. And it’s not just once she does it, it’s a systematic behaviour in this book. Now, I will admit most of the time this behaviour is used against...unsavoury characters - it’s usually people like Tvlakv, a slave trader, who often fall victim to Shallan’s manipulation. As an audience we don’t like Tvlakv and don’t really care if he’s manipulated and pushed around by Shallan because of his earlier treatment of Kaladin. We like Kaladin, we like Shallan, but Tvlakv? Not so much. But her casual dismissal of Tvlakv’s life and livelihood (putting my loathing of slavery aside for the moment) does show Shallan’s contempt of those beneath her in general.

The better case to demonstrate Shallan’s classism is in her scenes with Kaladin. There are two moments I could use to make my point: the infamous “Boots” scene in chapter 28 and the Chasm sequence in Part 4. In both these scenes we see Shallan, in a position of power, dismiss Kaladin - the “Boots” scene is by far the worst of these two, but the later sequence give us a better glimpse into the problems with Sanderson’s framing of Shallan’s and Kaladin’s past traumas. Shallan’s trauma is validated by this scene, but Kaladin’s very justified dislike and anger is dismissed by both Sanderson and Shallan. There is very little, leading up to the Chasm sequence, that suggests Shallan is a nice person to Kaladin and he has a lot of long-term trauma from mistreatment and abuse from lighteyes in general. Kaladin should be allowed to hold onto his resentment to some extent. Instead he is forced to get rid of it because of Sanderson’s inflexible belief that all anger, even righteous anger, is wrong.

I could elaborate on this scene but as this review is now ludicrously long, I’m going to stick to the Boots scene as it is simpler and I don’t really need to summarise the scene because it’s so well. The basics you need are: Shallan uses her gender, social position, and Kaladin’s relative lack of authority to humiliate him in front of his men and con him out of his boots. And it’s played for laughs.

There is a small hint later on that Shallan shouldn’t have done what she did when Kaladin confronts her about the incident outside the meeting of the Highprinces. Yet, a large part of this was Shallan saving face when she realised he is Captain of the Kholins’ guard and could pose a serious threat to her plans if he felt so inclined. She doesn’t express any remorse for her behaviour morally speaking, nor does she think that she shouldn’t mess around with people who can’t fight back. No, she’s remorseful because it’s convenient for her.

The 'Boots' scene isn’t funny. It’s a clear, if childish, display of the sheer amount of power lighteyes have over everyone socially below them. But Sanderson doesn’t depict it in that way. It’s just there as an amusing scene, and to get Shallan and Kaladin off on the wrong foot. Kaladin was just doing his job, grumpily, and didn’t deserve this treatment from Tyn or Shallan. Especially as Shallan very much knows that she ISN’T a conwoman and she really IS Adolin’s betrothed - she doesn’t need to impress Tyn, especially not this close to the Shattered Plains. So, she has little excuse for acting in the way that she did, and she really didn’t need to humiliate Kaladin in front of his men. As the audience, we know Kaladin’s command isn’t going to be affected because of his history with Bridge Four, and we know he can replace his boots. But Shallan doesn’t and it only shows how little she really considers the lives of those below her. It’s just casual cruelty that served no purpose except to entertain her and Tyn.

The fact that Shallan has never really been called out for this by the narrative/Sanderson, only by Kaladin and more socially aware fans, is outrageous. Anyone else would be - and everyone else has similar issues that narrative insists they work on and overcome. Yet Shallan is consistently let off for this behaviour. On the other end of this scene, Kaladin is forced into letting go of his anger and falling into line with the Kholins and other lighteyes, despite being systematically oppressed and mistreated by the lighteyes as a whole. Sanderson doesn’t allow Kaladin his anger and he’s punished for it throughout this book.

I will say that Kaladin isn’t completely in the right here, he did need to learn that not everyone is the embodiment of evil just because they are born into wealth and privilege. However, neither was it okay to dismiss the complex dilemma around Kaladin and class - where he needs to overcome his prejudice against everyone at the top of the social system, because there are good lighteyes, whilst still challenging that system - by making him a lighteyes. This doesn’t solve anything! His anger is valid and righteous. The Vorin social system does need a complete overhaul and Kaladin should be allowed to take the helm for that social movement - even if this arc isn’t at the forefront of the series (you know because we’re all slightly busy saving the world!) 

Sanderson shouldn’t keep allowing Shallan a free pass for deeply rooted and problematic behaviours and attitudes. It doesn’t need to be a major point of discussion, especially as the series has evolved and everyone is more concerned with staying alive. However, this is a huge series, there is space in it to address this issue every now and again in the background of the novel, particularly in non-combative plotlines. It would also help to change the perspective in moments like the “Boots” scene. Rather than showing these as just funny moments, take the time to show that they are symptoms of a serious problem in Vorin society and demonstrations of the casual abuses of power lighteyes can get away with on a daily basis.

At the end of the day, Kaladin is going to be fine - and he does drive me nuts with the huge chip on his shoulder that he has throughout Words of Radiance. His only real consequence from this scene is wounded pride, he’ll recover. However, Shallan shouldn’t be let off the hook for it either and Sanderson does need to pick up this plotline on the abuse of power and class in the series. He introduced a serious discussion on the dangers of a class-based society and it’s a shame (and irresponsible) to just drop it now. 

Conclusion

So I think we can all agree I don’t like a lot of this book. I’m in the minority here. There are some fantastic moments throughout Words of Radiance, but as a whole I struggle when rereading this particular entry into The Stormlight Archive. Sanderson drops the ball on one too many issues, and I really dislike Shallan here. I do get on with her slightly more in later novels - well in Rhythm of War - however, having such a heavy focus on her here makes it a slog for me to read.

Still, onward and upwards! Oathbringer is (probably) my favourite book in the whole series, although I’ve only read RoW once so that might change when I finish this reread. Hopefully I’ll have a lot more positive things to say in my next review - and I finally get to make my speech on why I love Dalinar and his backstory!

[st-just]

Semi-coherent thoughts on Oathbringer

So, overall probably the most even of the series so far, I’d say? Not to say I didn’t like it – I really, really loved the finale, and there were plenty of great lines, but my god were there a lot of pages spent on nothing happening (honestly it kind of reminded me of the latter volumes of ASOIF, in that sense) – then again, I suppose that is kind of just the nature of these 1000+ page fantasy epics. There were some setting reveals that really were fascinating, and legitimately a bit surprising. Going to have to take a break from the series until the friend I got Rhythm of War for is done so I can borrow it, though I suppose that’s no huge loss compared to the however many years everyone else had to wait in between them.

So in terms of pacing it’s...bad. Or, well, that’s probably a bit unfair. There’s absolutely plenty of fat to cute, but again I do think that might just come with the territory of committing to like a dozen POVs across a tree’s worth of paper (though there were absolutely like 100+ page stretches where I’m not actually sure the plot meaningfully progressed). That said, honestly the main pacing issue isn’t so much the bloat as, like – okay, Dalinar’s arc was a pretty consistent throughline, but for Kalidan and Shallan it kind of felt like there was one whole story in Urithiru, and then from the mission to Kholinar and the journey through the Cognitive Realm felt like its own separate novel? I mean, not sure if that makes any sense, but it really did kind of feel like there was a whole additional first act of table and stakes setting once they arrived in the city.

Though, to argue in favor of bloat for a moment – I was chatting with  @lifeattomsdiner​ bit back about The City We Became, and they mentioned that the size of the cast meant that you don’t actually really get to know any of the protagonists that well on their own. And I suppose that is the advantage of the 1200-page-per-volume epic cycle – even with characters you only really meet in interludes like Szeth, Vargo and Venli (incidentally three of my favorites), you spend enough pages inside of their head that you do really get to see what makes them tick and learn to love/hate them. Speaking of – props to Sanderson as an author, really – it’s vaguely astounding that he manages to keep track of that many internal monologues and actually make them seem distinct from each other.

Breaking things down by character a bit more – this book really did actually enjoy/get invested in Dalinar way more than either of the previous two, which again I’m told is more or less the expected reaction. Given the amount of tumblr brain poison I’m voluntarily exposed myself to, it’s honestly more than a bit of a nice change to see a character on a redemption arc who is actually unambiguously in need of redemption. Because holy shit, pulled, like, exactly two punches in terms of making the guy as genuinely loathsome as possible before he starts breaking. And, well, obviously he was on a redemption arc, but there was a bit near the end there where I really did think that the book was going to cut to black on an ‘end of Act 2, maximum darkness before dawn’ moment with, like, all the Skybreakers and him kneeling before Odium as the city fell. But I suppose that would be a bit much of a cliffhanger for a series with installments this weighty.

This was pretty clearly Shallan’s ‘getting over my personal bullshit’ book, like WoR was for Kaladin and WoK was for Dalinar, though spicing things up with increasingly severe DID as the book went on did make things more interesting at least. Also, I have no idea if this is actually true, but according to the friend who pestered me into reading these when someone asked Sanderson if he’d intentionally written her as bi he just kind of shrugged and said ‘sure, why not,’ which is fun. It was more than a bit, I don’t know, forced?, to have Wit just wander in from stage left and give her a desperately needed therapy session while she was in the middle of a breakdown and propel her development for most of the rest of the book, but on the other hand she’s pretty easily the main POV I’m most invested in by now, and the live triangle the text repeatedly threatened me with never actually became a thing, so I can’t really complain too much. Honestly super curious about the Ghostbloods and what they want out of her given, well, for a shadowy murderous conspiracy, everything they’ve wanted out of her so far has been pretty much entirely benign. Like, of the three major shadowy murderous conspiracies they’re easily the least problematic for the future of humanity at the moment. She should just commit and join for real imo.

As always, Kaladin’s POV is mostly good because it means we get more Syl, who is the single best character in the entire story I’ve decided. But also, I really quite liked his whole sojourn with the newly freed Parshmen and dawning realization that ‘wait these people are basically entirely right’. Also, the delicious delicious angst of spending however many dozens of pages getting to know them and then the wall guard and then the two groups killing each other in a confused melee while he has a mental breakdown. Easily best moment in the book (but then I’m a miserable person).

Adolin is honestly significantly more entertaining to follow than I really expected, though I’m still not like especially invested in him as a character. His relationship with his tailor was quite charming, though, as was the fact that he cares enough about fashion that he learned to sew. Honestly I was rather expecting/slightly dreading his main arc this book to be, like, inadequacy or insecurity over being almost literally the only member of his family that’s not a Radiant, so it’s kind of a pleasant surprise that he seems to have just accepted that (too well-adjust, I guess?). It is however extremely funny that the fact he just straight-up murdered one of the kingdom’s most important aristocrats and the major antagonist of the first two books seems to have resulted in absolutely zero consequences of any kind for him.

In terms of minor characters, the one I’m most invested in by a pretty substantial margin at this point is Venli, as she’s getting a front row seat to all the most interesting bits of the setting, ‘cultist growing increasingly disillusioned about return of ancient and terrible eldritch god’ is a really entertaining character arc just in principle, and because as of the end of the book she represents the morally objectively correct perspective and political line I’ve decided and will fight people about. Curious what sort of superpowers she’ll get. (Vargo and Szeth are still both great though, too).

The Unmade are really fun as a worldbuilding conceit/excuse for weird fucked up monsters. And it really is kind of funny that at least a third of the God of Evil’s nine generals/children/favoured beasts are, like, at conflicted or ambivalent about the whole ‘exterminate humanity and remake the world as a monument to my glory’ thing.  

Really, on an extremely shallow and entirely aesthetic level, between the evil red crystal/lightning aesthetic, the remote mountain fortress as a stronghold of the heroes in the face of the coming apocalypse, tears into the realm of spirits, the quirky evil minibosses each handling corrupting/conquering a given center of civilization, etc, the whole thing kind of reminded me of Dragon Age Inquisition. Which reminded me of how disappointing the story to that game was, which made me like the book more by comparison, but anyway. Yeah, good book.

[off-brand-adorabbit]

I am desperately interested in this screenshot if you have it

[Image ID: a series of tags that read “#one time i asked the kaladin bot if he wanted a puff and he said nah and passed it to syl who took a big fat rip #it lives in my head rent free #i think i have the screenshot somewhere if anyone is interested in that]

everyone’s like oh I hope Kaladin gets to see a goat in Shinovar, I hope Kaladin gets to pet a puppy in Shinovar

well I hope Kaladin gets to smoke some goddam weed in Shinovar

[adolins-smile]

Shallan: ow.

Kaladin: is there something wrong with you?

Shallan: i’ve been sitting on a horse all day.

Kaladin: is your little bottom sore?

Shallan: yes. it’s not as fat as yours.

Kaladin: you know, you’ve got a lot of nerve, for a girl.

Shallan: i may be a girl, but at least i’m not a... dollop-head.

Kaladin: Describe “dollop-head.”

Shallan: in two words?

Kaladin: yeah.

Shallan: Kaladin Stormblessed

[aion-rsa]

Rhythm of War & Other Best Fantasy Doorstoppers

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Doorstopper fantasy, sometimes referred to as “big fat fantasy,” or even just “big books,” are tomes that typically hit over 500 pages, and they’re often part of a series of similarly lengthy installments. They can be a challenge to hold, and even more challenging to bind so that they don’t fall apart, but they can also be oh-so-satisfying to read. One thing that occasionally makes doorstoppers easier to handle is when they come out in paperback, reducing the sheer weight of the novel, which means that Brandon Sanderson’s paperback release of Rhythm of War, which hits bookstore shelves on October 26, is perfectly timed to make the best use of the longer nighttime hours.

Few people would challenge the assertion that Sanderson is a master of doorstopper fantasy. He’s long been a fan of big epics: “I grew up on Anne McCaffrey and Robert Jordan and these really great, meaty epic fantasy series, which are my first love,” he told Den of Geek in an interview last year. “I always wanted to do one of those myself.”

And Sanderson definitely has followed through on that ambition. Rhythm of War is the fourth in The Stormlight Archives, an epic series of the world of Roshar, where humans and parshendi, the indigenous people of the world, are at war. Each novel focuses on an arc of a central character. The 2010 launch of the series, The Way of Kings, introduced Kaladin Stormblessed, a soldier who, through many trials, becomes a leader of the Knights Radiant. Shallan Davar, a woman with dissociative identity disorder and a spy, is the central character in sequel Words of Radiance. A king who’d rather study magic, Dalinar Kholin, leads Oathbringer, while Rhythm of War centers on the parshendi sisters Eshonai and Venli, as Venli makes plans to break free from both human rule and the control of the magical allies who have bonded the parshendi into subservience.

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Brandon Sanderson’s Rhythm of War is Built on the Shoulders of Giants

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Books

An Introduction to Brandon Sanderson’s Stormlight Archive

By Kayti Burt

Each of the hardcover novels in The Stormlight Archives clocks in at over a thousand pages; each trade paperback tops 1200. And in great news for lovers of doorstoppers and epic fantasy, Sanderson’s not even close to done. The series is planned as two five-book arcs, and each new installment is planned to appear three years after the last. While that means book five, and the conclusion of the first arc, isn’t due out until 2023, it gives readers new to the series plenty of time to catch up. And readers just launching in with the paperback editions get to experience the inclusion of gorgeous new original art, commissioned specially for the paperback reprints.

If you’re already all caught up with The Stormlight Archive but crave that doorstopper experience, Den of Geek has put together a round up of some classics—and newcomers—that don’t shy away from their longer page count.

The Adapted Classics

Sanderson’s doorstopper experience didn’t start with The Stormlight Archives. He also played a hand in making sure that Robert Jordan’s epic Wheel of Time series was completed after Jordan’s death. The Wheel of Time is the latest in doorstopper series to be adapted for the screen, with episodes streaming on Amazon Prime starting on November 19. While several of these novels neared the thousand page mark, some reached only the mid five-hundreds (and one prequel novel, New Spring, only topped three hundred!). Stretching over fourteen volumes, however, means the entire series run hit over ten thousand pages and almost four and a half million words.

Two other series that have both length and television adaptations are Diana Gabaldon’s Outlander and George R. R. Martin’s “Song of Ice and Fire,” better known by the television series title Game of Thrones. Both series are still going strong, with Gabaldon’s ninth title, Go Tell the Bees that I Am Gone releasing in November, 2021, and Martin’s sixth, The Winds of Winter, still without a pub date. Martin’s novels currently hit over 4000 pages, while Gabaldon’s first eight span over more than 7500.

Completed Epics

Say you’ve already read “Wheel of Time” and you don’t want to wait for a series to wrap. You’re in luck with some strong doorstopper series that have completed. While these series are shorter (with only three or four books each), they still capture that big book feeling of the large tome and the intricate world you can truly immerse in.

No introduction is needed to N. K. Jemisin’s Broken Earth Trilogy, each volume of which won a Hugo Award for best novel. In the novels, Jemisin delves into a world where the lives and bodies of magic users are subject to the whims of a corrupt government—leading a powerful magic user to decide that the only way to be free of the system is to break the whole world. While only the first novel in the series, The Fifth Season, actually tops 500 pages (the other two are in the high 400s), these landmark novels showcase Jemisin’s deserved reputation as one of the finest fantasy novelists currently writing.

The Inda series by Sherwood Smith, which begins with a novel of the same name, launches readers into the deeply developed world of Sartorias-deles, in a nation where training for war is a way of life. Even as a child, Inda is a master strategist, but when he is forced to flee his home country and live in exile, he becomes a leader of marine mercenaries—and one day plans to make it home to his family. The books range from 580 to 780 pages each.

Like Jemisin’s, two of L. Penelope’s Earthsinger Chronicles novels clock in at just under 500 pages, but they’re so close (and so worth reading) that it’s worth letting those few pages slide. (The series also includes three novellas between volumes, giving readers who love doorstoppers and shorter fantasy the best of both worlds.) Set in a world with more advanced technology (telephones and early automobiles) than most of this list, the series centers on Jasminda, an Earthsinger whose Elsiran mother was disowned by her wealthy family for marrying a former prisoner of war from Lagrimar, an enemy nation. Scorned by the people of her hometown for both the color of her skin and her magic, Jasminda may be the only hope to prevent war from breaking out between the two nations once again—a war that would leave Elsira destroyed. Including the novellas, the entire series hits almost 2500 pages of captivating worldbuilding and magic.

R. F. Kuang’s The Poppy War launches an epic military fantasy trilogy inspired by Chinese history. Rin is a dark-skinned peasant girl whose formidable smarts get her into the most elite military academy in the Nikara Empire. But Nikara is on the edge of war as foreign interests threaten to invade—and as Rin develops shamanic powers that link her to the vengeful god, the Phoenix, she has to fight not only for the best interests of her people, but to keep her god from burning it all down. With the second volume hitting almost 700 pages, this series runs about 1800 pages across three novels—with a free download featuring scenes from the first two novels in a different POV adding to the page count.

Unlike the other titles on this list Fonda Lee’s Green Bone Saga is set in a more modern world, where submachine guns and magic are equally dangerous. Kekonese jade allows those who wear it to unlock amazing enhanced abilities—but without training, a jade addict quickly burns out. The Kekonese who wear Jade are divided into clans, which operate like organized crime families, giving the series a mixed fantasy, crime, and noir feel that stretches across over 1800 pages and three novels, the final of which, Jade Legacy, hits bookshelves on November 30, 2021.

The Younger Crowd

Tales of a certain boy wizard have paved the way for longer middle grade novels, many of which can be enjoyed by both younger readers and adults. Fans of the Percy Jackson and the Olympians middle grade novels by Rick Riordan, in which a group of Greek demigods save the world from a mad Titan, are sure to have already noticed that the second series set in that world, the Heroes of Olympus quintet features all novels over the 500 page mark. The series, which straddles the middle grade/YA line, jumped from first person narration with a young narrator to third person, multiple perspectives and slightly older characters—all of whom are still involved with saving the world on a deadline. 

Riordan’s truly excellent “Rick Riordan Presents” middle grade imprint has also introduced some lengthy, though not quite doorstopper, series that feature young demigods and heroes in different world mythologies; of these, J. C. Cervantes’s Stormrunner and sequels are the longest in the high 400 pages per book, and Kwame Mbalia’s Tristan Strong Punches a Hole in the Sky hits a solid 499 pages, followed by shorter sequels.

Christopher Paolini’s The Inheritance Cycle draws on some of the classic doorstoppers (and a healthy does of Star Wars) for inspiration, introducing the quest of a poor farm boy to keep a fledgling dragon safe—and become a legendary Dragon Rider. While Eragon, the first novel, is a mere 528 pages, each book gains length until the finale with Inheritance, which comes in at 882 pages, spanning 2900 pages total.

Alison Goodman’s Eon: The Dragon Reborn and Eona: The Last Dragoneye duology is YA rather than middle grade, and it may remind readers of the classic YA “Song of the Lioness” quartet by Tamora Pierce. In both series, a girl disguises as a boy in order to train in her chosen profession—in Eon’s case, as a dragoneye, apprentice to one of the twelve energy dragons, and a master of sword and magic. The full duology runs between 1100 and 1300 pages, depending on whether readers pick up the hardcover or paperback editions.

For a longer, ongoing series that’s solidly middle grade, Shannon Messenger’s Keeper of the Lost Cities and sequels already span eight books, with a book numbered 8.5 that includes multiple perspectives and bonus materials, and a ninth and tenth volume expected before the series concludes. Twelve year old Sophie is a telepath, hidden among humans, but when rebel elves threaten her and her world, she has to put her faith in the shadowy Black Swan organization to save her friends and herself. Though the first installment starts at just under 500 pages, the rest keep ramping up to a peak in book 7 (878 pages), giving the series over 6000 pages to date.

Tales In Progress

Of course, while some people prefer to binge watch, others prefer to savor a series an episode at a time, and that’s no less true for reading than streaming. If you’re looking for doorstoppers with installments yet to come—or that have just begun—these might be your cup of tea.

Ken Liu’s Dandelion Dynasty novels are tales of an Empire in transition, opening with a gorgeously written assassination attempt by a kite-bourne rebel. The novels span decades—and over 2700 pages in the first three—as an unrepentant rascal rises from poverty to becoming the emperor, then faces his own struggles as the nation threatens to shatter beneath him. The third novel in the series, The Veiled Throne, appears on bookshelves in November, while the fourth and concluding volume, Speaking Bones, is scheduled for 2022.

Jenn Lyons’s A Chorus of Dragons is also nearing its conclusion, with the fifth novel in a series about a bastard royal whose destiny isn’t to save his kingdom, but to lead it into ruin, due out in 2022. Launching with Ruin of Kings, the series has already topped 2200 pages over its first four books.

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The Ruin of Kings is Must-Read Epic Fantasy

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By Nicole Hill

In The Drowning Empire series by Andrea Stewart, the daughter of a failing emperor seeks to inherit his throne, but an illness that stole the memories of her youth prevent her father from giving her his full trust. In Bone Shard Daughter (just under 500 pages) she begins to take matters into her own hands—only to discover that things in the empire are worse than she’d imagined, and the enemies threatening their borders are anything but imaginary. The sequel, Bone Shard Emperor, comes out in November, and adds another 561 pages to the series, with a third installment expected in 2022.

But say you want to get in on the ground floor with series that have just launched. You’re in luck, because two epic trilogies began in 2021, with the promise of more adventure to come. Tasha Suri, known for her “Books of Ambha” duology, launched a brand new epic fantasy trilogy with the 577 page The Jasmine Throne. Together, a powerful priestess desperate to save her family and a princess in exile intent on capturing the throne set out to achieve their goals, no matter what the cost. Debut author C.L. Clark’s The Unbroken, which clocks in at 544 pages, centers on Touraine, who is back in the land of her birth as a soldier for the nation that now occupies her homeland. Luca, a princess who seeks to regain her claim to the throne, must quell the rising rebellions of Touraine’s home nation—and she sees Touraine as exactly the tool she needs. Both of these fantasies feature powerful women embroiled in the intrigue of nations (and a healthy dose of sapphic romance), and readers can anticipate the second installments for each in 2022.

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Whether you’re rereading a favorite (by, say, snagging a new paperback edition of Rhythm of War for the glorious new art) or starting a new series destined to become a favorite, it’s the perfect season for doorstoppers. Dive into a series and be immersed in its world, countering those longer hours of darkness with the power of imagination.

Rhythm of War is out in paperback on October 26th. Find out more here.

What is your favorite fantasy doorstopper? Let us know in the comments below…

The post Rhythm of War & Other Best Fantasy Doorstoppers appeared first on Den of Geek.

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[windrunnered]

“I go into a rage,” Dalinar says, where Jasnah is pointing out his traits and class features, muttering to him softly. “Jasnah is explaining that I get advantage on attacks.” 

“No, no, you have to wait,” Renarin says. “It’s Kaladin’s turn.”

“No, it’s..” Kaladin peers at his spreadsheet. Jasnah was extremely meticulous, and had written it on an Excel sheet they could all access. “Taladin’s turn.” He caught Renarin’s eye. They had specifically made an agreement not to laugh at each other during sessions. Even if Kaladin’s naming of his characters was despicable. “I cast.. lay on hands. On Alaran.” He checks the spreadsheet. “You get fifteen hit points.”

“Thank you, Tal,” Adolin says. “Am I not dead now? I wanted to protect Tal with my shield.” He winks. Adolin thinks it’s funny that Kaladin is so into the roleplaying aspect.

“Your turn is over, cousin,” Jasnah says. “Bonus actions, Kaladin?”

“No, no bonus actions. That’s it. Now it’s your turn, Dalinar.”

“Right. I go into a rage, then.” Dalinar leans back. He doesn’t like to touch the figurines - he’s worried his ‘fat fingers’ will crush them. They may be made out of resin from Renarin’s makerspace activities, but they are not made out of glass. “And then I attack that soldier in front of me with my greataxe. What do I roll?”

“Strength.” Jasnah says, handing him the d20. “Strength,” Renarin says at the same time, “with that funny looking ball die - oh, yes, Jasnah’s got it. Thank you, Jasnah.” 

“Yes, of course.” Dalinar peers at his spread sheet. He rolls. He continues to peer, and then darts his eyes towards Jasnah. She points. “That is a twenty-one. Does that hit?”

“Yes! It hits. Roll damage.” 

“That is… ten damage. Ten? That seems too little. I have a greataxe. Can I roll again?”

“No,” Shallan and Jasnah say. “You cannot keep re-rolling because you don’t like your damage. Renarin.” Shallan points her pencil to him and waggles it. “Do not. Adolin, back me up.”

“The wife decrees it.” Adolin says, grinning.

Renarin fidgets. Called out, embarrassingly. Kaladin offers a solemn nod - all’s fair in war and dungeons and dragons. “Ten damage is great, father. He’s bloodied.”

“Oh. Fantastic.” Dalinar turns to his niece. “It is your turn, then.”

“Wonderful. I channel my Warlock capabilities through my rapier. I can use Radiant damage and Charisma modifiers for my attack and damage rolls.” She recites it, is the impressive part, her computer isn’t even open. She also has flashcards, but she isn’t looking at those, either. “I attack the bloodied soldier in front of Uncle.” She smiles until it crinkles her eyes. “I would like to cast baleful curse as a bonus action to him as he surely dies against my blade. I want to say something to him as the light fades from his eyes.”

“That’s pretty cool,” Shallan murmurs. She likes to sketch the fights - imagining verdant plains stained forever by scarlet blood. “Radiant light. You think it’s white? No, maybe holographic, or like 3D glasses with overlaid colors..” She pokes around with her markers.

“This is your destination.” Kaladin murmurs, deadly serious.

“Kaladin.” Jasnah says, flat. Adolin bursts into uproarious laughter. It’s ruined it. It’s ruined the immersion. Jasnah levels Kaladin with a stare. Kaladin looks back.

“That wasn’t cool?”

is kaladin stormblessed a guy who makes a really niche, specific dnd character that is definitely not about him (totally is) and then gets really enrapt and only says “i do x” in roleplay, or a guy who makes the world’s vaguest dnd character because he’d rather die than self reflect

[kidrat]

cosmere small pet headcanons:

Siri: Siri has had a ridiculous amount of hamsters over the years omg

Kaladin: listen my boy Kal’s room is full to the brim of rat cages he has at least ten lazy fat boy rats. He kisses their noses.

Renarin: also rats, but smaller girl ones who love to explore. He teaches them cool tricks and makes lots of toys for their cage. Probably had a ferret at some point too.

Elend: His bunnies are all named for historical figures. He reads to them.

Shallan: Gerbils! they have paint brush tails and she loves to watch them dig and burrow. They make her laugh which is good.

Steris: She has lots of sweet, curious, fancy mice who sit on her shoulders while she does the house accounts.

Adolin: Adolin’s Instagram is dedicated mainly to pictures of his beloved chinchillas; Angelcake and Princess Daisy.

Vin: A ferret. It adores her and sleeps in her clothes. 

Tien: this boy adopted lots of baby mice and fed them too many treats