#source: brandon sanderson

[danganronpafakes]

Rantaro: Maybe I'll remove dying from my list of tasks to do this week.

Source: Brandon Sanderson (The Stormlight Archive, “The Way of Kings”)

[sorchasolas]

Stormlight Archive Characters and the Modern name I think they’d have

(Btw, im focusing on American/Western/ykwim names)

Adolin: Aaron (reason: the meaning is close to Adolin’s own, it’s meaning in Strong's Hebrew Lexicon being"Light-bringer", and the fact they have generally similar structure.)

Kaladin: Kayson/Callum (Reason: Kayson has a similar nickname format to Kal, being Kay. It also means “healer”, and i thought that was nice. Callum being a secondary option, more for the fact the nickname is identical, is also just generally a name i see Kal having.(Also it’s loosely based off of Saint. Columba, and the direct meaning is “dove”, which is a symbol of the Holy Spirit, and i think it fits Kal’s character to be named after a saint and a big religious thing, with his name being “born unto eternity”)

Shallan: Primrose/Lilias (reason: while Shallan’s name doesnt currently have a canon meaning besides being derivative of Shalash, it’s actual meaning as a name means “Poppy Flower” and because i didn’t feel like Poppy fit Shallan, i found names that matched Shallan’s energy and general meaning, taking ‘flower’ instead of ‘poppy.’ Lilias is a Scottish name— my own personal HC of where she would be from, or at least her ancestry— and fits Shallan’s name of having two consonants on either side of her name and the middle being symmetrical. Primrose was just a general vibe pick)

Dalinar: Dallas (Reason: Dalinar also has no confirmed names, its similar to Brandon’s son’s name, Dallin. That name means “from the valley”, so I looked at names with the same/similar meanings. Also vibes, and the fact Dallas is a city, and Dalinar sounds similar/has the same last letters as Kholinar)

Renarin: Raziel (reason: because there are NO good R names. No but this one was tough. Renarin’s name doesnt really mean anything i could translate into like an irl name, so i just went through all R names. This name kinda has the same feel as Renarin’s must in Roshar, being generally adherent to naming standards while sounding out of place. Also, in the Jewish Kabbalah, Raziel is an angel known as “The Keeper of Secrets.” So, (Spoilers?) pass at Sja-Anat and stuff)

[miabrown007]

why does it matter so much what language are you reading a story in, it should be the same story!! but it does, oh it does.

[enbeemagical]

*points* aromantic

[cruelsister-moved2]

literally would be DNFing the tiger’s wife but i want the grouchy review of it im going to leave fair and im going to complain about things it theoretically could rectify in the final 20% but this book is seriously nothing to me this is the most gaslit ive ever felt by a well-reviewed book

[bsotted]

"The subtext that undergirds this new anti-racist discourse—that Black-white relationships are inherently fraught and must be navigated with the help of professionals and technical experts—testifies to the impoverishment of our interracial imagination, not to its enrichment. More gravely, anti-color-blind etiquette treats Black Americans as exotic others, permanent strangers whose racial difference is so chasmic that it must be continually managed, whose mode of humanness is so foreign that it requires white people to adopt a special set of manners and 'race conscious' ritualistic practices to even have a simple conversation."*

*(emphasis mine)

By: Tyler Austin Harper

Published: Aug 14, 2023

The hotel was soulless, like all conference hotels. I had arrived a few hours before check-in, hoping to drop off my bags before I met a friend for lunch. The employees were clearly frazzled, overwhelmed by the sudden influx of several hundred impatient academics. When I asked where I could put my luggage, the guy at the front desk simply pointed to a nearby hallway. “Wait over there with her; he’s coming back.”

Who “he” was remained unclear, but I saw the woman he was referring to. She was white and about my age. She had a conference badge and a large suitcase that she was rolling back and forth in obvious exasperation. “Been waiting long?” I asked, taking up a position on the other side of the narrow hallway. “Very,” she replied. For a while, we stood in silence, minding our phones. Eventually, we began chatting.

The conversation was wide-ranging: the papers we were presenting, the bad A/V at the hotel, our favorite things to do in the city. At some point, we began talking about our jobs. She told me that—like so many academics—she was juggling a temporary teaching gig while also looking for a tenure-track position.

“It’s hard,” she said, “too many classes, too many students, too many papers to grade. No time for your own work. Barely any time to apply to real jobs.”

When I nodded sympathetically, she asked about my job and whether it was tenure-track. I admitted, a little sheepishly, that it was.

“I’d love to teach at a small college like that,” she said. “I feel like none of my students wants to learn. It’s exhausting.”

Then, out of nowhere, she said something that caught me completely off guard: “But I shouldn’t be complaining to you about this. I know how hard BIPOC faculty have it. You’re the last person I should be whining to.”

I was taken aback, but I shouldn’t have been. It was the kind of awkward comment I’ve grown used to over the past few years, as “anti-racism” has become the reigning ideology of progressive political culture. Until recently, calling attention to a stranger’s race in such a way would have been considered a social faux pas. That she made the remark without thinking twice—a remark, it should be noted, that assumes being a Black tenure-track professor is worse than being a marginally employed white one—shows how profoundly interracial social etiquette has changed since 2020’s “summer of racial reckoning.” That’s when anti-racism—focused on combating “color-blindness” in both policy and personal conduct—grabbed ahold of the liberal mainstream.

Though this “reckoning” brought increased public attention to the deep embeddedness of racism in supposedly color-blind American institutions, it also made instant celebrities of a number of race experts and “diversity, equity, and inclusion” (DEI) consultants who believe that being anti-racist means undergoing a “journey” of radical personal transformation. In their righteous crusade against the bad color-blindness of policies such as race-neutral college admissions, these contemporary anti-racists have also jettisoned the kind of good color-blindness that holds that we are more than our race, and that we should conduct our social life according to that idealized principle. Rather than balance a critique of color-blind law and policy with a continuing embrace of interpersonal color-blindness as a social etiquette, contemporary anti-racists throw the baby out with the bathwater. In place of the old color-blind ideal, they have foisted upon well-meaning white liberals a successor social etiquette predicated on the necessity of foregrounding racial difference rather than minimizing it.

As a Black guy who grew up in a politically purple area—where being a good person meant adhering to the kind of civil-rights-era color-blindness that is now passé—I find this emergent anti-racist culture jarring. Many of my liberal friends and acquaintances now seem to believe that being a good person means constantly reminding Black people that you are aware of their Blackness. Difference, no longer to be politely ignored, is insisted upon at all times under the guise of acknowledging “positionality.” Though I am rarely made to feel excessively aware of my race when hanging out with more conservative friends or visiting my hometown, in the more liberal social circles in which I typically travel, my race is constantly invoked—“acknowledged” and “centered”—by well-intentioned anti-racist “allies.”

This “acknowledgement” tends to take one of two forms. The first is the song and dance in which white people not-so-subtly let you know that they know that race and racism exist. This includes finding ways to interject discussion of some (bad) news item about race or racism into casual conversation, apologizing for having problems while white (“You’re the last person I should be whining to”), or inversely, offering “support” by attributing any normal human problem you have to racism.

The second way good white liberals often “center” racial difference in everyday interactions with minorities is by trying, always clumsily, to ensure that their “marginalized” friends and familiars are “culturally” comfortable. My favorite personal experiences of this include an acquaintance who invariably steers dinner or lunch meetups to Black-owned restaurants, and the time that a friend of a friend invited me over to go swimming in their pool before apologizing for assuming that I know how to swim (“I know that’s a culturally specific thing”). It is a peculiar quirk of the 2020s’ racial discourse that this kind of “acknowledgement” and “centering” is viewed as progress.

My point is not that conservatives have better racial politics—they do not—but rather that something about current progressive racial discourse has become warped and distorted. The anti-racist culture that is ascendant seems to me to have little to do with combatting structural racism or cultivating better relationships between white and Black Americans. And its rejection of color-blindness as a social ethos is not a new frontier of radical political action.

No, at the core of today’s anti-racism is little more than a vibe shift—a soft matrix of conciliatory gestures and hip phraseology that give adherents the feeling that there has been a cultural change, when in fact we have merely put carpet over the rotting floorboards. Although this push to center rather than sidestep racial difference in our interpersonal relationships comes from a good place, it tends to rest on a troubling, even racist subtext: that white and Black Americans are so radically different that interracial relationships require careful management, constant eggshell-walking, and even expert guidance from professional anti-racists. Rather than producing racial harmony, this new ethos frequently has the opposite effect, making white-Black interactions stressful, unpleasant, or, perhaps most often, simply weird.

Since the murder of George Floyd in May 2020, progressive anti-racism has centered on two concepts that helped Americans make sense of his senseless death: “structural racism” and “implicit bias.” The first of these is a sociopolitical concept that highlights how certain institutions—maternity wards, police barracks, lending companies, housing authorities, etc.—produce and replicate racial inequalities, such as the disproportionate killing of Black men by the cops. The second is a psychologicalconcept that describes the way that all individuals—from bleeding-heart liberals to murderers such as Derek Chauvin—harbor varying degrees of subconscious racial prejudice.

Though “structural racism” and “implicit bias” target different scales of the social order—institutions on the one hand, individuals on the other—underlying both of these ideas is a critique of so-called color-blind ideology, or what the sociologist Eduardo Bonilla-Silva calls “color-blind racism”: the idea that policies, interactions, and rhetoric can be explicitly race-neutral but implicitly racist. As concepts, both “structural racism” and “implicit bias” rest on the presupposition that racism is an enduring feature of institutional and social life, and that so-called race neutrality is a covertly racist myth that perpetuates inequality. Some anti-racist scholars such as Uma Mazyck Jayakumar and Ibram X. Kendi have put this even more bluntly: “‘Race neutral’ is the new “separate but equal.’” Yet, although anti-racist academics and activists are right to argue that race-neutral policies can’t solve racial inequities—that supposedly color-blind laws and policies are often anything but—over the past few years, this line of criticism has also been bizarrely extended to color-blindness as a personal ethos governing behavior at the individual level.

The most famous proponent of dismantling color-blindness in everyday interactions is Robin DiAngelo, who has made an entire (very condescending) career out of asserting that if white people are not uncomfortable, anti-racism is not happening. “White comfort maintains the racial status quo, so discomfort is necessary and important,” the corporate anti-racist guru advises. Over the past three years, this kind of anti-color-blind, pro-discomfort rhetoric has become the norm in anti-racist discourse. On the final day of the 28-day challenge in Layla Saad’s viral Me and White Supremacy, budding anti-racists are tasked with taking “out-of-your-comfort-zone actions,” such as apologizing to people of color in their life and having “uncomfortable conversations.” Frederick Joseph’s best-selling book The Black Friend takes a similar tack. The problem with color-blindness, Joseph counsels, is it allows “white people to continue to be comfortable.” The NFL analyst Emmanuel Acho wrote an entire book, simply called Uncomfortable Conversations With a Black Man, that admonishes readers to “stop celebrating color-blindness.” And, of course, there are endless how-to guides for having these “uncomfortable conversations” with your Black friends.

Once the dominant progressive ideology, professing “I don’t see color” is now viewed as a kind of dog whistle that papers over implicit bias. Instead, current anti-racist wisdom holds that we must acknowledge racial difference in our interactions with others, rather than assume that race needn’t be at the center of every interracial conversation or encounter. Coming to grips with the transition we have undergone over the past decade—color-blind etiquette’s swing from de rigueur to racist—requires a longer view of an American cultural transition. Civil-rights-era color-blindness was replaced with an individualistic, corporatized anti-racism, one focused on the purification of white psyches through racial discomfort, guilt, and “doing the work” as a road to self-improvement.

Writing in 1959, the social critic Philip Rieff argued that postwar America was transforming from a religious and economic culture—one oriented around common institutions such as the church and the market—to a psychological culture, one oriented around the self and its emotional fulfillment. By the 1960s, Rieff had given this shift a name: “the triumph of the therapeutic,” which he defined as an emergent worldview according to which the “self, improved, is the ultimate concern of modern culture.” Yet, even as he diagnosed our culture with self-obsession, Rieff also noticed something peculiar and even paradoxical. Therapeutic culture demanded that we reflect our self-actualization outward. Sharing our innermost selves with the world—good, bad, and ugly—became a new social mandate under the guise that authenticity and open self-expression are necessary for social cohesion.

Recent anti-racist mantras like “White silence is violence” reflect this same sentiment: exhibitionist displays of “racist” guilt are viewed as a necessary precursor to racial healing and community building. In this way, today’s attacks on interpersonal color-blindness—and progressives’ growing fixation on implicit bias, public confession, and race-conscious social etiquette—are only the most recent manifestations of the cultural shift Rieff described. Indeed, the seeds of the current backlash against color-blindness began decades ago, with the application of a New Age, therapeutic outlook to race relations: so-called racial-sensitivity training, the forefather of today’s equally spurious DEI programming.

In her 2001 book, Race Experts, the historian Elisabeth Lasch-Quinn painstakingly details how racial-sensitivity training emerged from the 1960s’ human-potential movement and its infamous “encounter groups.” As she explains, what began as a more or less countercultural phenomenon was later corporatized in the form of the anemic, pointless workshops controversially lampooned on The Office. Not surprisingly, this shift reflected the ebb and flow of corporate interests: Whereas early workplace training emphasized compliance with the newly minted Civil Rights Act of 1964, later incarnations would focus on improving employee relations and, later still, leveraging diversity to secure better business outcomes.

If there is something distinctive about the anti-color-blind racial etiquette that has emerged since George Floyd’s death, it is that these sites of encounter have shifted from official institutional spaces to more intimate ones where white people and minorities interact as friends, neighbors, colleagues, and acquaintances. Racial-awareness raising is a dynamic no longer quarantined to formalized, compulsory settings like the boardroom or freshman orientation. Instead, every interracial interaction is a potential scene of (one-way) racial edification and supplication, encounters in which good white liberals are expected to be transparent about their “positionality,” confront their “whiteness,” and—if the situation calls for it—confess their “implicit bias.”

In a vacuum, many of the prescriptions advocated by the anti-color-blind crowd are reasonable: We should all think more about our privileges and our place in the world. An uncomfortable conversation or an honest look in the mirror can be precursors to personal growth. We all carry around harmful, implicit biases and we do need to examine the subconscious assumptions and prejudices that underlie the actions we take and the things we say. My objection is not to these ideas themselves, which are sensible enough. No, my objection is that anti-racism offers little more than a Marie Kondo–ism for the white soul, promising to declutter racial baggage and clear a way to white fulfillment without doing anything meaningful to combat structural racism. As Lasch-Quinn correctly foresaw, “Casting interracial problems as issues of etiquette [puts] a premium on superficial symbols of good intentions and good motivations as well as on style and appearance rather than on the substance of change.”

Yet the problem with the therapeutics of contemporary anti-racism is not just that they are politically sterile. When anti-color-blindness and its ideology of insistent “race consciousness” are translated into the sphere of private life—to the domain of friendships, block parties, and backyard barbecues—they assault the very idea of a multiracial society, producing new forms of racism in the process. The fact that our media environment is inundated with an endless stream of books, articles, and social-media tutorials that promise to teach white people how to simply interact with the Black people in their life is not a sign of anti-racist progress, but of profound regression.

The subtext that undergirds this new anti-racist discourse—that Black-white relationships are inherently fraught and must be navigated with the help of professionals and technical experts—testifies to the impoverishment of our interracial imagination, not to its enrichment. More gravely, anti-color-blind etiquette treats Black Americans as exotic others, permanent strangers whose racial difference is so chasmic that it must be continually managed, whose mode of humanness is so foreign that it requires white people to adopt a special set of manners and “race conscious” ritualistic practices to even have a simple conversation.

If we are going to find a way out of the racial discord that has defined American life post-Trump and post-Charlottesville and post-Floyd, we have to begin with a more sophisticated understanding of color-blindness, one that rejects the bad color-blindness on offer from the Republican Party and its partisans, as well as the anti-color-blindness of the anti-racist consultants. Instead, we should embrace the good color-blindness of not too long ago. At the heart of that color-blindness was a radical claim, one imperfectly realized but perfect as an ideal: that despite the weight of a racist past that isn’t even past, we can imagine a world, or at least an interaction between two people, where racial difference doesn’t make a difference.

[ Via: https://archive.today/8zfvc ]

[jackoshadows]

Brandon Sanderson on why TV adaptations of fantasy works end up being so different to the source material:

I have a fun story here. Early in my career, someone optioned the rights to make one of my stories (the Emperor's Soul) into a film. I was ecstatic, as it's not a story that at the time had gotten a lot of attention from Hollywood. I met with the writer, who had a good pedigree, and who seemed extremely excited about the project; turned out, he'd been the one to persuade the production company to go for the option. All seemed really promising. A year or so later, I read his script and it was one of the most bizarre experiences of my life. The character names were, largely, the same, though nothing that happened to them was remotely similar to the story. Emperor's Soul is a small-scale character drama that takes place largely in one room, with discussions of the nature of art between two characters who approach the idea differently. The screenplay detailed an expansive fantasy epic with a new love interest for the main character (a pirate captain.) They globe-trotted, they fought monsters, they explored a world largely unrelated to mine, save for a few words here and there. It was then that I realized what was going on. Hollywood doesn't buy spec scripts (original ideas) from screenwriters very often, and they NEVER buy spec scripts that are epic fantasy. Those are too big, too expensive, and too daunting: they are the sorts of stories where the producers and executives need the proof of an established book series to justify the production. So this writer never had a chance to tell his own epic fantasy story, though he wanted to. Instead, he found a popularish story that nobody had snatched up, and used it as a means to tell the story he'd always wanted to tell, because he'd never otherwise have a chance of getting it made. I'm convinced this is part of the issue with some of these adaptations; screenwriters and directors are creative, and want to tell their own stories, but it's almost impossible to get those made in things like the fantasy genre unless you're a huge established name like Cameron. I'm not saying they all do this deliberately, as that screenwriter did for my work, but I think it's an unconscious influence. They want to tell their stories, and this is the allowed method, so when given the chance at freedom they go off the rails, and the execs don't know the genre or property well enough to understand why this can lead to disaster. Anyway, sorry for the novel length post in a meme thread. I just find the entire situation to be fascinating.

[twicetolivetwicetodie]

Henry Cavill called Brandon Sanderson and asked to play Kaladin and asked if he was too old for the role and Brandon flat out told him: Yes, you're too old for the role and also Kaladin is Asian.

Source

[cosmerelists]

Ranking Various Cosmere Fantasy Swears

If there's one thing Brandon Sanderson likes, it's avoiding any real swear words in favor of Fantasy Swears. I am genuinely a huge fan of this technique. So here how I'd rank some of the ones I can remember! (And thanks to 17th Shard [here and here] and to Reddit for compiling some lists!).

#14: Colors (Warbreaker)

This one feels a little bit...lazy, I guess? Like yes, Warbreaker's magic is color-dependent, so colors are a big part of the world-building, so I guess it makes sense that people use it as a swear. But it feels like if, in fantasy USA, people swore by "eagles" all the time: "Eagles! I dropped my hamburger!"

#13: Moons (Tress of the Emerald Sea)

I mean same problem as with "colors"! Yes, the moons are a big aspect of the worldbuilding, but it just feels like a semi-boring swear. Although maybe that's just the swear that Tress tends to use.

#12: Shadows/Shades (Shadows for Silence/Sunlit Man)

Okay, maybe this one is a bit boring, but anything Threndy-related gets extra credit from me. So therefore I think this is one of the least boring of the "basically boring descriptors of world building elements" swears.

#11: By the Lord Ruler (Mistborn)

I mean...eh. This one is world specific, but it's basically like swearing by god only in this case the god is the Lord Ruler, right? It makes sense 'n' all but isn't as interesting as some of the later ones.

#10: By the Survivor's Scars (Mistborn)

This one is better because it's more specific--Kelsier's scars are rich with meaning, and swearing by them does feel like it carries cultural weight.

#9: By Harmony's Armbands (Mistborn)

Putting them all in a line like this...I just like how they get ever more specific. Now we're swearing by Harmony's feruchemical armlets? Okay!

#8: God Beyond (Shadows for Silence)

I mean, Threnody is, like, haunted by a god's corpse, so I think any of their god-related swears are more interesting as a result.

#7: Nights / Nights afire (Emperor's Soul)

I like this one because I just don't know what it refers to and it seems kinda creepy. What are nights on fire for??

#6: Rust and Ruin (Mistborn)

Frankly, the alliteration gets this one extra points. And "Rust and Ruin!" just feels like a good thing to shout when you've stubbed your toe.

#5: Storms/storming/Stormfather (Stormlight Archive)

I know this one SHOULD lose points for being exactly the sort of boring descriptive swear I maligned above...but I enjoy this one simply because it's such a clear linguistic stand-in for "fuck" and that leads to such amusing translations as "Kaladin Fuckblessed" or the "Fuckfather" and that just never stops being funny to me.

#4: Herald body parts (Stormlight Archive)

I didn't notice until looking at various compiled lists of Cosmere Fantasy Swears, but Rosharans really like to swear by specific Herald body parts, huh? From here: Kelek's breadth, Kelek's tongue, Ash's eyes, Ishar's soul, Nalan's hand, Pali's mind, Talat's hand...I'm a fan of this. It's interesting and feels culturally relevant.

#3: Glories Within (Stormlight Archive)

This one is just Szeth so far, but people speculate it's probably a Shin curse. That makes it interesting to me since we don't know a whole lot about the Shin. What inner glory are they using to swear?

#2: Starving (Stormlight Archive)

This one is pretty similar to "Storming," I suppose, in being a pretty clear linguistic stand-in for "fucking." But I just like that the food-obsessed Lift has her own personal swear relating to starvation.

#1: Lowly/Highly (Yumi and the Nightmare Painter)

I'm a big fan of the lowly/highly thing from Yumi & the Nightmare Painter, where words can be linguistically marked as meant in either a high way (complimentary) or a low way (insultingly). It's fun worldbuilding and leads to some comic beats in the novel. Plus, this post tickled me greatly: https://www.tumblr.com/cabinetcreature/722030379790401536?source=share. It's so true!

[nebulousbrainsoup]

I totally meant to link this information since the glossary isn't out yet, but the magic system of Allomancy was created by Brandon Sanderson for his Cosmere universe, specifically the Mistborn series. It is not my work, I'm just borrowing it for a fun lil au. Find more on it here!

Sector One DOI: New Paradigm Dossiers

From the desk of Watch Master Luxe. View the Blue Bird dossiers here.

A cybrsoup collaboration. Release date April 19th.

[virginiaoflykos]

What to read after Light Bringer? (Series similar to Red Rising)

August 2023 update!

Red Rising is my favorite series of all time, and since I first read it, I have sought series and books similar in both spirit and execution. Some of these recs are books I haven’t read personally, but have often come up in discussions with other users!

1. The Stormlight Archive by Brandon Sanderson

Status: ongoing, expected 10 books in total, 4/10 out at the moment

Book 1: The Way of Kings. The Way of Kings takes place on the world of Roshar, where war is constantly being waged on the Shattered Plains, and the Highprinces of Alethkar fight to avenge a king that died many moons ago.

2. The Craft Sequence by Max Gladstone

Status: finished, 6/6 books out.

Book 1 (in publication order): Three Parts Dead. Comprised of 6 standalone books set in the same universe, the Craft Sequence tells the tales of the city of Alt Coulumb. The city came out of the God Wars with one of its gods intact, Kos the Everburning. In return for the worship of his people, Kos provides heat and steam power to the citizens of Alt Coulumb; he is also the hub of a vast network of power relationships with other gods and god-like beings across the planet. Oh, and he has just died. If he isn’t revived in some form by the turn of the new moon, the city will descend into chaos and the finances of the globe will take a severe hit.

3. Hierarchy by James Islington

Status: ongoing, 1/3 planned books out

Book 1: The Will of the many. The Will of the Many tells the story of Vis, a young orphan who is adopted by one of the sociopolitical elites of the Hierarchy. Vis is tasked with entering a prestigious magical academy with one goal – ascend the ranks, figure out what the other major branches of the government are doing, and report back. However, that isn’t quite as easy as Vis or anyone else thought it was going to be…

4. Suneater by Christopher Ruocchio

Status: ongoing, 5/7 books out

Book 1: Empire of Silence. Hadrian is a man doomed to universal infamy after ordering the destruction of a sun to commit an unforgivable act of genocide. Told as a chronicle written by an older Hadrian, Empire of Silence details his earlier adventures and serves as an introduction to the characters and the setting.

5. Dune by Frank Herbert

Status: completed, 6/6 books out

Book 1: Dune. Set in the distant future amidst a feudal interstellar society in which various noble houses control planetary fiefs. It tells the story of young Paul Atreides, whose family accepts the stewardship of the planet Arrakis. While the planet is an inhospitable and sparsely populated desert wasteland, it is the only source of melange, or "spice", a drug that extends life and enhances mental abilities.

6. The Expanse by James S A Corey

Status: completed, 9/9 books out

Book 1: Leviathan wakes. Set hundreds of years in the future, after mankind has colonized the solar system. A hardened detective and a rogue ship's captain come together for what starts as a missing young woman and evolves into a race across the solar system to expose the greatest conspiracy in human history.

7. The First Law by Joe Abercrombie

Status: completed. 3 books in the original trilogy + 3 standalone books + 3 books in the newest trilogy

Book 1: The Blade Itself. The story follows the fortunes and misfortunes of bad people who do the right thing, good people who do the wrong thing, stupid people who do the stupid thing and, well, pretty much any combination of the above. Survival is no mean feat, and at the end of the day, dumb luck might be more of an asset than any amount of planning, skill, or noble intention.

8. Cradle by Will Wight

Status: completed, 12/12 books out

Book 1: Unsouled. Lindon is Unsouled, forbidden to learn the sacred arts of his clan. When faced with a looming fate he cannot ignore, he must rise beyond anything he's ever known...and forge his own Path

9. Hyperion Cantos by Dan Simmons (one PB’s favorites)

Status: completed, 4/4 books out

Book 1: Hyperion. The story weaves the interlocking tales of a diverse group of travelers sent on a pilgrimage to the Time Tombs on Hyperion. The travelers have been sent by the Church of the Final Atonement, alternately known as the Shrike Church, and the Hegemony (the government of the human star systems) to make a request of the Shrike. As they progress in their journey, each of the pilgrims tells their tale.

[danganronpafakes]

My association with you has been convincing people I'm insane for years now.

Source: Brandon Sanderson (“Mistborn: The Alloy of Law”)

[onlycosmere]

What is an industry secret that you know?

- Typical_Affect8207 

frostandtheboughs:  All the most famous living artists have workshops full of people who make the art for them.

They spend their time choosing concepts, talking to their gallery reps and schmoozing buyers. The only time they touch the work is to sign it.

iwillfuckingbiteyou: Similarly, there's a very strong chance your favourite author uses ghostwriters. Unless your favourite is George RR Martin, whose publishers probably fucking wish he'd let them bring in ghostwriters so they could finally sell you The Winds of Winter, or JK Rowling, because if a ghostwriter turned in text so riddled with adverbs we'd be replaced with a more competent writer.

Source: Was a ghostwriter. Not a particularly high-level one, but I wrote a couple of minor bestsellers before I packed it in to languish in obscurity under my own name.

Andrew_Squared: /u/Mistborn [Brandon Sanderson] say it isn't so!

Brandon Sanderson: Ha. No, it's isn't the case for me. I don't think it's as common in writing as /u/frostandtheboughs says it is for other kinds of art. Though...I can unfortunately corroborate it does happen in fine art more than people expect. Not any of the fantasy artists I personally know, but some other artists.

I think /u/iwillfuckingbiteyou might be overstating their case. I've never known a person in f&sf to use a ghost writer--even myself, when called in to write on the Wheel of Time, was credited. They didn't need to put my name on the cover, but there was never a question if they would. Maybe it happens in thrillers or the like.

If I write a book with one of my pals, their name is on the book--and often, they do quite a bit of the work. But if my name is the only one on the book, I'm the one who wrote basically every word. (I did hire out the songs in Words of Radiance, as talked about in the front material, to have an actual poet in that seat. And editors do make suggestions that I often take, leaving their touch on the book in the shape of changed words here and there.)

I've never written a book with anyone but one of my pals, really--closest is the Legion story that we did in audio only (death and faxes) which I had very little input in, and insisted it be listed as "Brandon Sanderson's Legion" rather than with myself as an author. But even though they ignored that in some regions, it still has the other author credited as co-author. (It was pitched more as a television type deal, with an attempt at turning it into a serial run by a writer's room. Never took off.)

Anyway, no, this doesn't happen very often among the people I know and have met. Basically never. But different parts of the industry can be very different--nonfiction, for example, is a completely different world. It's full of ghostwriting. And I know in romance, pen names are very, very common, much more so than F&SF.

[is-today-tomorrow-in-nz]

The Many pitfalls of Grishaverse - Part 1

The Grishaverse had a very interesting premise but as we delve deeper into the trilogy and later the duology we see that it just stops there. There are no laws and limitations clearly mapped out to make the universe work. Everything is pretty much left up to the interpretation of the readers who has to piece together the information scattered throughout the books only to find out that they contradict a lot. This totally disrupts the immersive experience of the readers who are left scratching their heads because the premise no longer makes sense.

Let me share my analysis.

The Undefined Magic System:

Brandon Sanderson lays out three rules for creating a cohesive magic system. (a)An author's ability to solve conflict with magic is directly proportional to how well the reader understands said magic. (b) Weaknesses, limits and costs are more interesting than powers. (c)The author should expand on what is already a part of the magic system before something entirely new is added, as this may otherwise entirely change how the magic system fits into the fictional world.

The magic in Grishaverse exists for the sake of existing.

The source of the power is called the Making but the rules and laws of it is not called out. The book vaguely says that the Grisha powers are something as integral as breathing and a Grisha who does not use it dies. And yet somehow, when something so inherent is stripped away from Alina, she continues to live without falling into sickness. It tells Grisha magic has limitations but somehow, it is used as band-aid to fix any major catastrophes within the universe. They entire magic system is conflicting and contradicting.

We do not know the abilities and the limitations of the other Grisha powers either. Eg: How high can a Tidemaker create a wave? can a squaller perfect a storm? why corporalki need their targets to be within their line of vision? Why do they need their hands for summoning? How does a Fabrikator operate?

None of these are clearly outlined. Instead, the books simply make vague claims that Tidemakers calm the seas and waves, heartrenders are put in one-way mirror cells so they cannot attack, Fabrikators create crafts which seems do not make sense in the 19th century. Do they conjure up weaponry in their sleep? So many questions and receive very little answers and vague statements.

Then there is this vague concept of merzost which seem to randomly pick the author's favourites and leave them with a slap on the wrist while her unfavourites are literally put through hell. Alina's power were stripped away for being against the law, Zoya's was raised to sainthood and Aleksander's was called corrupt.

Even if the Grisha magic is akin to molecular chemistry, understanding something and applying it are very different things. If that wasn't the case, then Grisha would be the powerful entities in that universe. And yet somehow they are victims of genocide.

Without actually establishing any of the above the author goes on the introduce 'parem' which makes the magic system even more chaotic. Why does the parem affect the Grisha that way? Why do they become addictive? Why does the parem allow the Grisha to conjure up something that can only be done via merzost. So simply a drug is all that is needed to create merzost level damage? Then if the addictive qualities are removed then parem can be used instead of amplifiers and merzost?

This unclear magic system, makes the world of Grishaverse constricted rather than making us believe in its vastness. It further weakens the plot, as the magic or rather science of the Grisha is the reason why conflicts exists within the said universe.

So LB created a magic system which is chaotic, conflicting, constricting and exists only to do the bidding of the author and not the story.

[naomi-the-red]

Earth is a Shardworld and TRON proves it.

<<Spoilers for all published Cosmere works and the TRON Films>>

Good evening fellow Radiants, Mistborn, and other Comerenauts. There has been plenty of discussion surrounding many long standing questions in the Comere. What is the intent of the 16th shard? Is Earth in the Cosmere? Why hasn’t Scadrial developed computers yet?

Well the answers to all of those questions are revealed to us in Disney’s TRON (1982), which I believe was ghostwritten by Brandon Sanderson (1975)

In TRON, Kevin Flynn, after provoking the MCP, becomes trapped in the Cognitive Realm of Earth, called 'The Grid', and has to partner with cognitive shadows, called Programs, to defeat the main villain, called the Master Control Program (basically if the Stormfather decided to go Lord Ruler on the Spren after the Recreance).

Kevin, alongside programs Tron and Yori, use their differing knowledge of the magic system to stop the MCP from taking control of the Grid, a land of Programs that represent various functions within the physical world. Ring a Kharbranthian bell? Here’s a hint, replace the Grid with Shadesmar, MCP with Odium, and Kevin, Tron, and Yori with Kaladin, Adolin, and Shallan.

What’s interesting though is this world’s magic system, called Programming, creates these Programs in a much more direct and intentional way than how a Seon or Spren is created. It's sort of a cross between AonDor and Awakening, where you use an interface to write Command words that directly shape Investiture, which they call "Power", into a being called a Program.

Programs are keyed to the Identity of the User that created them and take on their appearance, as well as develop an Identity Disc, a device that contains the Intent of the Program and Identity of the User. I think these Identity Discs are the real reason that TRON will be revealed as part of the Cosmere as they open up so many issues we have when it comes to Identity. If one can key their identity onto a spren or fabrial, it's likely to have profound effects on future investiture technology.

Additionally, years later, in the events of TRON: Legacy, it's revealed that a group of people have mysteriously emerged in the cognitive realm. I believe these 'ISOs' are actually the Iriali and potentially IRE combined into one faction. If it's not a simple error of poor adaptation of the source material, this could be why the ISOs are not blonde and have a more personal connection with Investiture.

Now that Disney has started filming TRON: Ares and Sanderson has mysteriously stopped talking about that 'Mistborn' screenplay, I think it'll be revealed soon that Sanderson not only wrote TRON: Ares, but that TRON: Ares will actually be the first Mistborn Era 3 entry and will follow the plot of the Scadrains discovering Earth and trying to weaponize the Grid against Roshar.

Some Points:

Many might think that this sounds like Invention, but I think the shardic intent here is 'History' or 'Memory'. Most of the magic system at it's core, very subtly works to continously preserve data, like the Identity Discs and typical operations of the various Prorams, such as the MCP going rogue after aquiring significant amounts of data. If we consider shardic intents to be aspects of god divorced from divinity (or absolute divinity. There's a WoB on this.), then it stands to reason there's one shard dedicated to rememberence, and we know the last shard is trying very hard to survive but doesn't have 'survival' as an intention. A Historian Shard could definitely fit the bill.

MCP is corrupted Investiture, that's why it's red, but Clu is an avatar of Autonomy, which is why his faction is orange-red. Clu's entire idea is basically the same as Telsin, except probably lacking in nuclear armaments. Probably.

The device that takes the Flynns on and off the Grid is not a shardpool but a very sophisticated fabrial hooked to a shardpool. I think there's one major difference; the fabrial kills you and turns you into a cognitive shadow (Hence why Kevin could live on the Grid for ages without sustenance beyond investiture)

Daft Punk is canonically Hoid.

I have no idea why I wrote this.

[torpublishinggroup]

Do you hear that??

It’s the sweet, sweet sound of gifts and the necessity of buying them for all of the humans, animals, and unidentified entities in your life. That’s a lot of pressure, but don’t sweat, because we’ve got your back, and more importantly, we’ve got a ton of increasingly niche book recommendations to get you through the holiday season! Check them out here and let us know which ones you’re grabbing in the comments. 

by Rachel Taylor and a cat

Bookshops & Bonedust by Travis Baldree is for the treasured party member who’s saved your character’s life many times on TTRPG night

We all have That One Amazing Player who has pulled our butts out of the fictional fire on D&D night, and what better way to show your endless appreciation than with the gift of LITERATURE?! High fantasy, secondhand books, and first love–what more could you ask for?

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

Masters of Death by Olivie Blake is for the angsty goth who still wishes it was Halloween

So they’re in denial that it’s not Halloween anymore, but guess what?! In the unbroken face of eternity, time has no meaning! Every day is Halloween!

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

In the Lives of Puppets by TJ Klune is for the plucky traveler who’s got the whole world to see

There are many ways to see new and exciting worlds, and TJ Klune always provides queer and cozy adventures that you only need to pick up a book to explore. Consider picking up his latest venture for that friend who’s been bit by the travel bug!

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Ebony Gate by Julia Vee & Ken Bebelle is for the action movie fanatic who owns a cardboard cutout of John Wick

Assassins, dragon magic, and Chinese diaspora urban fantasy set in contemporary San Francisco.

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Book of Night by Holly Black is for the insatiable reader who has way more books to read than hands to hold them

And if you order and submit your receipt before 12/15, you can receive a Book of Night tote bag! Even Charlie Hall needs a safe sling to carry her contraband. Who’s Charlie Hall? A professional thief / bartender who pilfers shadow magic secrets! Read the book!

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

T. L. Huchu’s Edinburgh Nights series is for the Supernatural fan who’s looking to expand their fandom across the pond

Ropa dropped out of school to become a ghostalker, but she’s not just carrying messages anymore. You talk to one ghost and suddenly you’re spending late nights in the occult library, solving murders, and following trails of huskified children to their sinister spectral source.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

The Terraformers by Annalee Newitz is for the science-enjoyer in your life who’s looking for environmentally-conscious fiction

This sweeping, uplifting, and illuminating exploration of the future from a science fiction visionary is the perfect gift to give your non-fiction loving, environmentally aware bestie who wants to dip their toe into a more fictional space.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

Tress of the Emerald Sea by Brandon Sanderson is for fans looking for The Princess Bride vibes but just haven’t quite found them yet

Do you have a Princess Bride superfan in your life? They don’t need another fandom-y Etsy gift this year–they need a book that gives them the same emotional rush they got the first time they laid eyes on the fairytale-inspired glory that is their favorite 1987 classic.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

Everfair by Nisi Shawl is for the history buff in your life who can’t stop thinking about other paths the world might have taken

After being purchased back from the Congo Free State’s colonizer, Everfair becomes a land of fantastic technologies—of spying cats and gulls, nuclear dirigibles buoyed by barkcloth balloons, and silent pistols that shoot poison knives. What happens when these technological advances are brought to bear against Belgian tyrant Leopold II?

That’s Everfair, and then you can read Kinning (on sale 1/23/24) for the continuation of this expansive alternate history.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

The Fragile Threads of Power by V. E. Schwab is for people looking to put a different kind of magic into their holidays

Let’s put the magic into the holidays, shall we? V. E. Schwab returns to The Shades of Magic universe with a whole new series, perfect for readers who loved the original and new fans who want to explore magical alternate universes from in front of a cozy fireplace.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

Shelley Parker-Chan’s Radiant Emperor Duology is for the unhinged danmei consumer who’s looking for their next great read

Do you have someone in your life that consumes danmei like candy? Are they tired of waiting for their new favorite series to be translated so they can add it to their shelves? Do we have the series for you. She Who Became the Sun and He Who Drowned the World explore a stunning reinvention of the Ming Dynasty’s founding emperor. It’s queer, it’s fantastical, and it’s complete! Snag both books in the duology for them now.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

Thornhedge by T. Kingfisher is for the friend with an ill-advised yet much-beloved Shrek 2 tattoo

“Better out than in” on the inside of the wrist, Thornhedge open in hand.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

Starling House by Alix E. Harrow is for anyone who has never been disappointed by the combo of Mike Flanagan and a Scary House

Home is where the heart is, and really puts you in a vulnerable position when your house HATES you.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

Starter Villain by John Scalzi is for Megamind

If you’re not Megamind, keep scrolling. Just kidding—this book is also for cat lovers and fans of Despicable Me and The Venture Brothers.

━━ ˖°˖ ☾☆☽ ˖°˖ ━━━━━━━

The Great Hunt by Robert Jordan is for people who loved Season 2 of The Wheel of Time on Amazon Prime

If you have someone in your life that got sucked into the masterpiece that was The Wheel of Time Season 2, don’t worry, you can help them relive the fun with The Great Hunt, the inspiration for the show and the second book in The Wheel of Time series!