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Found 234 results

  1. So, I am working on an unofficial recipe book containing fan-favourite meals from stormlight, and other books. To make the best dishes I can, I need to choose those that seem appetizing to most readers, as opposed to the overcooked slop of grains provided to Kaladin by Tvlakv before becoming a bridgeman. What do *you* want to eat, and what do you remember about it? Descriptions, reactions, anything. Quotes greatly appreciated!
  2. From the album Stormlight Art of Carbonationspren

    Here is my depiction of the Double Eye, with the glyphs for the Knights Radiant orders. Created with the Cycles rendering engine.

    © Carbonationspren 2017 All Rights Reserved

  3. Hi, everybody! My name is Kat, and I recently decided to make fictional foods a reality. I am gathering all mentions of appetizing foods (Sandersonian or of other favourite authors) that I can find, and trying to construct the closest version I can. But t will greatly help me if you mention any foods you would like to try, like Joel's Stir-fry Spaghetti and Meatballs (the Rithmatist) for example, or the beloved Chouta (Roshar). Or we can talk about what you think is typical of a certain cuisine in a fictional world, what you think a certain dish should taste like, and so on. Any input you give me will make the result better and quicker. Hope I can make things that you will all enjoy! Thank you for your time and feel free to contact me!
  4. Specifically, since they're so similar could they be used by each others magical systems without using magical hacks?
  5. So we know that the flashback characters for the Stormlight Archive are as follows, First five are Kaladin, Shallon, Dalinar, Szeth, and Eshonai. The last five books are Renarin, Jasnah, Lift, Taln, and Shalash. We also know that Brandon has said that it is possible that characters may not survive until the book with their flashback sequences. What characters do we think won't survive, will survive, or you really, really want to survive? Personally the characters I think that will die before their books are Renarin and Jasnah. Other characters that I think have a possibility to die before their flashbacks are Jasnah. At this point, we know Kaladin and Shallon are alive during their books, and I for one am fairly certain Dalinar will survive Oathbringer. The other characters are up for grabs though. What do you guys think?
  6. I have not yet read Warbreaker but have heard great things - especially how learning about Nightblood reshapes your understanding of the Stormlight books. As I prepare to read it, what should I be on the lookout for to get the best experience possible?
  7. I first found this board while googling about the romances in Stormlight (specifically the possibility of Adolin-Kaladin romance, but that's another story ), and obviously found lots of threads about possible Kaladin/Adolin/Shallan love triangle, and primarily about how the idea was hated and (at least from my reading at the time) something Brandon was unlikely to do... Imagine my surprise when Mistborn has a love triangle! And a pretty classic one at that (girl protagonist who falls for the good guy (and prince to boot!) but is distracted from the romance by bad boy love interest.) Why the shock that Brandon would do this again? Or did everyone hate it and it's just hope he won't? If anything, at least the outcome in the Stormlight triangle isn't predetermined; I'm not even finished with Well of Ascension, and I'm 99.9% sure Elend is the winner.
  8. So, probably like everyone else I was kinda disappointed when I first read that TWoK was going to be adopted into movie first, and almost lost all hope when I saw that the Saw movie guys involved in it. But I still had some hopes for Mistborn at least. And today I read a story on deadline (from earlier this year), that they have hired F Scott Frazier for movie adaptation. I checked his IMDB page and now I have completely lost hope in Cosmere adaptation. Why ? because the guy has only 3-4 or movies under his belt. And all of them are solid 5/10 junk movies. I can almost foresee Cosmere movies joining the long list of failed adaptations. ;(
  9. Can I have some help from the shard to gather all the Nightwatcher Banes that we know of? I might develop a theory... Thanks!
  10. Hi all, I come here frequently reading through the various theories. First time posting. I had an idea about Taravangian that I haven't seen around. First, I assume that his request to Nightwatcher was made like he quotes in WoR "The capacity to stop what is coming. The capacity to save humankind" Secondly, I'm a fan of the theory that this request could have been interpreted as two separate requests (not sure of an original theory source, but mentioned here https://www.reddit.com/r/Cosmere/comments/6338rr/sa_taravangians_capacity/). Not mentioned is the possibility that he might have two curses. I don't recall there being a limit of one boon/curse for the Old Magic. I don't necessarily think this theory will turn out to be true, and it's not necessary for my theory, but I like its possibility. Finally, my addition to the discussion of Mr. T's plot: What if he's mostly right, the diagram will work, defeat Odium, stop the voidbringers, but it will destroy all (most?) life on Roshar other than "humankind". His solution will work, but it will only save humans. It stands to reason that, as apparent slaves to Odium, the Listeners also need saving at the very least. Then the various non-human and partial-human races and maybe even non-sentient life (if anything on Roshar can really be called that) Also, of course, the spren. It just seemed to me that the solution of the diagram may work but be incomplete and that the larger strife between the Diagram-ites and the Radiants when the big battle comes won't be who needs to win, but rather who needs to survive. Mr. T saving only humans, Radiants desiring to save everyone.
  11. Good morning! Tor.com has posted Oathbringer chapters 10-12.Check out our forum topic on chapters 10-12, and for all Oathbringer preview chapters--and their discussion topic--check out the Oathbringer Preview Chapter Index. As usual, keep Oathbringer discussion in our Oathbringer Spoiler Board and the #oathbringer_spoilers channel in the 17th Shard Discord. Do not post Oathbringer material elsewhere! There's also two Way of Kings Prime Chapters: Merin 1 and Merin 2. Merin, who, remember, is the version of Kaladin in Prime, is insanely different from Kaladin. There's lots of differences in the world. Oathgates exist and are active! Check it out. It's a fascinating look into an old draft.
  12. Today we are here with the team from The Black Piper, the creators of the Kaladin album on Kickstarter. It's a fantastic look into the behind-the-scenes process and the backstory of the album, and their plans to come. Joining me today are Sae Sae Norris, Producer and Creative Director; Michael Bahnmiller, Composer and Producer; and Richard Williams, Composer and Coordinator. The Kaladin Kickstarter ends Monday, September 25th. For more information on Kaladin, check out our preview on it. The following has been edited for length and clarity. 17S: How nervous are you now that Kaladin and its Kickstarter is in the wild? How's the reception been so far? Michael Bahnmiller: It's always a little nerve-bending to release something you've put your heart into! With Kaladin, we all had an overpowering sense of optimism about what would happen, but when the campaign was ready and we went to "press the button", the knowledge that thousands of people would now be listening to our music, looking at our profiles, seeing who we were and what we've done - it definitely gave us pause! But I also knew that we have an amazing team and we were prepared! The reception has been overwhelmingly positive! People have been reaching out to us from all across the world to express excitement, not only about the music and the art but also about the concept. We weren't sure if people would get the idea of an original epic fantasy book soundtrack, so it's been thrilling and affirming to have people wondering why this isn't a thing already! Sae Sae Norris: Basically I feel the same way Kaladin is described as feeling during his first bridge run. This has been the HARDEST thing I’ve ever done, but it’s been insanely rewarding both personally and professionally. The film industry is full of vipers and terrible people who exist solely to use you up and throw you out. It’s also full of people who love to create art, and evolve technologically, and think outside of the box, and aren’t jaded, who know that family is more important than work. Time has proven this team to be the latter, which I honestly wasn’t expecting when we first started. I’m amazed at the tenacity, heart, integrity, and sacrifice my team has put in to this project. As its leader, I feel an insane amount of responsibility to make sure this is all worth it. And I can’t do it alone. We can’t do it alone. This Kickstarter has been an incredible crucible and the amount of support we’ve had truly and literally has a physical effect on my well-being. When I’m feeling down or overwhelmed, I look to the Stormlight community because you are my tribe. You guys get it. You know what makes me tick and what inspires me. You feel, and wonder, and create, and jest, and hypothesize and your existence lifts me up. You peeps are my personal bridge crew and I couldn’t be more grateful to the support you’ve given to me and my team. On a more practical note, we’re on track to make our first goal--but we really want to exceed that so we can start writing new music. Most of the Bridge Four sequences had to be left out until Goal 2 because of the budget. Using a 70-piece orchestra is extremely expensive. We’ve taken a lot of care to configure our orchestras (choosing how many of which instrument to hire per session) to maximize the emotional effect of the music they’re playing. We need all the spheres and Stormlight we can muster to really flesh out the album and tell the musical story that we’ve been sitting on. You peeps have been paramount in our success so far, but we need all hands on deck for this last leg of the Kickstarter campaign. 17S: It sure seems like you've been Stormlight fans for a while. The tracks really do evokes the feel of Stormlight and the scenes they are capturing. Could you tell us how the team at Black Piper discovered Stormlight Archive or Brandon Sanderson? SSN: Yay! An origin story question! Have I mentioned how much I personally relate to Kaladin? Because I do. None of us knew each other at the beginning of this project. Well, I didn’t know anyone on the team. I had just wrapped on producing Flight From Shadow, the Wheel of Time fan-film. That shoot destroyed me. Physically, mentally, spiritually, emotionally. What was meant to be an homage to two of my brothers (one who died and whose death I blamed myself for, and to my oldest brother, who got me out of my grief by introducing me to the Wheel of Time), ended up being one of the most corrupt shoots of my life. The “bigness” of the project just went to too many people’s heads and it poisoned my team. My friends, my film family, my network. The man I loved, the man who had saved my life that one time and literally carried me into the ER, had stabbed me in the back. And he planned it while I was at the book signing for AMoL, cos he knew I was a Sanderfan and that’s where I’d be. I genuinely considered suicide the night it all fell apart. It was my composer and brother-from-another-mother, Nate Drew (composer for the Hearthstone theme) that kept me alive that terrible night and just let me cry. I was devastated and couldn’t even finish the WoT series. I stopped making films. I stopped writing screenplays and poetry. I stopped writing music. I stopped playing the piano and the cello and singing. I stopped reading. I stopped editing. I stopped teaching. My life turned into one big cremling and my fire was gone. My trust was gone. And I was thoroughly embarrassed that Brandon (who had helped with our marketing cos it coincided with the release of AMoL) and Jason Denzel could have witnessed any sort of drama, cos that’s just not how I do business, and I was (am) a hardcore fan of both of them. (I work with Hollywood A-listers all the time and don’t get nervous; but I get seriously tongue-tied and fan-girly around Brandon, his work means that much to me.) I was approached to produce an Infinity Blade film, which already had half a million dollars of funding in escrow. We made FFS on $12k, most of it out of pocket. I could have made IB look like freaking Avatar and done it in my sleep for half a million dollars. I said no. Twice. I would not do another Brandon Sanderson project. It hurt too much. So, a year later, Nate [Drew] recommends I give some producing advice to two composers who wanted to make an album. Cue a couple of Mormons meeting up in a Starbucks: a recent music grad with an ambitious dream, a final year grad savant that was severely under-appreciated, and a producer who had given up on everything. Funnily enough, I wrote about this meeting in my journal and ended up using that journal as my Black Piper notebook. I had misgivings about getting back in the game but was so inspired when I heard their music. Something inside of my stirred, but it wasn’t enough. I told them their idea was cool but it was too vague and their music needed to tell a story. I blew them off for awhile after that, expecting them to take the hint and give up before they got hurt. Then I get this email from Mike. “Hey Sae Sae, I found the PERFECT story to compose to! It’s called The Way of Kings by Brandon Sanderson (have you heard of him?). It’s epic and spiritual, and everything we need to do! So I wrote to him and he said to contact his agent! What do I do?” I think I had a literal heart attack when I read that. I just read that email over and over again, cradling myself and saying “Oh no!” Not Brandon. Of all the stories in the UNIVERSE Mike could have chosen and it was THAT one. I bought the book, the first book I’d read since that night. I read it in three days and emailed Brandon’s agent the second I was done with it. This was MY story to tell. And the universe kept shoving me in to Brandon’s work. I still don’t know why, but maybe it was time I listened. I knew it would be expensive. I knew they’d say no. But I figured, if I got a solid no from Brandon’s agent, Mike would get off my back. They liked our pitch. They wanted to talk. Every time someone had the opportunity to say no to us in a way that would axe the project, they ended up saying yes. I broke down the book and wrote a treatment, the first writing I’d done in years. We wrote some songs. I got to direct, something I didn’t think I’d ever get to do again. Mike, Richard, and Phil went to Prague and recorded what we wrote. I grew sixteen more ulcers. We were committed now. These were personal funds and now it was on me to make sure these kids could feed their families and didn’t get destroyed by the dark side of the industry. I vowed I would not let that happen to my team. Never again. Then I got a seizure/stroke thingy and became paralysed on the right side of my body. We had to halt the project for a little over a year. DMG wanted the rights to the cosmere. They had more money than we did and we hadn’t yet inked the deal with Dragonsteel. Stuck in a wheelchair, with nothing, my hope started to fade. It was over. I knew my team would take what I had given them and boot me, just like before. I told them that I was no good and to leave and try to succeed without me. They didn’t. They supported me, and worked with my damage. They said they needed me, and I realized that I needed them, and I needed this. DMG got the film rights but they said we could do our album anyway. That’s unheard of. (Seriously, peeps. Studios are not that gracious.) We were running out of money. Investors started coming out of nowhere and managed to give us just the amount of money we needed, when we needed it. At every turn, we thought this project would fail, but we put our heads down and our hearts in and we wouldn’t let it. And here we are. It’s been one battle after another but more and more people come in and help us. They love the music, and the artwork, and the rewards. Our intense commitment to treating this like a true Hollywood project has been paying off. This is what we do, because we have to do it. We don’t know if we’ll reach our destination. But that’s not what it’s about, is it? This project gave my life meaning and purpose again. It reignited the spark of creativity that I thought I had lost. It proved that not everyone becomes corrupt when money and studios and names get attached. I found a fandom that I can enjoy. It feels like home. Brandon is like Dalinar. His words are important and they have united us all. If we don’t make our Kickstarter goal, I honestly don’t know what I’ll do. But I know I won’t do nothing, not again. It would be the biggest forward fail of my life. But if we do succeed, and we can only do it with everyone else’s help, we will take this project and make like Fleet and just keep running. 17S: What's been the biggest challenge on making Kaladin? SSN: I pretty much answered that from a personal point of view, at least. Logistically, I’d say our biggest hurdle has been the money. We have the team, we have the vision, we have the street cred, we have the inspiration. This whole experience would have been a whole lot smoother if we’d had the seed money to properly get this thing past development all at once, instead of in micro-chunks. As it was, all our funds came in increments, and took a LOT of effort and luck to get. We’ve calculated into our budget what we’d need to set aside from our profits to make a second album without all the bumps and hurdles. Hopefully, we’ll make it that far. We’re really planning on a long-term business. The first project is always the hardest. We have a lot to prove, despite our contacts and experience. We’re basically starting a new genre, and being the trend setters is really difficult to do, especially in an industry where the big money bets on what they know already works. So far, we’ve erred on the side of being over-prepared, but this is new territory for us. No one has done a book soundtrack like we’re doing it. And now we know why: it’s freaky expensive. We’re hoping that our formula for the book soundtrack is the one that will crack the code and open up the genre. 17S: What was it like recording with the City of Prague Orchestra? How much rehearsal do they do before it's recorded? I'd love to know more of that process. Richard Williams: They basically have no rehearsal time, they are recording it live sight-reading. Recording with an orchestra is a much more interesting experience when you hear live instruments instead of the computerized mockups. I think it’s common as a composer to have a bunch of questions about your orchestration or to not be sure about if things are going to sound okay, but when you let the orchestra play it, more often then not, that goes away, and you’re just able to sit back and enjoy the beautiful creation. I must admit we had so much on our minds since it was our first time there that there wasn’t a lot of sitting back and enjoying, but we were working and making sure the music sounded as good as possible. The string players there are really amazing! I was amazed at how fast they were able to play my very fast and difficult music. I can’t believe how good they can sightread! 17S: Being realistic, how many tracks will be in the album if you only meet the first goal of 110,000? SSN: If we only reach our minimum goal of $110k, then there will be 14 songs on the finished album. [Take a look at 17th Shard's preview for a look into most of these tracks] The Most Important Words a Man Can Say Stormblessed Sylphrena’s theme Honor Chasm Alethi Codes of War Chasm Kata Highstorm Hearthstone Wandersail Three Glyphs (Wind, Protection, Beloved) The Tower Thath (Justice) Shallan’s Lullaby: a bonus track to give Shallan some love and let you all know what kind of sound and feeling to expect from her album, should we be lucky enough to make it. Tarah: a bonus track devoted to the mysterious Tarah, who is only mentioned once in TWoK and once in WoR! Sae Sae’s only original track on the album, and a piano solo to boot. (If we can afford an orchestra later, we’ll add it) 17S: The Kickstarter, and the album, focuses on Kaladin and his struggles in The Way of Kings, but there was also the Shallan's Lullaby track. Are there any other Words of Radiance-inspired tracks? MB: No. This album is all about Kaladin! We had just found Shallan's Lullaby by Alex Crandall on YouTube and thought it would be awesome to record and include it! So, it became a bonus track, and I'm so glad we found it! SSN: Creatively, we are ready to go on a Shallan album! I’ve got the treatment, and the sample track lists, and am so excited to do it! But, due to the budget we were only able to tell Kaladin’s story on this album. Ideally, we’d like to end up giving each character their own album (if we can get permission, that is); Kaladin has his; Shallan will have hers and will include both her story in TWOK and WoR; Dalinar will have his, which shall include his story in WoR and OB, and so on. To clarify, we do not have any other Cosmere albums lined up with Dragonsteel. Basically, if this album is a success, then we’ll be in a position to possibly negotiate further Cosmere albums. Please help us get this campaign successful so we can blow your socks off with our next album! Shallan’s album will sound totally different from Kaladin’s, a little more like Danny Elfmann, Max Richter, and James Newton Howard. A lot more feminine, but powerful, and very dark and whimsical. I really hope we get the chance to do a Shallan album properly! 17S: Will you use (or have you already used) rare instruments to make the music sound more unique, as Roshar is a unique world? MB: We've used some more unique synth sounds in the tracks. Synths are computer generated (or computer processed) sounds that we layer together with the live orchestral sounds. We are also planning on using a custom made set of bamboo flutes for Wandersail. We are using "electric cello" recorded by the amazing Tina Guo for the Thath track, if you can count that as "rare"! SSN: We’ve got the use of a sitar, and we’re literally creating a flute for Hoid to play during Wandersail because there honestly isn’t one in existence that can do what he describes in the book. But we’re patterning that after a Chinese design (a dizi is what I think we decided to go with), with a few flairs. Our synths are massively processed. The horns that you hear playing in Alethi Codes of War are processed into synths to create the crashing lightning of the Highstorm song, and represents the use of Stormlight. I really can’t wait to record the Parshendi and bring them in to the orchestrated music! Their use of breath, rhythm, male and female overarching each other, yet still somehow in unison, and all in a language that Kristina A. Bischoff created…yeah, I really can’t wait to do the Parshendi vocals. 17S: I saw you had to get the permission from DMG Entertainment [the people who own the film rights] to do this. Has there been any talk to use any of this soundtrack for stuff they produce? Have you had any discussions with them about it? MB: DMG has been very gracious to allow us to do this! Regarding using our music for their production, there hasn't been any talk of it, but typically film needs to be scored very specifically. It actually has much different considerations from what standalone music has. For example, the battle scenes will likely have a different pacing from what the Kaladin album has, they may be faster or last longer. Certain moments will happen at different times, and there are also a lot of nuances that a picture has. The director also brings to the table a vision for the aesthetics and the music. He or she may envision something moving and touching played over a particular battle scene, where what we have is epic percussion! Of course, we'd certainly be beyond thrilled to be considered to compose for something they produce, but as of yet, there has been no discussion! 17S: Which is the track you're most excited to hear with the full orchestra? For me, it's probably "Highstorm." I can't wait to hear the final version of that. SSN: Man, that’s a tough one. I’d say I want to hear Highstorm, Alethi Codes of War, and Honor Chasm. The sheer bossness of Highstorm and its arrhythmic timing, the fun Celtic syncopated jig of Alethi Codes of War, and the heart-wrenching music of Honor Chasm that stops way too early... Do I have to pick one? MB: I'd have to say Sylphrena! Philip Klein, who wrote the track, is one of my favorite composers and a good friend, and I just love this track. Just the mockup version of it takes me back to feeling like a child again, and he does it with such deftness that I forget where I am or that I'm not 6 years old and carefree. I can't wait to hear it all put together and mixed by the wonderful Casey Stone! RW: For me, it’ll probably be The Tower. That song was written literally in 10 hours in one day. It was the day before we were to fly out to Europe. And I love the addition of the drums and choir that will be added, so I’m excited to hear the full version when its done! Highstorm is probably a close second. That was the song that I was amazed at how the string players could sightread such a piece. 17S: What are each of your favorite tracks and why? MB: Well, Sylphrena, for sure! And Alethi Codes of War by Caleb Blood is just so fun I wish I'd written it! Oh, and Shallan's Lullaby just has the coolest arrangement - written by Alex Crandall and arranged/orchestrated by Sandy Schnieders. And Hearthst--- OK, you probably only wanted one track, didn't you? RW: Hmm, besides The Tower, and Highstorm, I like Sylphrena’s Theme and 16 Seconds Pre-Death. Sylphrena’s theme has some really cool chords in it that really remind me of that Hollywood sound, and the song it self has an epicness that is in a different style than many of the other epic action songs on the album. So it’s nice to hear another angle in that way. I like 16 Seconds because it’s unnerving and intensely ominous at the same time. I like the chord progressions that happen in the song as well. It reminds me a bit of old classical influences how things morph with the chords. And I like the unnerving groans that happen towards the beginning. That adds to the ominous feeling that surmounts. SSN: I honestly go through phases with the album. For awhile, I’ll be feeling it with Highstorm. It was so much fun to pull out of Richard the idea I had in my head. He was the perfect one to write the song. Then I’ll be feeling it with Alethi Codes of War (okay, this might be a favorite simply because it’s got the Celtic feeling and I’m a sucker for that). Then I get the feels with Hearthstone, which is satisfying to listen to because it really took a LOT of takes to get this just right. I wish you peeps could hear it with the male humming in the background. Sandra thinks we should go with a tenor, to represent Tien; and I think we should go with a bass, to represent Lirin working by himself. Either way, whatever we end up with, I know it’s going to hit us all right in the feels! Thanks for joining us! Check out the Kaladin Kickstarter over here to back this project.
  13. From the album Way of Kings Short Film

    A promo I made for the upcoming Cosmere charity live-stream! It's being promoted here on the 17th shard, and you can find the details here:
  14. theory

    I just want to release this statement early. I don't have hard evidence, and I don't know if others have submitted the theory in the past. The in-world auther of the epigraphs we have seen in Oathbringer, is HONOR. I do not remember his proper name, but the epigraphs were written by the holder of HONOR, after he was separated from his shard. He states that "those who saw farther" than himself, would likely presume him dead, but that he had in fact experienced something much worse. He is referring to the other holders of Shards, some of whom are able to see quite a distance into the future. The fate-worse-than-death he refers to is his separation from his shard (which may or may not have been voluntary), and having to view the events on Roshar, powerless to effect them as he once could. Honor may, or may not have acquired a Splinter of his previous Power, and he may, or may not still be alive.
  15. Let's talk about spheres. (This post assumes you've read chapters 4 and 5 of the Oathbringer preview.) From the chasm scene in WoR, we know that spheres recharge during highstorms, specifically at the moment when the Stormfather appears with his odd timelessness. But we just saw the Stormfather appear like that at the wedding, and he doesn't bring stormlight so it isn't him causing the recharge. The evidence points to sphere infusion being a specific effect of Honor's perpendicularity, which we have good reason to think travels with the highstorm. In addition, we have confirmation now that the Everstorm doesn't charge spheres with either stormlight or voidlight. We can assume then that the Everstorm does not carry a perpendicularity with it. So now I have three questions: If you took a sphere to/through Cultivation's perpendicularity in the Horneater peaks, would it infuse? If so, would it contain regular stormlight or a different flavor of investiture? i.e. Does Cultivation's investiture manifest as stormlight? How confident are we that Gavilar's sphere contained investiture from Odium? The first Szeth interlude in WoK features a (very unreliable) tavern tale in which a similar sphere is stolen from the Nightwatcher. For the record, I still think it's 98% likely to be from Odium, but I want to float alternatives for discussion. Where did Gavilar's "voidlight" come from? Until shown evidence otherwise, I'm going to believe that Rayse doesn't have a perpendicularity on Roshar. But then we need an avenue to get his investiture into a sphere. Let's pull some hints together, getting us to my current theory: We've seen surgebinders infuse things (including gems) with the stormlight they held inside them. We've seen Lift get stormlight from a route other than inhaling. We also know from WoB that Honor powered the Heralds directly, without them needing to inhale stormlight. We've seen magically enhanced strength and speed from people feeling the Thrill (i.e. influenced by an Unmade), which mirrors some of the passive effects of holding stormlight. I propose that someone feeling the Thrill (or accessing another of the Unmade's powers) could learn to take that Odious investiture and infuse it into something else, and that is how Gavilar did it.
  16. Your withdrawal is over. Tor.com has now posted Chapters 4-6 of Oathbringer. What else is there to say? Nothing, get to it! Seems like these will always occur at 9am Eastern time from now on, for sure. Here's our forum topic on Oathbringer Chapters 4-6, and for all Oathbringer preview chapters--and their discussion topic--check out the Oathbringer Preview Chapter Index. Remember, keep Oathbringer discussion in our Oathbringer Spoiler Board and the #oathbringer_spoilers channel in the 17th Shard Discord.
  17. Here's another piece. We've got Kaladin flying with Syll above the Shattered Plains. Happy to have worked through this one faster than previous works. Kept fiddling and fussing with this thing and eventually had to make myself stop. Lighting is hard business, let me tell you.
  18. hope on the trends right away to stay relevant to the Millennials
  19. From WoK Epilogue: Kholinar on the map: Interesting, no? Why did Taln come back from Braize near the largest city in the area, or near Kholinar, and why was he wet? We have no mention of being wet when Jasnah elsecalls, no? Could he be have swum in through a shardpool or something? Tell me, yah?
  20. has this been done yet or
  21. You want new Stormlight 3 content, right? Well, you're in luck: Tor.com has posted Chapters 1-3 of Oathbringer! You might have read the prologue before (it had been at some readings) but here you have new stuff! I'm not going to spoil a thing about it, so you best head right there for your Stormlight fix before your withdrawal until next week. Here's our forum topic on Oathbringer Chapters 1-3, and for all Oathbringer preview chapters--and their discussion topic--check out the Oathbringer Preview Chapter Index. Remember, keep Oathbringer discussion in our Oathbringer Spoiler Board and the #oathbringer_spoilers channel in the 17th Shard Discord.
  22. Today we're taking a look at a really special thing. It's a Stormlight Archive album called Kaladin, by a group called The Black Piper. This is quite a huge project that has been worked on since 2015, and consists of three producers and several Hollywood composers and orchestrators. About half of the album has been recorded with the City of Prague Philharmonic Orchestra. In other words, this is a very legit and awesome project. The Black Piper has given 17th Shard a look at fourteen tracks--half of the album--and we're here to tell you about all of them to try to give you a feel for what these are. We're going to talk about the people involved with the project, and also, we're going to talk about the Kaladin Kickstarter they have. So who's working on this? The Black Piper was formed by producer Sae Sae Norris, film composer Michael Bahnmiller (who has done music prep on Fantastic Beasts and Where to Find Them and La La Land), and videogame composer Richard Williams (two-time Student Emmy winner). These aren't newbies to the industry at all. The Black Piper also has a desire to support artists and composers, and there's a lot of other composers on the project, which you can see at the bottom of the The Black Piper's About page. All of these composers have worked in the film, TV, or video game industry. In Kaladin you can really feel the influence from films and video games; it'd feel right at home in either. In their Kickstarter, they want to produce Kaladin with the same level of quality as any movie soundtrack. Their goal is to record 95 minutes of music total, 31 tracks in total. and record the remainder with the London Symphony Orchestra. That orchestra has recorded incredibly iconic film scores, some things you may have heard of, such as Star Wars or Harry Potter's soundtrack. You know, just the minor things. They also wish to hire world-class soloists to put in the tracks as well. There's also artbooks that you can get, as well as a number of other Kickstarter upgrades, which we'll talk about soon. But first, you guys want to know what it sounds like. The Music The Black Piper has posted a playlist of excerpts from nine different tracks, which you can see here: We got to listen to complete versions of these tracks and more, for a total of fourteen tracks so far, which is less than half of the thirty-one they want to have in the finished product. Now, most of the full tracks we heard were, computer generated, which means they didn't have the live orchestra sounds in it (except for a few). I'm going to be honest: these tracks were amazing and they aren't even the final versions. It feels cinematic and epic. The unanimous opinion of our staff was essentially: "this is amazing, we can't wait to see the final version." But remember, the tracks might change into their final product, so our descriptions might be off in the long run. So let's go through each of these tracks. I'm terrible at analyzing music, but big thanks to MozyTheHealer, Kaymyth, and FeatherWriter for their musical expertise. They helped a lot in writing this. Also, Kerry, Jofwu, and Botanica helped me here, too! Thanks all! 1. Stormblessed This track is a lot like a "welcome to our story" track. There's a slow, solemn lead-up with bassoons, breaking into a proper battle theme that really evokes the battlefield well. There's big sweeping lyric melodies, with some awesome French horn. FeatherWriter says, "There’s a really incredible bit of time signature change with super interesting syncopation that really caught my attention. Just as you're getting used to the 4/4, it throws you out." This one strongly feels at home in a film. This would work perfectly as the music for a trailer in a Stormlight film. 2. Sas Nahn Shash As the title suggests, this is all about sadness, despair, and defeat. It really captures melancholy, and has a slight feeling of unwanted hope at the end. One of the composers on this album is really into impressionist sounds. It is heavier on the strings and higher woodwinds, and is overall very atmospheric with its long high notes in the violins and sopranos. 3. Sylphrena This one isn't a particular scene from the book, but it tells about Syl's journey as a character. It starts serene, as if she's a mere windspren, then slowly builds into a joyful film score sound. In the middle, it reminded Mozy of Zelda when the track picks up with chimes and violin runs. At the end, we have a big crescendo that hints at the triumphs to come, then fades away at the end. It's a great, hopeful track, which is a nice contrast from the first two. Feather thought the track portrayed Syl as a soothing comfort to Kaladin. It definitely feels like Syl's growth from windspren to Honorspren. 4. Honor Chasm Compared to the joy, happy sound in the last track, this one has a sense of mystery, darkness, and gravitas to it. It feels like the part near the beginning of The Way of Kings where Kaladin goes to Honor Chasm, contemplating ending things. The sound captures a lot of uncertainty with the sparse orchestration and minimal harmonic progression. The harmony sits on notes for a very long time before it moves. It then switches to some motifs from the Sylphrena track, and then ends hopeful and triumphant, as Kaladin has new hope. 5. Alethi Codes of War This song is quite different from the first few tracks. It'd be perfect for a training montage scene, like Kaladin training with Bridge Four. There's a Celtic or folky feel to it. It has a lot of percussion and rhythmic motives in the low strings that makes it feel properly militaristic. The reeling melody that weaves through the percussion is an excellent reflection of Alethi revelry even in the middle of the warcamps. This is one of my very favorite tracks--as well as some others' favorite too--and I think I've listened to it about forty times already. 6. Chasm Kata There's a lot of atmospheric anticipation in this one. Layers slowly build up, eventually ending more triumphant, with a sweet violin solo. It has the feel of a character's self-discovery moment. It's easy to imagine this right in a movie or TV show, and you can feel exactly the scene this track would go into. 7. Highstorm You know exactly the scene a track named "Highstorm" would represent: Kaladin facing the storm. This track starts dissonant and discordant, giving you a feel of unease. Then, the track rapidly builds, like the stormwall is rushing right toward you. The string instruments go crazy, the brass enters, and the bass is literally dropping. Just listening to the track, you can feel your heart beat faster and you're just thinking, "oh crap, oh crap!" This is intense. The song ends more calmly, almost ethereal, as the highstorm passes and you're in the riddens. This one is spectacular and perfectly matches the urgency and majesty of the highstorms. 8. Hearthstone (Tien) This one feels warm and homey. Kerry described it perfectly: "I feel like I’m walking the main character of a JRPG through their hometown, and that’s exactly what a Hearthstone track should feel like. Rich with emotion and nostalgia. I thought I caught a bit of a Shenandoah-inspired melody here and there, which lent an air of homesickness when listening from the perspective of Kaladin reminiscing." At the end there's a snare drum part which made basically everyone who heard this song die. The drum could either represent the drums of war, or the drums before an execution. R.I.P. Tien. 9. Wandersail So, obviously, Wandersail has a flute part in it. Well... we didn't hear this song with the flutes. (I imagine this is one of the "hey we want a world class soloist to do this" thing from the Kickstarter.) What we heard is a sweet underscore of non-flute stuff where Kaladin is seeing what Hoid is making, in between flute parts. In some respects it feels a bit like Pirates of the Carribbean in Stormlight, which is a big compliment. It's strong and cinematic, especially near the end, where it is gets faster and darker, to show the end of Derethil and the revelation about the Uvarans. Still, we really want to hear the flute part! 10. Three Glyphs - Wind, Protection, Beloved This is the scene where Bridge Four is on a bridge run, and Kaladin, in Parshendi armor, distracting the Parshendi from the bridges. You can very clearly hear the transitions between the three glyph themes. Wind is ominous and powerful, Protection is equally powerful but more rhythmic and certain, and Beloved lifts the piece up into a state of joy. The end, though, feels like it pulls at least the second two together into one. It takes a while for this to feel like a cohesive piece, but the payoff at the end is worth it. 11. 16 Seconds Pre-Death The title of this references the death rattles, and as you could imagine, it is quite spooky. It isn't a slow track, though, but more a scene during a battle where things are going very wrong. It's about the part where Kaladin says the Second Ideal, and it is dark and despairing. It has some synth parts creeping through the other sounds, which makes it feel foreign. It gave me a slight bit of a Mass Effect vibe because of it. I'm told there will be some Parshendi chanting added into this song, which will be layered on top of the abstract synths. Considering it already sounds alien and weird, I can't wait to hear the final version with the Parshendi chanting to it. It can only add to the effect. 12. The Tower It's the Battle of the Tower, of course. It opens with an epic, truly film soundtrack feel of a battle, but then transitions to a section that captures the feel of betrayal and sorrow of the moment. Then it moves into with some triumph in it, but also keeps you on edge. It grows frentic and chaotic, as the fighting intensifies. Some of the transitions are so gradual and then others just happen in a split second, that it makes there be a feeling of uncertainty amidst the badassery. At the end, it slows, and you can finally breathe, as the battle ends. The end fades, but it isn't a glorious triumph, instead feeling just like they got out barely, and so many died. It fits the battle excellently. 13. Thath This we heard with the final orchestrated version, and everything I said about the other tracks being awesome are true, but this really feels way more awesome with the orchestra and the vocals. Mozy describes the track as such: "The beginning does some pretty good anticipation IN THREES with the first motive. (Threes are my favorite thing where it takes three times to really hit the moment). The first start is like “ooh is something happening?” and the second one is like “Yuusss something is happening” and then it flakes out. There’s obviously a few different things going on. I feel like the beginning is more war-like, and then it hits a pretty nice lyric section, that moves into the vocal part at the end." A piano joins at the end, building into a true triumphant moment, which feels exactly like would play when Dalinar puts his Blade on the Thath glyph to save Kaladin. Heck yes. It's emotional, stirring, and breathtaking. 14. Shallan's Lullaby So in the description of the project on the Kickstarter, they say this album is about Kaladin's journey through The Way of Kings, but here we clearly get a Words of Radiance inspired track. It has both male vocals and female vocals singing the lullaby in Words of Radiance, clearly echoing the notion that Shallan's father sung this at the beginning of her flashback sequence, but Shallan also sung it at the end, too. It's a sad track that feels despairing, with a soft, mourning air to it. It starts with male vocals, alternates between female and male, and there's a short duet, ending with the female vocals. I enjoyed that it ended on female vocals, as anyone who read the last Shallan flashback would know. The background sounds of blowing winds, dripping raindrops, and lightning add much to the music. Then, silence for a few seconds. It slowly grows into a huge choir and organ part, which would be appropriate in any dark moment, evoking the feel of the horror of either moment where this lullaby is sung. It reminded me more of the end of Shallan's flashback sequence, with the storm outside of the manor, and a corpse inside, as Shallan realizes what happened. This last part was a bit controversial among us, as it was quite a different change in the track, but this is how I interpreted it. ---- And that's all the tracks we heard! Overall, there's a depth and complexity to the music that so wonderfully feels exactly what the scene would feel like. We all felt like this would be right at home in a Stormlight movie, TV show, or video game. If we had one critique, it was that we generally wanted the tracks to be longer--which I'd say is a pretty good thing, to have us wanting more! I have absolutely no doubt that the final product will be spectacular. And this is just fourteen tracks. There is definitely a track called "Bridge Four," but after that, I imagine there will be some other really sweet things here. They want a total of thirty-one tracks, for 95 minutes of music, if they hit their goals. So, let's talk about the Kickstarter. The Kickstarter The Kickstarter is very ambitious. There seems to be three goals, which are not all listed at the moment. There's a $110,000 tier as the first goal, there's a second goal at a money value I'm not certain what it is, and then there's their final goal, which seems to be $600,000, but it isn't fully spelled out. If they hit their second goal, then they will create the second half of the album (which is not created yet), and also record with the London Symphony Orchestra. That means at the first goal, as listed, we wouldn't get the full 31 tracks, but that is their hope to get that many. The biggest goal will involve musicians working on bonus tracks. So, admittedly, that's ambitious. But what we've heard so far is really great, and if it sounds cool to you, consider backing the project! What are the reward tiers for the Kickstarter? $25 or more: a digital download of the album, a Black Piper wallpaper, and a digital art/sketch card. $45 or more: in addition to the lower tier things, you'll get a physical album, which will come with a six page art insert, containing Kaladin art, and a physical art card $100 or more: in addition to the lower tier things, you can be a voice in the virtual choir and actually be in the album $950 or more: in addition to the physical album and those things, you'll receive a page of the score of a given song, handwritten in the composers hand, coated to protect it, and signed. $3500 or more: in addition to the physical album, you spend an evening with the creators over dinner. So... you can spend a lot of money if you'd like to! The physical art card in the physical editions are one of six collectible character art cards. They will be one of these six: Kaladin, Sylphrena, Bridge Four, Navani, Dalinar, or Szeth. There are also a variety of add-ons you can add to your pledge. You can add $2 for a Stormlight character bookmark, drawn by the amazing Botanica Xu, who has drawn tons of Stormlight art, or $12 for a full set of eight bookmarks. You can get a physical album signed for $5. There's an 100 to 150 page Kaladin artbook at $57, containing some existing Stormlight art but also new art too. With pages something like this (though this isn't final): That's Kaladin. It's a big, ambitious project, but these composers are insanely competent and I'm sure if they meet their funding goals, it will be an amazing final product. Hopefully this gave you a huge amount of information into Kaladin so you can decide if you want to back this! Huge thanks to the Black Piper for letting us listen to some tracks in advance! Also, thanks again to MozyTheHealer, Kaymyth, Kerry, Jofwu, FeatherWriter, and Botanica for helping me writing this article, especially with discussing each of the tracks.
  23. So i've been thinking about Dalinar's message, "Unite Them".... This could be about the Alethi, but it could also be much more... For example Unite them Shards? Unite the people of the Cosmere... Unite the Heralds... Unite the KR... Thoughts?
  24. Hey there fellow fans, I posted up a series of portraits and moment paintings to the 17th Shard Gallery featuring the Kholin family a few months back, but failed to ever mention it in the forums. :/ Thought I'd bring it up now for your viewing pleasure. And if you like 'em enough, I'm selling prints on my online store at gmhansen.storenvy.com. Here's the Gallery post. Cheers!
  25. So, I was browsing for a particular WoB that I remember, but can't find, when I came across this confusing bit from reddit, posted only a week ago. Apparently, the use of the phrase "____ fell with the rain" is 'consciously and intentionally' reused in various places through out the cosmere. What do you guys think of this? I can't remember any of these scenes off the top of my head, I'll have to search for them later, but if he's admitted to doing it on purpose, there has to be something here right? Is it foreshadowing for some pivotal scene in the cosmere later? A literary twist we won't get until later, like 'on his arms'? Are there any other similarities between these scenes, other than just that phrase? Or is Brandon just leading us on, and there really isn't more to it than there is to his use of maldroitly, or his tendency to end sentences with 'I think'? So many questions from such a simple statement. Sometimes I think being a Sanderson fan is just too much storming work.