Lord Stormer

I really love how it induces a sense of wistfulness and loss. The feelings are strong but the narrative is incomplete, and that drives me wishing you continue after the last line. Who's the girl? Who's "they"? The questions I have makes me wondering if your poem is a first act.

Scientifically speaking, the phenomenon is not unprecedented. Radiation increases chances of mutation. While in most cases the subject (wolves) became ill and die, given enough time, one extraordinary genetic tweak will emerge - if the environment is not lethal enough to wipe out the population. The wolves that got this mutation also are more likely to survive and thrive, thus an evolutionary advantage. To be realistic, I'm pretty sure cancer-averse genes and cognitive functions are largely unrelated. Side effects, maybe a bit. I know what you're devising, but has the mutation to bio-apocalypse trope been overdone?

Reading this thread it seems to me there is something worth pointing out, but it's as slippery as soap. I'm not a good articulator. I do feel the same way as the Oathpact as to the WaT contest, because of the process of how agreed words earns its power, and that power is subsequently contested by interpretations that makes them seem technical and legal, or in my old OP "arbitrary." In the intent of my OP, I am comparing this sort of legal mechanic to the nature of fantasy, which I don't see so fitting. A reader should have their natural subconscious flow tuned to fantasy expectations when reading Stormlight Archive, but I felt "disrupted" by the debates of what words mean, and only for the truth - what happens in the end - to not be fully bound by these legalities. I just think there had to be a better way for power to be manifested in words than this.

I'd say your allegory is best applicable to desires. One who can't no longer do what he / she wishes (like paralysis or injury) will be mentally hurt, will yearn what if they can be like in the past - or the riverflow before where the dam stops them. The longer they are unable to do anything, frustration builds up, and souls can really break. The dam collapses. That man might find a small breakthrough that liberates, or the the river itself - life - will be out of water, its flow forever defeated. While not entirely in accord, at least my interpretation shows that natural systems - in its simple form - is being replicated in many unrelated aspects. To remind you, it's not a cycle unless something rebuilds the dam, a third power that intervenes in nature, or in my interpretation, other people.

Skyward was the one which made me reading again, and I'm very anticipating Riftwake (and gladly waiting a Skyward TV show!). In all honesty I don't really liked the direction of the series, but reading Janci's Skyward Flight, I can be hopeful. Wished for more pilot / flight team drama than showcases of cytonic abilities, but guess it was Brandon's preference for magic systems. I'll be fully invested if Janci gives us a fully fledged space opera with those dogfights. Here's some prediction (or expectations): 1. Backstories, mostly. Of course, where is Old Earth, and what happened to it. 2. What happened to other humans across the galaxy, and their colonies.

If we compare both quotes literally, taking into account what the words define, I'd easily agree. The problem is that Brandon might wrote them very much in a passing glance. Unlikely did he meant every word to be exact, so I interpreted the quotes as what they are essentially about, not literally verbatim. Talking context, Ham added "entire day's fighting" because he was commenting on how Vin inflicted 300 losses on Lord Cett's army out of his 1000 in 10 minutes. The italic quote is on the book, and it's purpose is to emphasize contrast. Thanks for the research. Some years ago I read a figure of about 10%, and that's why I initially believed Dalinar's claim more, alongside with its recency. But I am curious why would Brandon changed the figure when he intended to say essentially the same thing in both - which I do.

Found a light oddity while reading Well of Ascension last night, and came to a claim where I knew the same topic was mentioned in Oathbringer when I read it last year, but obviously at least one must be false. The quotes talk about military science, so if any of you are acquaintanced in this topic, I would like to hear your opinions. "Even on a battlefield, most armies will break if they take thirty or forty percent casualties in the course of an entire day's fighting." - Ham, taken from The Well of Ascension, chapter 44 "Many armies would break after suffering ten percent casualties, but here - reportedly - the Vedens had continued fighting after losing more than half their numbers." - Dalinar, taken from Oathbringer, chapter 100 Which one is right, or if any? The circumstances of the battle in Luthadel and Vedenar are obviously not similar, but these statements are a reference to military knowledge. I would personally favor the general Dalinar than crewmember Ham being right, and that the Oathbringer passage was written around 2015-2016, about 10 years after the Well of Ascension. I'm curious, not only which statement is right, but why the two differ at the time of writing.

Very well, and I do respect your comment. Thanks also for giving light on spoiler rules. I struggled to convey my thoughts with clarity, so I've spent many edits to the thread title and my original post's wordings. The day I'm writing when I wrote this thread hasn't gone well in real life. Now I'm reading Well of Ascension. The book has been difficult going through. It was slow and made worse as I always had this "white room" impression for Mistborn books. In fact, it was reading chapter 13 (where Brandon introduced us to kandras and their contracts) that gave me spark to ask your opinions about this topic. For all my understanding of soft and hard magic, I always see it as a spectrum. The Cosmere is not absolutely Hard magic, but it leans to that. Intent and interpretations give breathing room for flexibility. But since the universe is inherently built around magic, so I very much accept it works best that way. To make it straight, not favoring hard magic doesn't mean at all I don't like the Cosmere. I enjoy Stormlight to the end of Wind and Truth, despite criticisms, length, and pacing. So many other things to cherish than the negatives. I am proud to be with Kaladin as he spoke Ideals from the First to the Fifth. Hard magic doesn't deny wonder - I'll send you to the end of Words of Radiance to prove you wrong - but I want to be candid. I like to ask questions and be open with criticism. Regarding your first point, I have a lot of opinions, but one that stands out may be the expansion of the universe. As the scale becomes grander, an unforseen consequence is a dilution of depth. It's more appealing to read when magic emerges in a world that has mostly forgotten it, than when it comes to dominate the scene. It's exciting when we discovering something new about the magic or watching characters do what has never been done before. For you last point, it's what in essence what I worry. As conflict and character dynamics complicate (a pattern consistent from the Way of Kings), I fear that straightaway solutions might be the only way how to solve.

Very much agree with you when you said legalism has become necessary. The definitive and rational nature of Investiture allows for such mechanisms to arise. Brandon's structured writing style may encourage application of this, which I see as a potential drawback in the genre of fantasy where magic is intuitively supposed to be fantastical. While writing this response I thought of this: it may be up to the reader's subconsious expectation. I generally favor soft magic and worldbuilding. As I'm working on my own novel, I prefer things to happen naturally and organic. We readers who are exposed to Brandon's defined brand of worldbuilding tend to demand for more reasonable explanations for what's happening, that's why the 17th Shard always have burning questions on how Investiture works. If Brandon were to create the Cosmere through a softer worldbuilding approach, the pursuit for satisfying answers may not be so pressing as we can excuse it as part of the mystery and wonder takes over.

It's a topic I shelved in my mind for quite a time already, but now I feel compelled now to ask your opinions about. For those who've read Stormlight and Mistborn I think you'll understand which parts I'm referring to, but since this thread is not posted under Cosmere Discussion, I'm not spoiling anything. While I do respect and acknowledge Brandon's renown on hard worldbuilding, when I started the Cosmere last year, I felt foreboding I'm not going to get through easy. Brandon builds worlds like fixed frames - hard magic and something I can call closed lore. It doesn't fit well on me, but best if you want your world managable for future planning. For one specific aspect, though, he went too far. I'm not a fan of hard magic systems, I have little against it. However, I am uneasy how he overstretched the importance of binding contracts for storytelling. There's nothing wrong in letting characters to be legally bound or face reprecussions, but in Stormlight's case (you know this), a grand fantasy conflict is governed by a complex set of legal mechanics from an ancient agreement to the final resolution. It's not just confusing, but because it feels abstract and inorganic, especially when characters debate loopholes to exploit, and I think that crossed a red line. It's not the only example, as you might have read. Since Brandon has written about contracts early on, I have worries that it'll continue. I just want to know your opinions about this.

It's great to hear you've prepared so much for your story. I was a bit worried that your ideas are too simple at first glance, although I knew you've written a worldbuilding encyclopedia. I take notice of your quote I underlined right there. Something I wanted to tell in my previous post, but I was unable to articulate. It's about writing your worldbuilding asset. As you might have read from my reply at the Shattered World thread, I am at the same process of writing a novel. The draft is 37,000 words and counting. It seems we both prepared worldbuilding beforehand, then begin executing them when it seems right. Mine has 83 files regarding characters, magic system, planets (it's a space opera), timelines, etc. I enjoy adding entries, but these are the lessons I learned. 1. When you've added so much, you become increasingly discouraged to tweak important points because the implications spill over to the rest of the encyclopedia. It becomes an uncoordinated mess, because ideas change often. In my case, I became less flexible. I'm not guessing your problem, but I had this burden when my story planning became fragmented. My tip is to divide your worldbuilding info into two categories: one for ideas that are essential or unlikely to change, and another a tentative idea bank for things less certain, and they be useful when you look at it again in the future. 2. No one is wholly a discovery writer or an outliner. I thought I am a strict outliner. I still do sometimes, but it takes faith to realize that you can create effective ideas while you're writing your draft. I often sauce my outlines with heavy details because my instincts told me they are essential, only to be disappointed that jumble of writing ended up mostly not useful. Just be concise, outline and worldbuild with sentences as simple as you can so you won't be overwhelmed. Believe you are more creative as you write. If you wrote wrongly, know every author have subsequent drafts. I still struggle to apply this, honestly. Remember these tips may not work perfectly for you. Fit them the way most convenient for you.

I need to ask first. Does this magic system belong to the same Shattered / Dead World from another thread of yours I replied a few days ago? Regarding the two choices, both are equally good. I slight lean to Idea 1 because it is more suitable to your writing style. A question I love to ask too is how "hard" is the Starlight magic system. Like if someone touches a pool, will the magic they receive depend on something, or just their desire? I generally like softer magic systems, because they give flexibility and a deal of mystery. It might be a surprise to hear that in a Sanderson forum, but I do. Softer magic systems are essentially less deterministic, it depends more on factors not so predicted, or sometimes a character's intent. Contrary to the popular view, they aren't so prone to become plot devices. Another good question is what Starlight gives or does other than powers. Do you have more dynamic effects, or effects that can hardly be understood by the characters?

Alright. I see your world really has a potential. Efforts are never in vain when you have a personal purpose. I am also writing a story at the meantime - a sci-fi space opera with a flipside fantasy magic. One of the planets that I conceived is similar to yours: an air world with layers and floating spaces (though in my case, little magic is involved). My first thoughts, the Cosmere influences on your worldbuilding are too conspicuous. They're fine, but people might notice them quick. Or maybe the elements that I percieve inspired from the Cosmere are actually prevalent in the wider fantasy genre. I haven't read so much recent fantasy books. I'm most interested in the gap between the Shattered Skies and the Dead World. Is it transitional or a hard border? Do you have creatures that hop by islands? Does the inhabitants build gliders? Thought experiment: Someone living at the lowest island of the Shattered should cast down the longest rope possible, and ask a volunteer to dangle on the bottom. If inhabitants of the Dead World try to cut that rope, make their motive part of the worldbuilding, I guess?

Yep, right, but that's universal regardless of the type of reader. One of the most reliable constants in the Sanderson community is HoA being S-tier.

My ratings: 1. Words of Radiance 2. Way of Kings 3. Oathbringer 4. Wind and Truth 5. Rhythm of War Have seen lots of best to worst 5 arrangements. What's interesting is that I can categorize a large portion of readers according to their listing order. The pattens can be extended to the greater Cosmere (but I haven't read everything). So there's a way to know what kind of reader are you depending on your list Remember that I can be wrong, and this list doesn't apply to all. Pattern #1: Oathbringer on top, WoK and WoR vie for #2 and #3, then the series goes downhill in RoW and WaT Serious readers who love heavy themes and emotional depth. The first two books are incredible, but Oathbringer's ending is an absolute epic of a literary legend. No one cares how slow is that book. However, momentum is lost afterwards. I feel it too. Pattern #2: #1 goes to either Way of Kings or Words of Radiance (though the latter comes more often), #3 is usually Oathbringer I'm quite a match for this category. I think we are kind of readers who loves all aspects of the story in a balanced way. Love the character work, plot, pacing, lore, and of course the Sanderlanche. Words of Radiance may be one of the greatest books of all time (not just fantasy). Not an overstatement, evident with a 4.76 star rating on Goodreads (not a definitive verdict, but very much convincing). Rhythm of War is often the worst because it has the least in common with WoR. Pattern #3: Wind and Truth is high on #1 or #2 Dedicated readers who love lore and Cosmere connections, I say. It's hard to resist thinking of how Stormlight is setting the stars to align for the greater conflict. All of you embody Journey before Destination.

I think it's not the most suitable perspective to think Sanderson's works as "hopepunk" or with any of the contemporary terms. I've read Steelheart, Skyward (the whole series), and the whole Stormlight with some others, and I am aware positive resistance is a recurring theme. What you must know is that Sanderson admitted (I think it's around 2016) that he can't write grimdark stories as it would conflict with his religious convictions. The story is inseparable from the author's soul. My spiritual convictions are very much like him. The themes of love and faith overcoming corruption have been with us since time unknown, and I believe they make a difference in the sea of history. Protagonists acting out of love and passion makes powerful storytelling. I remembered a passage from Tress about this, but I can't find it. Modern fantasy authors with positive outlooks on life are bit hard to find nowadays. I say some of his popularity owes to how he executes this theme along with deep character building. So, for your question, it is central, but often moral questions have no easy answers, so expect characters to break a lot.

I never bought the idea that Taln never broke due to sheer will. Re-reading past notes when I first read Oathbringer Chapter 38 (where the Stormfather explained the Oathpact), I thought the Heralds deliberately avoided complete victory at Aharietiam so to not be obliged for Isolation. Essentialy, a loophole in the contract. Few of Odium's acolytes are left to live in secret (that was my old Mishram theory). Taln is at Braize not trying to hold the gates of Damnation, so torture is not emphasized. It was a bad theory that turned out obviously false. It did disappoint me that Taln held on due to the "warping" of his soul by an item that was strongly speculated to be a Dawnshard, but I would react similarly if "Taln didn't break" lives up to truth. Afterwards, all is left for Brandon to handle. This is a question of theme, and since mental suffering is a main driver of the Stormlight Archive, it is imperative for him to resolve this the best way. Talking Cosmere mechanics, the soul is not as easy to be affected by Investiture. Kaladin's brand remains long after his First Ideal. It's a good thing. Great literature is after all, one that acts as the best mirror to ourselves, and fantasy incorporates flexible what-ifs to deliver its message more effectively, without relegating the importance of the character. From the One Ring to Nightblood, we've heard powerful items that corrupt. If fortitude is to be a major theme on the back half, Brandon should really avoided Investiture as a mean to overcome mental challenges. After all, Limitations > Powers - he wrote it himself. For Taln's story to be satisfying, in one sense his merit must be meaningful, to inspire. In another way, his character needs to be realistic enough to be understood, as Brandon has been realistic so far. And most imporantly, how can he be an worthy archetype to the theme of agency and will that are so central not only to the Stormlight Archive, but many other Brandon's works. To start, I consider these points important, especially when Taln is planned to be a flashback character: How does that power of the Dawnshard, or the obligations of holding it, motivates Taln's decision to remain steadfast? Does has the freedom of choice while under the effects? Did he endure despair that enticed him to find the wrong way out, like the rest of the Oathpact?

For all who have read it, we know the problems. Editing may have been rushed, sacrificing exposition and prose. With all due respect I understand the pressure, the demands, the unprecedented length, and the ever increasing number of contributors to the project. It is a feat to refine a 500,000 word epic given the time Brandon was provided. Few months ago I came to know Words of Radiance was revised for a second edition, with Brandon changed some conversations near the ending. Considering the long break until Stormlight 6, I just think it's intuitive to expect minor changes in Wind and Truth. Taking into account of the general reception, if I wrote the book, I'd try to fix what's possible - still very cautious not to oblige readers to get a new copy. I want your thoughts.

I generally tolerated Lift, sometimes even like that she gives a distinct voice apart from the rest of the cast - who are often grave and gloomy. Variation is good, even darker sagas have their own emotional outliers, but the Stormlight Archive has this problem of maintaining the right atmosphere in the last two books. Her negative reception may be more about handling of scenes - and if you've read Wind and Truth, I mean prose.

I don't understand how the prose had gone worse when more people have been involved. The Preface credits for Way of Kings was way shorter. If Brandon admitted to have received 100,000+ words worth of alpha/beta feedback, it's really about picking what advices that matter. I always think that Wind and Truth was rushed, when I think we all are willing to wait until next December for the sake of quality. Increase of lore could be a factor. I wrote notes while reading. The Way of Kings and Words of Radiance are self-contained. More focused on character dynamics, and the worldbuilding are pretty requisite. From Oathbringer onwards there's increase of connections, and by Wind and Truth almost every chapter are crammed with lore details that have the purpose to make reader wondering for the back 5. You need to mention this and that to fulfill your outline, and editing can't be done as smooth and flexibly as general events or character arcs. Now the problem of prose. I'm talking about atmosphere. The countdown to the Everstorm is a reason why Words of Radiance is so engaging. There are places for levity. I actually tolerated Lift and don't really mind her getting greater role, but I think the Stormlight Archive lost its stern tone when it's needed the most. On the scene where Kaladin proclaims he's the therapist, I felt needed to write like "bad writing, breaks the immersion" on that page. Can Brandon change? I am convinced. You can feel he's very flexible even if you haven't read him. Rhythm of War has dreadful pacing, which improved in Wind and Truth, though many more problems arise. I would like to ask you all. Is it likely that a Second Edition for Wind and Truth comes out? With a lot of simple edits, at least. Some lines on Words of Radiance were changed like within a year or two.

The way Wind and Truth (and that scene) was written diluted the emotion. It could have been greater. Kaladin did not show as much personal conflict in this book as for the first and second. He pretty much had the upper hand in handling Szeth and Nale, as if he understood the answers already. Maybe that's why.

The sentimental quotes are here to stay, but I love the introspective ones. Actually I'd skimmed my notes just to post something here. Not exactly quotes, but scenes with quotes that matter. I'll give explanation why these are personally profound. Kaladin Speaks the Third Ideal - Words of Radiance, Ch. 84 I hadn't realized how spectacular the scene on my first read, though I understand the weight of Kaladin's conscience pressing against speaking the Third Ideal. This was a man's willingness to protect a hated king who was indirectly responsible for his brother's death. Elhokar represented pretty much everything Kaladin despised and the betrayals he endured by lighteyes. And he said that in front of Moash, who had been arguably the man Kaladin trusted the most just a few days before. From 5 Kaladin's Ideals, this should be the hardest - knowing his grudge and brokeness were still open wounds. The moral weight is realistically represented. Shallan Opens up to Adolin - Rhythm of War, Ch. 32 I was awestruck at first read. It just perfectly describes of Shallan's situation - and (unfortunately) myself. No other quotes in the Stormlight Archive does it as good - not even close. Pretty much the lines that established Shallan as my favorite character. You'll understand the words much more if you had been there. The depth entices me to think Shallan is to an extent Brandon's self-insert. I'm not a DID (disassociative identity disorder) sufferer. I had OCD for 12 years already, but that involves me worrying people thinks that I'm hiding everyone something - some sort of thoughts. Almost a year on, and I am STILL reeling how stormingly fortunate I ended up reading this series. It hadn't been a recommendation, just me daring myself to read long fantasy novels as never before. So let me speak the first point - I will try though I'm not a psychologist. Shallan developed Veil and Radiant to reliquish Shallan from further moral responsibilities. Think of "I got someone to kill, but I can't stand breaking my soul further with this sin, so I'm going to be another person, and person has nothing to do with the one I'm now." In Shallan's case that would be Veil. Veil kills, and reverts to Shallan. Shallan wouldn't know that her body committed it (like Ialai's assassination), and even if she does, it's actually pretty easy to reattribute the blame. And it's easy believe in that. In such condition your mind believes in twisted rules of common sense that others may find absurd. Now let's get to the second point. In Rhythm of War Shallan began to embrace and re-integrate Veil and Radiant, but after being so long confined in her coping mechanism, coming back together meant pain. It's hard for her to believe that she can live a life outside her comfort circle. Now that Shallan's curated personalities began to fall apart, she can no longer hide every fault. When you realized the face you've shown to people hadn't been genuine and the truth began to emerge, but you have no reason to convince that your darker side is not you. If they find out... I can understand that.

I see. When writing my thread I've relied on this paragraph in Chapter 147, p. 1312. To compare: I would be wondering. If Intent is involved, there's no way it's from Taravangian - for reasons I've stated in my OP. Retribution's rage simply amplified the distortion.

After 41 days reading and painstaking note taking, Wind and Truth is done. This is my very first dive into theory crafting, so please forgive if I express some things wrong. Roshar's Time Dilation So, Honor + Odium --> Retribution + a strange effect of time dilation over Roshar Time goes around 7 - 8x faster than the rest of the Cosmere (Thaidakar, Ch. 147 p. 1320), and this effect will last around 10 Rosharan years. My first impression was this is merely a plot device to align the rest of the Cosmere to Roshar, basically foreshadowing Roshar's involvement in the greater Cosmere. That may imply the current cast of characters will play a part. But we know Brandon doesn't write that simple, though. When Dalinar forfeited Honor and ended the old contract, the immediate reaction was ridicule (Taravangian, Ch. 143; Hoid, Ch. 146). Even Honor "radiated betrayal and confusion" (Ch. 143). That changed quickly, when Hoid realizing how good Dalinar's idea was (Epilogue, p. 1325). Dalinar demanded Honor to change, clearly stated here. He wanted to buy time. He said after forfeiting the Shard: But I can buy you time. For Odium is about to have his attention entirely consumed by a greater problem. (Ch. 143, p. 1284) So how can you buy time when the power had left you? The Shard of Honor was without a vessel for 2,000 years (Interlude 16, p. 976), and it was becoming self-conscious. Becoming alive. Honor, at Dalinar's last moments, finally understood his plan where nobody expected it. In fact, Dalinar demanded Honor to merge. When Shards interacted, their intentions determined the effects. 7,550 years ago, Tanavast, provoked, clashed with Rayse with mighty rage. Both intended destruction. The land became the Shattered Plains, and anti-Light was created (Ch. 120, p. 1098). I'd say Dalinar wanted Honor to warp time when merging - thus fulfilling his plan. Buy time, but in a different way. As time slows to a near halt at Roshar, Taravangian's plans to build a new army of Fused and Unmade were no longer feasible. With Tanavast's old contract broken, Retribution was pitted into a very uncomfortable position. He went into hiding (Epilogue, p. 1325), desperate to divert other Shards to Scadrial (Ch. 145, p. 1297), and mulling to install a regent of Roshar (Ch. 145, p.1297). Taravangian resented how he fell into Dalinar's trap and being robbed centuries of time (Ch. 145, p. 1298). Honor's Future in Retribution I'm very interested about Honor's half of Retribution. Taravangian now owns two Shards, but Honor is sentient, more alive than Odium. Dalinar had earned a personal connection with Honor, and he demanded the Shard to grow its personality. That Dalinar commanded it to merge left me speculating that Honor should remain alive under the new Vessel. Does it remind you of Syl, how much she'd changed from The Way of Kings? * Edit (18/4/25) I've conceded my theory about time dilation. @Treamayne's answer should be conclusive.

I've finished the end just an hour ago. After reading previous replies I think my favorite scenes aren't the popular ones. I enjoy the Stormlight Archive until the end, but I've began to think that's ironic. I'm not so drawn to the action. All the way from The Way of Kings. I love revelations, anything that's emotional to a personal level, or a twist. I am pretty much excited when the next chapter is a Dalinar vision, or later Tanavast's recollections. If I can give a chapter I like most, that's Two Women, Ch. 116. How Taravangian tears open Jasnah's contradictions... that twist has the same level of mastery Brandon wrote at the end of The Way of Kings and Words of Radiance. I noted on my paperback that's "one of the best of all five books." There's a general consensus that Adolin's arc in Azir is a favorite, but I don't get it other than how it ended. Do any of you think that battle scenes in Wind and Truth has become somewhat... dilute? Or that's me burned out?