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Karia
Mar 27, 2013

Self-portrait, Snake on a Plane
Oil painting, c. 1482-1484
Leonardo DaVinci (1452-1591)

Oh, hey, just noticed that this new thread started up. I'll get back to Way of Kings tomorrow. Since it's been established that Sanderson sucks at the technical aspects of writing, I'll move on to discussing characters and plot.

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Karia
Mar 27, 2013

Self-portrait, Snake on a Plane
Oil painting, c. 1482-1484
Leonardo DaVinci (1452-1591)

Before I start, I want to thank you for this, and reinforce the message:

TheGreatEvilKing posted:

Don't touch the poop
The last thread devolved into people invading the Brandon Sanderson thread to post literary masterpieces like "penis". Just don't. Yea, it's funny most of the discussion in that thread is surface level, or that Brandon Sanderson is supposedly writing this great saga about divinity while removing all mystery and wonder from any depiction of gods, but we really don't need to be in there.
I don't like this book. But other people are totally welcome to, and any criticism I have are solely of the book and author, not of its readers. Yes, I am analyzing this book because it's very popular on these forums and I want to see what all the hype is about. But I have no interest in making GBS threads on something that other people like. Let's keep the critique inside the thread and focused on the text.



Way of Kings Part 4

The first three installments of this read-along of Way of Kings focused solely on technical aspects. The first showed that Sanderson's prose is boring and uninteresting. The second took a look at his much-vaunted world-building in the Purelake, a massive lake hundreds of miles across that has lucky fish. The third went through the remained of the Purelake interlude and demonstrated that it has no plot relevance, no thematic importance, and serves no purpose in the story besides acting as a callout to some of Sanderson's other books and his weird extended universe thing.

I am currently on page 309, out of 1252. That puts me almost exactly 25% of the way through this book. Given that a lot of books would be wrapping up by this page count, I think it's worth checking in on each of our MC's and seeing what they've been up to.



Kaladin Stormblessed

quote:

"The world just changed, Gaz. I died down at that chasm. Now you've got my vengeful spirit to deal with."
...
"We're going to start over new, you and I. Clean. And I want you to understand something from the start. I'm already dead. You can't hurt me."
Kaladin. is the commoner son of a backwater Alethi surgeon, who somehow ended up in the army for currently undisclosed reasons. As Sham has pointed out, his character archetype is paladin. He's got a magic fairy that follows him around, and magic powers that he doesn't know about. He got betrayed by his commander and thrown into slavery for undisclosed reasons. He was eventually sold to the Alethi army's bridge crews, basically suicide troops that lead the charge, and fell into serious depression. At the end of act 1, he was just about to kill himself when his fairy convinced him to "try again". After the interlude, he starts trying to get his bridge crew in better shape so they'll survive longer.
Kaladin annoys me. He's just... not very interesting as a character. He's badass, then gets depressed for a while, then feels better, and then he's immediately badass again. Tor did a blog post about how this book is about mental illness and "broken people saving the world." So far I'm not impressed. I'm equally unimpressed by the class warfare theme that Sanderson tries to use Kaladin for. I'll give the book a bit more time before I dig too much into those, though.
Also, his character arc is... not what you'd expect.

quote:

"You were right, Father," Kaladin whispered. "You can't stop a storm by blowing harder. You can't save men by killing others. We should all become surgeons. Every last one of us..."
He spends the rest of the book realizing that, yes, you can save people by killing people.



Shallan Davar

quote:

Sometimes, she wondered how it had come to this. She was the quiet one, the timid one, the youngest of five siblings and the only girl. Sheltered, protected all her life. And now the hopes of her entire house rested on her shoulders.
Their father was dead. And it was vital that remain a secret.
Shallan is a young noblewoman and scholar. Her family is on the verge of financial collapse due to her late father's financial mismanagement. He recently died in currently undisclosed mysterious circumstances (which it's implied Shallan may have had something to do with), but they're trying to hide that. She's trying to raise money for her family by stealing a magical McGuffin from an infamous scholar, Jasnah Kholin. In order to do this, she needs Jasnah to take her on as an apprentice. In act 1, Shallan asked Jasnah to take her on. Jasnah said no. Shallan asked Jasnah again. Jasnah said no, but read some more books and I'll take you on in five years. Shallan goes out and buys some books and Jasnah agrees to take Shallan on. Oh, and we haven't been told it yet, but she's got magic powers. She's got a quick tongue and likes to draw. Oh, and she's ugly!

quote:

She was pale-skinned in an era when Alethi tan was seen as the mark of true beauty, and though she had light blue eyes, her impure family line was manifest in her auburn-red hair. Not a single lock of proper black. Her freckles had faded as she reached young womanhood - Heralds be blessed - but there were still some visible, dusting her cheeks and nose.
Remember, pale skin and red hair are ugly in this book. Shallan may be interesting. Or she may be boring. I don't know. She hasn't done anything yet. I don't remember a thing about her from the last time I read this, so I suspect she remains boring. But there is one positive: she'd undoubtedly dislike her own book.

quote:

"See, she was too discriminating. The body needs many different foods to remain healthy. And the mind needs many different ideas to remain sharp. Wouldn't you agree? And so if I were to only read those silly romances elf books you presume my ambition can handle, my mind would grow sick as surely as your sister-in-law's stomach."
Some hypocritical judgement of other fantasy authors, or a rare moment of self reflection on Sanderson's part? You decide.



Szeth-son-son-Vallano, Truthless of Shinovar

quote:

Szeth-son-son-Vallano, Truthless of Shinovar, wore white on the day he was to kill a king. The white clothing was a Parshendi tradition, foreign to him. But he did as his masters required and did not ask for an explanation.
Szeth is a slave from a country we don't know anything about. He was cast out by his people for some (say it with me: currently undisclosed) betrayal. Now he's bound to follow the orders of anyone holding his Oathstone (literally just some rock. And when I say holding it, I literally mean holding it. Pick it up off the ground, you're his master.) In the prologue, he assassinated King Gavilar with his magic powers at the command of the Parshendi (evil black/red people.) After that, he appeared in the third interlude, where he was bought by a crimelord who's going to use him as a thug (but doesn't know about his magic powers.) But everybody knows that this is just a reminder that he exists until Sanderson decides to make him plot-relevant. After all:

quote:

What would these men say if they knew that the man who emptied their chamber pot was a Shardbearer and a Surgebinder? A Windrunner, like the Radiants of old? The moment he summoned his blade, his eyes would turn from dark green to pale - almost glowing - sapphire, a unique effect of his particular weapon.
Szeth has a lot of potential as a character. There's a lot of pathos that you could get from a slave desperately trying to hide his real capabilities from his master because he doesn't want to kill. But it's spoiled by the fact that Sanderson doesn't give him any page space. It's also spoiled by prose like this.

quote:

Szeth gloried in being wasted; each day he was made to clean or dig instead of kill was a victory. That evening five years ago still haunted him. Before then, he had been ordered to kill - but always in secret, silently. Never before had he been given such deliberately terrible instructions.
Kill, destroy, and cut your way to the king. Be seen doing it. Leave witnesses. Wounded but alive....
Pass.



Dalinar Kholin

quote:

You must unite them, the strange, booming words had told him. You must prepare. Build of your people a fortress of strength and peace, a wall to resist the winds. Cease squabbling and unite. The Everstorm comes.
Dalinar, aka the Blackthorn, is a Highprince of Alethi widely renowned for his skill in combat, and the brother of the deceased King Gavilar. He commands an army in the revenge war against the Parshendi. However, he's getting sick of the other Highprinces' attitudes towards the war, since they're just treating it as a game for political and economic advantage. Rather than focusing on personal advantage, Dalinar is obsessed with protecting the new king out of guilt for failing to protect his brother. He is also researching his brother's dying last words: "You must find the most important words a man can say." Most significantly, he is our first hint that there's actually a plot to this book: he has started having prophetic dreams telling him that something ominous is about to happen.
Dalinar (and thus the actual plot) was only introduced after the interludes. Since he's only gotten twenty or thirty pages so far, I'll withhold judgement on him.



This is a complete summary of everything important that's happened in 310 pages. To summarize: Kaladin got carted around as a slave, tried to kill himself, and now he's trying to get the bridge crew to work out. Shallan begged for an apprenticeship until she got it. Szeth assassinated a king for reasons we don't know. Dalinar had some dreams, wagged his finger at some of the other Highprinces for their gamesmanship, and he's learned that the book actually has a plot. All of this is punctuated with a half dozen different battle scenes, none of which are interesting.

All of the characters have a lot of backstory that they're explicitly refusing to tell us. All pertinent questions about the world at large are ignored until Sanderson decides he wants to reveal them (why did the Parshendi have Gavilar assassinated? What are these weird spren things? What does the prelude set thousands of years ago have to do with anything?) No overarching themes have shown up: classism is only in Kaladin's story. The search for knowledge is only in Shallan's story. And Szeth and Dalinar haven't had enough page time to establish any themes. Everything is just drawn out and out and out to fill up page space.

No wonder this is 1200 pages long. We're 300 pages in and nothing has happened.

Karia
Mar 27, 2013

Self-portrait, Snake on a Plane
Oil painting, c. 1482-1484
Leonardo DaVinci (1452-1591)

Intentional doublepost: is there any feedback on my format here? Due to this book's scale and impact on the genre, I felt it deserved more than just a single effort-post. However, with the shocking lack of content in this book, I couldn't justify a chapter-by-chapter readalong like BotL did for Rothfuss. There really just isn't enough to the story. My compromise was to do a series of posts each focusing on a specific aspect of the writing (prose, characters, worldbuilding, etc. Soon I'll start going into specific themes.) Is this approach working for people? I've still got another 950 pages, so I have plenty of time to tailor this to the thread.

:cripes: Dear god I have another 950 pages to go.

Karia
Mar 27, 2013

Self-portrait, Snake on a Plane
Oil painting, c. 1482-1484
Leonardo DaVinci (1452-1591)

Xotl posted:

Oddly, I'd appreciate a little more detail on just how Sanderson manages to waste so many pages. What goes into 300 pages of fluff; what does that fluff look like? Is he a rampant worldbuilder, a repressed dressmaker like Robert Jordan was, someone who likes endless pages of pointless conversation, something else? I'm getting the sense that a lot of it is worldbuilding, but is it literally all storing up future plot seeds?

Worldbuilding is the biggest factor. And it's definitely not all for plot purposes. How much do you want to know about currency? We've gotten probably five pages collectively describing how they use glowing magical gems embedded in glass spheres as money, and how they leave them outside during storms to recharge the magic. Did you know that you can use them as reading lights? Or for lighting during surgery? But it's better if they're all the same kind of gem, because otherwise they give off different colors. Or how about worms? We've got a page describing how to remove worms from their crops so they won't eat all the grain. Or we can talk about the Purelake, and how it's a single lake hundreds of miles wide with lucky fish. Four pages. And of course, we get constant interruptions in the middle of all the battle scenes to talk about how cool their magic armor and swords are. Or we can talk about spren. There's this one kind that shows up around dead chasmfiends. Nobody knows why. I don't know if it's important but now you know! Isn't that interesting?

It all adds up. Really fast.

TheGreatEvilKing posted:

I really think the darkeyes/light eyes stuff is more of a racism deal, just with eyes instead of skin.

I'll have more to say once you get to a certain part.

Not sure what you're referring to, but please share once we get there! I see a classism theme based on how much he plays up the "games of nobles with peasants caught in the middle" aspect for the war. The "go to war to gain renown so you can marry the noble girl" thing also strikes me as more of a class thing. But there's a lot I don't remember about this book.

Whatever it ends up as, I hope it's better than Mistborn's "the lower classes were genetically engineered to be subservient and better at manual labor after we wrecked the ecosystem" thing. That was certainly interesting.

A human heart posted:

if i was a cool smart man with a lot of time maybe i'd write a big ol effort post about how this is the root of contemporary anglo american fiction being mostly bad.

And please do this.

Karia
Mar 27, 2013

Self-portrait, Snake on a Plane
Oil painting, c. 1482-1484
Leonardo DaVinci (1452-1591)

There's this massive army that's been sitting in the middle of a barren wasteland for six years. So maybe those worms I mentioned are going to eat all the grain and there's going to be a famine and this army with overextended supply lines is going to starve?

They literally feed the army with magic. So no, that's never going to be important. It's just random factoids.

Karia
Mar 27, 2013

Self-portrait, Snake on a Plane
Oil painting, c. 1482-1484
Leonardo DaVinci (1452-1591)

TheGreatEvilKing posted:

I saw it more as racial due to the hereditary biological trait of eye color, but your case for classism is fairly strong too.

It's weird because I remember you can get promoted to Lighteyes so maybe I'm just wrong.

It's... not a perfect analogy. The genetic component is definitely a weak point in my argument. I think there's even something about mixed children have a 50-50 chance of being lighteyes or darkeyes. I think we'll get a lot more about that once Kaladin starts interacting with the lighteyes, wouldn't surprise me if one of the bad guys goes on a rant about how darkeyes are inherently inferior. Or someone might accuse Kaladin of being a reverse-racist because he hates the lighteyes or something. I'll have to see how it plays out, I really don't remember that part of the book (basically all I remember after this point is Kaladin ping-ponging between saving the day and being an idiot.) But ultimately I'll probably make an intersectional/Marxist argument here: racism is one tool that has been exploited to maintain the power of the upper class, and is closely tied to other forms of discrimination.

Supposedly darkeyes can actually become lighteyes if they win great feats in battle. But it hasn't happened in recent memory. Astonishingly, this hasn't happened to Kaladin according to the wiki.

Karia
Mar 27, 2013

Self-portrait, Snake on a Plane
Oil painting, c. 1482-1484
Leonardo DaVinci (1452-1591)

Oh, hey, not remembering THAT. I'm surprised I didn't see that on the wiki, it's usually obsessively detailed. Or I just missed it while skimming. Bet he throws a temper tantrum about that one.

Yeah, seems like a point in your favor. I'll keep an eye out for that. What the hell is up with Sanderson and genetic exceptionalism? Is this some Mormon thing? Guess I need to watch Book of Mormon again.

Also I don't give a drat about spoilers. I'm reading this book for the second time so I can get the series off my to-read shelf without feeling too guilty. Post whatever evidence you want.

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Karia
Mar 27, 2013

Self-portrait, Snake on a Plane
Oil painting, c. 1482-1484
Leonardo DaVinci (1452-1591)

Silver2195 posted:

That's not actually how it works.

Wielding a Shardblade turns your eyes light. This is not actually heritable, IIRC, and doesn't even necessarily mean that you're virtuous. People with naturally light eyes were originally seen as superior by association with them, but this has been forgotten, to the point where it's implied that people misread references to "lighteyes" in ancient texts as referring to everyone with light eyes when it originally referred only to the Shardblade-wielding Knights Radiant. While in theory you could become a lighteyes by defeating an enemy Shardblade holder in battle, it's implied that this happened rarely, if ever, in practice before Kaladin, and as Amaram's actions show, it's doubtful that a darkeyes who defeated an enemy Shardbearer would actually be allowed to keep the Shardblade. It was basically a bootstraps myth to keep the darkeyes in line.

That makes more sense and lines up a bit better with what I remember, thanks. We've already gotten hints about that with Szeth's eyes changing when he uses his magic. I'll have to see how it's presented when it comes up. That reveal is at the end of book 1, right?

See, this is the sort of world-building that I can get behind, it helps support and build a theme. Pat already pointed it out:

Patrick Spens posted:

The legitimization and de-legitimization of authority is a running theme throughout Stormlight. Dalinar and Gavilar are both jumped up thugs who seek to legitimize their power by becoming the kind of virtuous rulers who would have deserved to be kings. As a class, lighteyes are the reverse. Greedy and violent thugs who cling to the signifiers of legitimacy even after the knowledge of what light eyes meant has been forgotten.
There's something interesting to discuss here. We can debate whether it's commentary on racism or classism or generic political authority, and we can discuss the merits of its presentation. But what are we supposed to debate with the monetary system? It's there, it's kinda connected to the magic system and the storms, I can see how it would make sense in the world at large, but all you can do is just describe the spheres and then the discussion is over. There's nothing to engage with.

(Just to short-cut this in case anyone's going to bring this up: yes, the fact that spheres glow will be relevant when Kalidan's dad steals them, and that event does feed into the over-arching authority theme, but it could have been written in just as compelling a manner with normal coinage. Or a really expensive lamp. It certainly does not merit how much page space they've gotten.)

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