Oathbringer by Brandon Sanderson


Lemming of Discord
Jun 4, 2006
The Stormlight Archive Book 3: Oathbringer

The world of Roshar stands in peril. The ancient, dark force of Odium has returned and the Voidbringer armies have come with him, subverting the parshmen, former slaves of humanity. Dalinar Kholin, the Blackthorn, one of the most feared warriors on the planet, finds himself tasked with leading the reformed Knights Radiant and uniting the world against this new threat. But to accomplish this he must overcome his own reputation as a bloodthirsty tyrant and make peace with his own, half-forgotten past.

Oathbringer, the third volume of The Stormlight Archive sequence, is a big book. At just under 500,000 words in length, it may be the second-longest epic fantasy novel ever written, behind only Tad Williams' To Green Angel Tower and significantly longer than The Lord of the Rings in its entirety. Clocking in at 1,250 pages of fairly small print, reading it is a mammoth undertaking. At regular points in the narrative the saying "journey before destination" is uttered by key characters, perhaps a message from the author to keep going and stay the course.

The Stormlight Archive is certainly Sanderson's most ambitious work to date - seven more books are planned in this series alone, and many more in the linked Cosmere universe - and also his most accomplished. Sanderson has always been a skilled worldbuilder, creator of magic systems and an eager student of epic fantasy, learning from other authors in the genre, but this series has also seen those areas where he was lacking in earlier works, such as nuanced characterisation and the depiction of a large and diverse cast of characters, step up a notch. This is a solid series, but it's also one that has often creaked under the weight of its own complexity, and Oathbringer is almost brought low by the weight of the material.

At its heart, Oathbringer is a simple story: Dalinar Kholin is, for lack of a better term, the Chosen One who must united the world against, an ancient returning evil. However, he is also tainted by his own past in which he was a warrior with a reputation for savagery and butchery. The challenge he faces in Oathbringer is dual-pronged. Externally, he must work to unify the kingdoms of Roshar against the renewed Voidbringer threat. Internally, he must overcome the demons of his past. This is complicated because he deliberately suppressed his past through magical means to remove the pain of an event involving his wife. This is - rather more literally than is normal - the traditional story of a protagonist going through self-realisation and healing a past wound in order to achieve a necessary goal in the story. Whilst traditional, it makes Dalinar a far more relatable figure (but not always a more sympathetic one: Sanderson does not absolve Dalinar of the horrible acts he committed whilst younger).

However, this simple story is almost drowned under pages and pages and chapters and chapters of "other stuff." Heralds. Knights Radiant. Voidbringers. Shadesmar. Spren. Stormsurging. Soulbinding. The Recreance (which is set up as A Major Revelation and turns out to be merely the characters of Roshar learning something that readers of the wider Cosmere series will already be aware of). The Diagram (an epic fantasy take on Isaac Asimov's Foundation). Magical talking swords that you need to have read a completely different book (Warbreaker) to fully understand. There is a lot of stuff going on in this book, often requiring pages and pages of exposition, but only some of it is really relevant to the plot at hand. By the time I finished Oathbringer I was feeling nostalgic for Steven Erikson's more opaque but far more successful approach to worldbuilding and magic systems (explain what's needed, just let other stuff that's not unfold in the background and move on).

There's also a great deal of repetition in the book. The first half of the novel, in particular, is slow-moving with constant and repetitive strategy meetings and characters meeting up to discuss the plot which they - and we - already know about. Aside from some surprising new information about the returned Voidbringers, relatively little in this section of the book justifies the immense word count it took to get there.

Fortunately, the second half moves a lot faster. We get two massive climactic battles in key locations and a trip to the Shadesmar dimension, which underpins not just Roshar in the Stormlight Archive but all the planets in the wider Cosmere, so getting to see it in more detail is interesting. This side-story is also relatively brief and constrained, feeling like a tighter self-contained novella within the larger novel. The Way of Kings and Words of Radiance both did this a lot, with what felt like short stories contained within the larger novel that were there to flesh out the world and backstory but be entertaining in their own right. Oathbringer does this comparatively rarely, and not as successfully.

The concluding battle and accompanying revelations is epic and well-handled (maybe a little too long with a few too many reversals of fortune, but still relatively brisk compared to the rest of the book). There's some firm new understandings of the world and the stakes involved in the struggle against Odium. But the overwhelming feeling is that we could have reached this conclusion far more quickly and far more concisely.

More problematic, there is a very strong echo of Sanderson's earlier Mistborn series in how this volume unfolds. That trilogy saw a group of young, inexperienced characters discovering amazing magical powers and coming to a firmer understanding of their nature and how to use them when they get involved in the ancient struggle between the godlike Shard-holders resulting from the Shattering of Adonalsium, with the mysterious Hoid popping up a couple of times to help them. This is pretty much exactly what happens in Oathbringer, with just the magic systems and the characters swapped around. This is exacerbated by the fact that at the very end of Oathbringer Sanderson has an opportunity to do a ninety-degree turn and take one character in a very different and far darker direction that would have been much more original and interesting, but ultimately chooses a more traditional resolution to that story which feels like a massive missed opportunity.

By the time I finished the book I felt conflicted. On the one hand, my admiration for Sanderson's worldbuilding, plot construction and his continuing self-analysis as a writer and his capacity for growth remained undimmed. Oathbringer explores some wider literary themes of compassion and forgiveness and does so quite well, and Sanderson is definitely getting better by book at handling character. Unfortunately, his dialogue is extremely variable sometimes far too modern and grating. The romance storyline is also massively under-developed, although given how weak it is this may be for the best. Sanderson's sense of humour is variable, with some of the supposed witty banter between characters coming off feeling forced and unconvincing. Other elements, such as the single-minded bloodthirsty nature of the sentient sword Nightblood, are more entertaining.

Ultimately, The Stormlight Archive cannot withstand comparisons with the most accomplished works in the epic fantasy genre that nod towards realism: A Song of Ice and Fire has far superior prose and characters (though, obviously, a lamentably poorer release schedule); Wheel of Time has, for all its insane length, a much clearer plot through-line that goes through the series and doesn't overburden the reader with too many magic systems and unnecessary backstory plot coupons; and The Malazan Book of the Fallen (of which Stormlight all too-often feels like a less sophisticated YA remix) deals with a lot of the same ideas and themes in a far more original, literary and interesting manner.

What Oathbringer (***½) does do really well is action, worldbuilding and magic on one of the most interesting worlds developed in epic fantasy. From that viewpoint Stormlight reads like a crazy anime series in prose form, complete with impractically massive but awesome swords, bonkers magic and a somewhat juvenile take on romance. If you can overlook the problems with the unnecessarily-padded length of the book, there's a lot of fun to be had in this world, but it's not one of the deepest fantasy series around. The novel is available now in the UK and USA.


Well-Known Member
Jul 1, 2018
Reading this now. Id forgotten a lot of the minor details and lore in the series, but Sanderson does a good job of reminding of the worldbuilding.


Lemming of Discord
Jun 4, 2006
The Stormlight Archive Book 4: Rhythm of War

The war between the forces of Odium, a dark god who desires ultimate power over the Cosmere, and the Knights Radiant is continuing to escalate. The Knights Radiant have conquered the ancient tower-city of Urithiru and are using it as an impregnable stronghold to wage war on Odium's forces. Dalinar Kholin forms an alliance with a skilled general and decides to mount an attack on Odium's armies to the south, whilst his son Adolin embarks on a dangerous mission into the other-dimensional realm of Shadesmar to seek an alliance with the honorspren, a task complicated by ancient crimes committed by humanity against them. Kaladin Stormblessed, the greatest soldier in Dalinar's armies, finds himself granted a leave of absence to deal with his own battle stress and self-doubt. But Odium is not beaten yet and takes advantage of Dalinar's absence from Urithiru to put a bold plan into motion.

Rhythm of War is a lot. It's the latest in a lot of books: this is the fourth of ten planned books in the Stormlight Archive series and the twelfth of a planned thirty-odd books in the wider Cosmere universe. It's a lot of pages: at more than 1,200 pages this is the longest epic fantasy novel published since the previous volume in the series, Oathbringer, which in turn was possibly the longest fantasy novel published in over a decade. It's a lot of characters, with dozens of major and minor characters playing important roles in the story. It's also a lot of worldbuilding, with fabrials and Shardplate and voidlight and stormlight and half a dozen different magic system employing different principles being discussed at chapter-stretching length (not helped by the three-year gap since the last book in the series; keeping the Stormlight wiki on standby during reading may be advisable). This is not a series for the faint-hearted or the short of time.

Rhythm of War is also, it is pleasing to report, a stronger novel than its forebear, arresting a slight decline in quality that the series had been suffering since the start. The Way of Kings was a strong novel which set up an unusual, alien setting with an interesting story and worldbuilding and characters who were among Sanderson's best. Words of Radiance was almost as good, but suffered some pacing issues. These pacing issues became overwhelming in Oathbringer, a relatively simple and focused novel that was diffused and made more complicated than it needed to be by immense amounts of worldbuilding and backstory discussions that, strictly speaking, didn't really need to be in the book.

Rhythm of War shores up a building that was, if not in danger of collapse, starting to list under its own weight. The novel is helped by dropping the completely self-contained side-stories that appeared in previous novels and by setting up very clear stories around its four main characters: Venli, Shallan, Kaladin and Navani (with Dalinar, Wit, Adolin and Lift having reasonably important secondary roles). Each story is told clearly and intersects with the others in a well-laid out manner, with Sanderson expending a lot of energy on making these characters jump off the page more than previously.

It's also a heavy novel, in the sense that both Shallan and Kaladin's stories revolve around mental health, stress, PTSD and other issues revolving around personality disorders and the need for good mental health practice. It's a strong theme that was touched on in the previous books but becomes a major plot point in this novel. It's welcome to see a contemporary issue being fleshed out in a fantasy novel in a respectful and mostly well-handled way. However, given the novel has come out in the middle of a global pandemic and many readers will be suffering stress and pressure as a result, readers should be forewarned going into the book that it is tackling weightier-than-normal themes for the author.

The clear demarcation and semi-equal screen time between the four leads helps tremendously in overcoming the pacing issues from the previous novel (thinking of this more as four much more reasonably-sized 300-page novels, each focused on a strong lead character, helps).

That said, problems remain. There are immense stretches of time, especially in the Navani storyline, where characters sit around and discuss worldbuilding issues between them. The idea of characters in a epic fantasy novel acting like scientists and trying to work out how the magic of the world works in an experimental manner is really interesting, but the novel does feel it goes a bit overboard as we see people using magnets and beakers to try to catch stormlight and voidlight in bulbs and do weird things with them. It's a cool idea that is overindulged in.

In addition, the splitting of time between the characters feels a bit uneven at times, with the Shallan/Adolin/Shadesmar plot benched for the entire central third or so of the novel because the author ran out of things for them to do. That's a reasonable solution and better than giving them filler, but it's a bit odd that Shallan is a such a hugely important character at the start and end of the novel but then completely vanishes between.

There's also a perennial Sanderson problem that he's improved on a lot book-by-book but still pops up at odd moments, namely that Sanderson is traditionally a writer who works from the head rather than the heart. There are sections in this book that do feel more like they've come from the heart, excellent action sequences as characters confront old enemies or moments of major character revelation, but some of the book feels studied, analysed and written with something of an absence of passion. This is particularly notable whenever Odium appears live on-page. The Dark Lord showing up to confront the characters (even in a vision where they can't touch or fight one another) should be a major event, but pretty much every time this happens some kind of odd debate on rules of conduct unfolds; the last such major confrontation has all the tension of Odium and Dalinar debating the small print of a text like two opponents who've paused a board game to check the rules online to see if an odd move is allowed. There is a last-minute, genuinely impressive plot twist that might change this for future books, but that remains unproven for now.

Rhythm of War (****) is a stronger novel than the one that came before it and continues to display Sanderson's strengths to full effect: immensely detailed, convincing worldbuilding, solid action and a logical, considered development of the plot, as well as interesting characters. Some of his weaknesses remain, such as a tendency to overwrite, occasionally getting bogged down in the minutiae of the setting and a lack of writing flair in some scenes which doesn't sell big events as much as they should be sold. But it's hard not to remain impressed by the sheer size and scope of the story he is telling here.


Human, c.o. Earth
Mar 18, 2012
I had to pause after books two to wait for book 3 to be published. And by now, I‘d better re-read the first two before tackling the next installments. Not sure if I‘m up to that.

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