• One Piece chapter 1085 review

    What a chapter to come back from the break on, this is huge. And we’re not even at the end of volume 107 yet, so what could possibly top this next week?

    The Void Century and founding of the World Government continue to be teased in drips and drops, more implication than explicit detail, everything carefully worded. Cobra’s unfinished sentence certainly implies that Imu is one of the WG’s twenty founding monarchs, but I could see it being finished ‘among the first twenty there was a servant’ or ‘an advisor,’ or ‘a concubine,’ or any number of other things that sidestep questions like whether Imu has descendants among the Celestial Dragon families, and if they favour them, or if not why the rundowns of the family lines of the gods given by the likes of Dofamingo wouldn’t snidely question why there are only eighteen family names in the mix when it should only have dropped to nineteen with the Nefeltari’s rejection. We haven’t ruled out the possibility of Imu being someone who connived to gain power rather than one of the original kings who somehow managed to prop themselves up in the ultimate position without arousing the suspicion of the others.

    What this does seem to deconfirm is the idea of Imu as some alien or literal demon or other secret otherworldly force that manipulated the founding monarchs. I’ll be very surprised if Imu isn’t one of the native peoples of One Piece’s world, for them to have been among the founders openly enough that the name survived in a history book.

    But we do get two confirmations of things that were only at 99.9% certainty previously. First, the D Clan being enemies of the World Government. Yes, this was made obvious by nobles treating them like monsters to scare their kids and spelled out further when the Ds were called natural enemies of the gods, putting them at odds with the Celestial Dragons’ self-styling. But now we have a primary source stating outright that yes, the Ds and the World Government fought as enemies. (This will shortly be muddied by the revelation that there was a D among the Government’s founders, but hey the reasons for that are just one more thing to look forward to finding out.) And we’re also told that the real meaning of the D is not passed down alongside the initial and the current people with it don’t know the truth. Of course, Law’s mission to investigate the D through the Poneglyphs made this more or less guaranteed anyway but now the figure who would know is saying it.

    What does fascinate me though, is learning that the Poneglyphs were scattered across the world in a single incident. Previously, my guess would have been they were entrusted to allies of the Ancient Kingdom and hidden away individually as some kind of failsafe, but instead the World Government seemingly had the opportunity to suppress them all at once and failed. The kind of power it would take to shift all 30 stones to precise locations (remembering that some are supposed to give directions to others, so their destinations would have been incredibly specific) at once is a rare thing, even in One Piece’s world. Maybe an ancient user of the Paw Paw Fruit?

    Whatever the method, Lily’s motive for letting them go will be an interesting factor in the inevitable Void Century flashback.

    I was very surprised to see the Five Elders draw weapons on Cobra (let alone transform). I was strongly in the camp that saw them as pure politicians rather than combatants. But maybe I should have seen the tide turning in the last chapter, with the discussion about guards disappearing. Someone close enough to be in on the Imu secret has to have the power to suppress and dispose of the guards elite enough to be trusted with Pangea Castle.

    The Nefeltaris as a D clan is huge. What else can you really say about it? Vivi’s position as a central figure to the final saga is all but confirmed by this.

    And then there’s the transformations. Hey, I thought it was the party not in power that was meant to form a shadow cabinet! I don’t think there’s enough information to make strong guesses about the Elders’ powers save for one, who I’ll get to in a moment, although there are some interesting theories going around already. I wouldn’t even say it’s certain that they’re all Zoan types. Karasu has just been showing us how animalistic a Logia can get, let alone the limitless possibilities of Paramythias. But I want to zero in on one guy with a few factors lining up. The arrow that pierces Cobra sure looks like a traditional devil tail. And it comes in from his left side, not directly ahead, so I don’t think it’s Imu’s. When the Elders transform, the silhouette furthest to the left has some pretty distinctive horns. Maybe this is the Human Human Fruit, Model: Devil. And for a bonus, the Elder standing in that position before transforming was Saturn, who is en route to meet the Strawhats in the present, so we might get confirmation on this one sooner rather than later.

    That said, the second arrow attack as Sabo and Cobra flee seems to come from a silhouette without horns, either the Elder second from the left or Imu himself. But that might just be a quirk how the scene is framed.

    I can see some people bothered by the convenience of a transponder snail recording during such a top secret meeting to get Sabo’s picture, but we saw in the last chapter Imu in their secret room listening to the conversation live through a snail, so it’s probably just that one.

    The little Sa D. Bo flashback is a funny one. Never expected Oda to pay homage to that brand of fandom meme so explictly. I’m torn between arguing that it’s just a gag and Sabo doesn’t really have a D, and arguing that in a series that has leaned so heavily on themes of inherited will and found family that it could be as easy as someone with the will saying so to pass it onto a new bloodline. It would definitely help the idea that not all Ds are related. This does raise the question of Sabo’s family name though. Being a noble, he has to have one. Even if he gave it up upon running away like Sanji did with the Vinsmoke name, shouldn’t we have learned it through Stelly? This might be good SBS fodder.

    Cobra makes a hell of an exit, dropping lore bombs to the last. I’m surprised we don’t get the near-obligate panel of the D facing death with a smile this time around. Maybe it’s just less of a rule than we were led to believe, or maybe there’s a little more to see before we’re done with this.

    While I love Wapol’s return to relevance, I’m actually somewhat surprised to see him landing in this position. If anyone was foreshadowed to creep back into the throne room and witness something terrible it would be Stelly, who stared up at the throne drooling and thinking about how much he wanted to sit on that thing. Are we still coming back to that? Was it just a gag? Or did Oda even intend to use Stelly in this role when he wrote the first part of the Reverie back before Wano, and changed his mind of the past fiveish years?

    Nice moments for Issho and the Leo/Sai duo in the Cipher Pol scene. Still not a huge fan of all of CP9 making it to CP0 though. And I have some questions about Issho ‘helping’ the Revolutionaries free slaves during the attack. Surely he wouldn’t get to keep his job after that. At least if it was as blatant as Jabra makes it sound. Has to have been more of a plausibly deniable ‘whoops, didn’t see them going’ kind of thing that Jabra and Aramaki are seeing straight through.

    I don’t necessarily have a suspension of disbelief issue with Vivi slipping her bonds to escape alongside Wapol here, it makes sense she’d have been working on something anyway, but like one panel of her palming her old peacock whips to cut the ropes or something would have gone a long way to making things feel comprehensive here. It’s a small enough that that Oda could definitely have found space on the page for it if he wanted to. I think I’m just taking it easy on this scene because of how funny it is for Kinderella to assume Wapol and Vivi are running away together at the end.

    With the apparent promise of an Egghead colour spread next week, I think we’ll see the flashback wrapping up fairly soon. We’ve seen all the things I recall being built up as offscreen Reverie events during the Wano intermissions and pre-Egghead chapters, and seems unlikely anything of note would really have happened as Sabo and the Vivi/Wapol duo make the rest of their escapes. And it would be good to see the Strawhats at least one more time before this volume ends – though I’ve got a sinking feeling that might be a cut back to a state of defeat and York proclaiming her victory as an end-of-book cliffhanger, given how long it’s been. But we won’t know until the chapter drops, and weeks like this just show how hard it can be to predict any part of where One Piece is going next.

  • White Sand omnibus review

    White Sand was the last piece of Brandon Sanderson’s Cosmere I tracked down when I first got up to date and I almost immediately reached the conclusion that it is the universe’s worst story, and that it wasn’t close. It was a slog to get through, and until my reread I could not have told you a thing about its ending or named a single character. The tweaks and updates to the omnibus version take it from ‘worst Cosmere entry by a lot’ to just ‘worst Cosmere entry by a bit,’ which is about as much as I think anyone dared hope for it.

    Going back through part one actually had me thinking I’d been too hard on poor White Sand the first time. Whether it was the new prologue, the updated dialogue or my own desire to find something to like in it on the second go around, I was feeling a much stronger sense of the characters and their motivations, and the first artist’s style lends itself best to the desert backdrops and carapace-covered creatures. The spread showing the destruction after the first big battle sequence is actually breathtaking. There’s stuff to like here. The Ars Arcanum being included as a series of between-chapter cut-ins similar to all the sketches and notebook pages in Stormlight is a wonderful addition as well.

    But then Kenton’s muted reaction to his people being genocided and the deaths of almost everyone he knows makes it hard to connect to him and feels out of character for the highly emotional being he was in the opening chapters. It’s like the destruction of the Diem had to happen from a plot perspective but overcoming grief and mourning wasn’t factored into the poor guy’s character arc so it just doesn’t happen.

    It’s bits like that where you can really feel this being a story Brando made before he was good enough to get published.

    It’s in part two where I was reminded fast and hard why I disliked White Sand so much the first time around. The story is more or less fine now that it’s rolling, even if the misunderstandings that kept Khriss from finding out what Kenton could do stretched my suspension of disbelief, but it’s here the art really just turns to garbage. Kenton burning himself out early on meant we didn’t get to see all that much sand mastery in part one. Now that he’s got it back, the artist reveals that he has no idea how to depict it and is not willing to try anything. The sand ribbons have so much visual potential, especially in close quarters combat, but not a single assassin attack scene does anything with them. Kenton just kinda glows and does stuff. It’s hard to follow and looks awful. Issues that had been slowly building from part one become more prominent. Characters’ faces have an infirm quality to them and sometimes make expressions that seem at odds with what they’re saying, and having to focus on them in all the politicking scenes reveals it. Continuity is rough, with characters dramatically changing their staging relative to each other between panels. And this is after the omnibus removed all the modern tech from the backgrounds.

    I can deal with some sketchy art. God knows I’m a vocal defender of Oda’s super-busy panels and cluttered pages in One Piece, but this is beyond even me.

    I haven’t read anything else this Julius Gopez has worked on. He seems to do mostly superhero stuff and that’s just not my jam, but everything that comes up on a google image search for his name looks better than this.

    And what the hell is with this panelling? All these jagged shapes that break up the flow of the page and disrupt the natural path of the eye. I’m not a traditionalist for many things, but simple grid-based panelling is the standard for a reason. Maybe you get a bit of slanting for the action scenes as a treat, like the comic version of a Dutch angle, but even then the whole row better follow the same tilt.

    The bottom left page of this preview set from the omnibus’s Indiegogo campaign demonstrates most of Gopez’s worst panelling instincts.

    If you’re breaking from the grid, you better have a good reason you’re trying it. Locke and Key gets away with Gopez-style broken glass panelling for a single issue because it had a very specific and obvious mood it was trying to achieve that was intended to disrupt and disorient the reader. White Sand does it just to do it.

    Part three, with a new artist taking the lead, starts to reign the story back in. I think the art can be a little too simple and short on detail in the backgrounds, with a lot of big open spaces, but at least the characters are distinct and the action intelligible. The final duel between Kenton and Drile finally delivers on the promise of sand mastery as a visual magic system and makes you wish we’d been doing things like this all along. Kenton’s arc reaches a reasonably satisfying conclusion during the battle.

    But the story of White Sand doesn’t conclude so much as it just kinda ends. Kenton is left at a decent place, but almost nothing is wrapped up for the supporting cast. Khriss’s political struggles are ongoing and her sand master solution far from certain. Ais is departing on a new journey to sort out her conflicts with her faith. Aarik had compromised on his convictions and retreated into himself. Everyone except Kenton seems to end the book starting up a new arc. It feels like a tragic level of sequel certainty for a story that really hasn’t earned a follow-up.

    And I’d consider that another sign of White Sand being adapted from a pre-publication novel. I’ve got first drafts in my trunk that end in a very similar way.

    White Sand is frustrating. I want to like it more than I do – the potential visual spectacle of sand mastery and the ideas behind a planet with permanent day and night sides is fascinating (even without seeing the night side at all), but the art issues that plague the first two thirds of the book and that newbie-author clunkiness showing through from the unpublished novel it was adapted from undermine its attempts to be something great at every turn. Even with the massive improvements the omnibus edition brings it can’t help being the weakest link in the Cosmere chain.

  • One Piece chapter 1084 review

    That is a powerful Jump cover this week, Luffy is looking damn good. And then on the flip side we have a very fanservice-y colour spread. We say ‘fanservice,’ but really these things seem to be authorservice as much as anything else. Oda draws like he’s just discovered that the t shirt and bikini bottom combo holds a different appeal to him than just a regular bikini pic and has decided he’s going to explore every angle of the idea (and the actual canon Egghead outfits back that up). There’s some nice details in here – Carrot riding a Napoleon tube, Bonney trying to eat the giant koi, Perona’s Kumacy shirt, the tab on the end of Ulti’s club suggesting the got an inflatable version just to take to the pool.

    But there’s also Yamato. Sigh. Look, I think at this stage Yamato in Oda’s mind is just a man and a woman all at once, as the scene requires. I don’t really want to talk pronouns again, but here we go. There aren’t and will never be official pronouns for Yamato as English-speakers understand the term. Because casual Japanese language mostly uses neutral second and third-person pronouns (equivalents being ‘you,’ ‘they,’ ‘that person,’ just calling them by name, etc) and has most of the gendering happen via first-person pronouns (so masculine and feminine forms of ‘I,’ ‘me,’ ‘myself,’ etc), it isn’t the same social faux pas to refer to someone with the wrong gender in part because it’s much harder to do. And the first-person pronouns are taken as more of a masculine or feminine flair rather than the definitive statement of gender English third-person pronouns are, and will often shift based on the mood and formality of the conversation as well. So the Vivre Card didn’t “confirm” anything except the biological bits we can all see because it wouldn’t occur to a Japanese-speaking author to correct a form of reference that doesn’t really exist in his language. Unfortunately, Yamato’s mode of speech doesn’t confirm one thing or another either, because of the flexibility outlined above. Deciding how to refer to a character like Yamato, or anyone fully androgynous or with a tendency to cross-dress becomes less about translation and more about adaptation because the cultural and social ways gender is expressed and how those expressions are taken just don’t line up 1:1. Oda hasn’t made Yamato a he/him or a she/her or even a they/them, so we have to look at how the character acts and what they say and how others respond to them and decide what the best fit for that is in our own framework. And to me, Yamato in the story (particularly the bath scene) screams someone who wants to be viewed as firmly masculine. Maybe a retranslation with the benefit of hindsight could go back over everything and play Yamato in more of a nonbinary/genderfluid/bigender way that gels better with these noncanon depictions of them as one of the girls, but in the version we have, the in-story Yamato reads male.

    With that out of the way, I think we go over a decent bit of familiar ground this week, re-establishing the 20 royal families and the founding of the World Government. I’m getting my hopes up that Oda is trying to remind casual readers of the full context they’ll need for some big impending reveals.

    Sabo and Bonney is a fun little teamup for as long as it lasts. It’s fun seeing characters discover mutual connections like Kuma in such a large world. It’s a shame they seem to part ways before the Cobra incident though, so we probably won’t have news of that making it to the group on Egghead. The Lost Chamber is a tantalising tease to namedrop here. I imagine it’s just Imu’s little garden though. The frozen Strawhat is in a massive fault deep underground, far more than a chamber and way too grand and unconcealable to be a lost.

    While a lot of people say to new readers to stick with One Piece til Arlong Park for it to get good – and they’re close to the mark – I think the point where One Piece truly becomes One Piece is Alabasta. For that reason it warms my heart to see the Nefeltaris become so instrumental to the series big mysteries and impending endgame. The web of relations between Lily, Imu and the D is going to be speculated in circles until the final reveals. The idea of a letter being passed down makes me think of Joyboy’s apology message at Fishman Island. Are they connected? Is one a reply to the other? And we have to consider that Toki will likely have some major role to play when it all comes to light as well.

    Making the Nefeltaris key to it all only redoubles my conviction that if there is to be a final crewmate (and I don’t think there has to be one) it’ll be Vivi. Plot relevance and established presence are key at this stage of the story.

    The Charloss beatdown and Kuma rescue are satisfying moments, but there’s not much to say or speculate about them as we’ve seen the fallout to both already. Mjosguard’s promise to take responsibility works out and Sai and Leo’s choice to go pirate insulate their nations from any residual consequences. The phrase ‘attempted murder’ in the chapter title and the newspapers way back when this happened let us know Charloss is okay. A gap in which we didn’t know the exact players and actions has been filled in, but it’s unremarkable in the grand scheme.

    And we end on Imu. From context we could already guess they were a top-secret presence, and the guards talking earlier in the chapter confirms what happens to people who get a glimpse of them. I like the detail of them listening in from their secret room as well. Makes sense they’d be monitoring the whole Pangea Castle.

    As for their identity… I’m not totally sold on the idea of it being Lily, but it’s not off the table either. The twentieth sword and actual flower lilies in their secret room (though the sword i absent in this chapter and lacked the decay of the others surrounding the throne when seen in chapter 908) could be read either way as echoes of a former life or mementos of a past love, or perhaps even as trophies from a vanquished foe. Was Lily the only of the original royal families willing to speak against the hypocrisy or cruelty or corruption or whatever of the fledgling World Government, taken down before she could share the truth? There’s not much we can fully rule out at this stage but it’s so exciting to be edging closer to real answers every week.

  • One Piece chapter 1083 review

    Well colour me surprised that we’re not just continuing straight on with the scene that ended the last chapter but going into what seems to be a full-fledged, multi-chapter Reverie flashback. This is not guaranteed of course – most flashbacks end mid-chapter with the black panel gutters fading back to white, but there were also points in Zou where you can see a black-gutter flashback run right to the end of a chapter and the first panel of the next chapter is right back to white gutters and present day. Anything could still happen next week, but it seems like we’ll keep going with this plot thread. This is most likely the seventh chapter of volume 107 though, and the run of cutaways started in the (probable) second chapter. We’re getting dangerously close to spending a whole volume away from the Strawhats and – as I’ve said repeatedly – it feels like we broke from their story mid-sentence. I don’t know if this structure will stand the test of time.

    I really enjoyed seeing a more grounded strategic side of the Revolutionaries this week. The steps taken to besiege and starve out the Celestial Dragons make a lot of sense. I can’t imagine it’s easy to grow food in such rocky terrain at such extreme altitudes and that is a perfectly pragmatic thing to take advantage of. I’d be interested to see the mood inside Mariejoa right now, how much the Roswalds and Charloses of the ruling class are leaning on the Elders over reduced rations.

    Sabo’s determined acceptance of Cobra’s death as a step toward his idea of the greater good is a surprisingly morally grey choice for his chapter, and one that I think offers a lot of depth to both him and the Revolutionaries as a whole. And it definitely feels like something neither Luffy or Ace would ever have said, which helps him stand out from the shadows of his siblings. I’ve expressed disappointment in the past that writing the Revolutionaries to only be against “bad kings” rather than the monarchist system that enables them kinda defangs their rhetoric and goals, but moments like this – where there is this event that I feel sad about because I knew Cobra and don’t want to see Vivi hurt by his death and we have Sabo taking the unsympathetic stance of ‘I’m okay with that for the sake of my goals’ – that restore that feeling of more complicated politics and help me trust Oda has a plan for it all.

    People were getting really worked up over the Holy Knights thing when the spoilers and scans came out for this one. Personally, I’m astonished at how much of a nothingburger they ended up being in the chapter. The silhouettes seem varied enough that I’m guessing Oda has an idea of their designs already. I guess that one in the middle kinda looks like Shanks. More the sword than anything else, I think. Sure, Film Red implied Shanks might be the wayward child of a Celestial Dragon family, and yeah there’s fun theory potential in it being a sibling or something that met with the Elders during the Reverie, but literally none of that is in the chapter. Could still be true, but it’s not here.

    The idea of these guys being mobilised as a real threat to the Revolutionaries in the field is an interesting one. From their first mention in chapter 1054 I’d figured this lot was more for mediating disputes between Celestial Dragon families and keeping the peace among the highest authorities in the world, that no one else could possibly keep in line.

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    I think some people are being a tad premature predicting these guys to be Imu’s boss crew or whatever. A lot of build up with the Marines would need to be thrown aside for these guys to become the main fighting force that represents the World Government against the Strawhats in the endgame, and we’re all getting very presumptuous about the future roles and powers of a group that have literally been mentioned twice in nearly 1100 chapters. Execution is everything, but we don’t even know what Oda’s trying to execute yet! Literally zero information. I’ll wait and see, thanks.

    The Revolutionaries get a great showing here. I love Karasu from a power and design perspective. The idea that he’s just got a normal elemental logia but is adept enough at using it that he makes his transformation into theme-fitting crow shapes, which he can even talk out of, is an absolute game-changer. I want to see more logias using their fluid bodies to show of personal animal motifs and other wild forms! This guy is the only one using his logia correctly. I know we like to speculate that logia Awakenings are a permanent shift to the environment, but Karasu is actually out here doing things no one else with his kind of fruit is doing.

    Morley is absolutely out of proportion compared to his first appearance here, but the spread is cool enough that I don’t really care. Going back to chapter 1054 to double check that first Holy Knights mention also let me rediscover a panel which makes a fun parallel with the nobles bickering about collateral damage and CP0 musing about the admirals being held back in the latest chapter.

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    And speaking of, I’m not the biggest fan of all of CP9 making the jump to CP0. It’s not awful, but it might have been more fun to spread them out, some of them ending up in different divisions or even going their own way after Spandam’s betrayal. Kind of like how most of Baroque Works rediscovered their original dreams and left. Oh well.

    As final thoughts on the start of this flashback I have to wonder if we’ll learn anything about Bonney and Kuma in this sequence that will tie immediately back into the Egghead plot. It’s certainly a possibility, and I absolutely love Vivi standing up to Lucci here. It does feel like more setup than substance, but that increases my confidence we’ll be exploring this part of the past for at least a couple more chapters. The original Reverie chapters made for one of the most explosive and exciting times to be a One Piece fan back in 2018, feeling like we were getting more plot and lore in one go than we had for years. If we’re really going back for the unabridged version right now the next month or two could be huge. Hopefully next week we’ll get a clear idea of how far down the rabbit hole Oda intends to take us.

  • One Piece chapter 1082 review

    I’m on around my third chapter’s worth of saying let’s get back to Egghead already, but Oda keeps giving me things I’m not asking for that manage to greatly entertain me regardless. I’m starting to wonder how much of volume 107 we’re going to spend away from the main plot at this point. If volume 106 balloons to 12 chapters we could see this one having a single chapter of Egghead for the York reveal, followed by at least half a volume’s worth of the rest of the world.

    How typical of Oda, to tease at Jump festa this idea of “I hope no one dies!” as he starts setting up this huge endgame with big name characters making their moves, and the first one to bite it is… T Bone! I don’t think anyone could have seen that coming. It has a similar energy to Ashura and Izo’s deaths, but feels like far, far less of a copout. Still, T Bone was pretty likable as Marines went, and a long-haul character who’s kept making cameos past his first appearance for longer than I’ve been reading the series. I appreciate Sengoku and Tsuru’s conversation on the topic, with the self-awareness about the purpose of bounties inspiring betrayal by the common folk, especially in impoverished areas. What they miss is the high likelihood of the World Government’s Heavenly Tribute creating so much of the poverty that made this tactic so effective in the first place. But if they could connect those dots they might stop being Marines, right?

    What’s with the black line across T Bone’s pic in the paper though? I could see it being just a weirldly drawn fold in the page, and it’s not really how I think Oda would depict an attack happening in a still photograph.

    The man we see with Cross Guild in the next scene doesn’t look like a match for a Vice Admiral in regular circumstances (which I know has some thinking T Bone faked his death to give him the reward, but that feels cheap to me) but Sengoku alluded repeatedly to backstabbing before, and it would be just like what we know of T Bone to trust in the good in people and let his guard down. I’m inclined to think he really did it, but the line about the cause of death being withheld early in the chapter gives me pause. Perhaps they just didn’t want it to get out that he’d been assassinated by a civilian and give Cross Guild the advertising. If it did happen, the method would have to have been completely without honour, but when you look at the panel of his starving family, you can see how much of a hard choice that would make for the guy.

    It’s very interesting to me that Buggy says the guy who killed T-Bone has made himself into a “champion of evil” (or “charisma of evil” if you want a more awkward translation that I don’t think uses the word ‘charisma’ properly in English but whatever), which you might remember being the same thing Trebol claimed he and the other executives raised Doflamingo to be after they recognised his potential as a boy.

    You have to wonder where Buggy picked up the phrase from.

    The Buggy gags are fun, but they lead into a pleasantly surprising moment of character growth for the guy as he, out of all the pirates present, becomes the one to remember the importance of ambitious dreams. We see explicitly that despite all the bickering Buggy’s affection for Shanks was genuine, which led into real disappointment when their pirating goals diverged. And I think he actually does prove himself as the leader he’s been made out to be in this way that he manipulates the far stronger former Warlords into following his agenda instead of their own using his sway over the crew. Very piratey move.

    I feel as we get further in that Oda is using these cutaways to set up each of the Emperors’ runs at the One Piece. Shanks and Blackbeard get decisive wins over the captains with the Poneglyph rubbings. Buggy gets to renew his determination and get us all thinking about how much second-hand info he might have picked up from being so close to the last guy who claimed the throne. This is Oda putting pieces where they need to be for the final race to the treasure.

    The question becomes if the Egghead Incident will give Luffy his own chance to fully declare his candidacy to the world, or if we’re taking the defeat of Kaido to be that moment for him.

    The newly named Revolutionaries (only newly named, they’ve been hidden in the background of older chapters) are a set of fun designs. I think Ahiru is my favourite. You have to wonder what kinds of weapons are in that arm. And if maybe Lindbergh built it for her, despite her not being his subordinate. Jiron is seen literally eating a telescope, which makes me wonder if he’s got a Devil Fruit power to be revealed at a later date. Something similar to Wapol’s powers, apparently. Far from the first adjacent ability.

    Sabo’s reunion with Koala is a sweet moment, and I’m happy to see poor Moda made it out alive. That Lulusian explosion was big enough I was actually wondering if the bit parts from the island were gone forever, but Oda will do as he does.

    It took me a bit of looking to find the “three noise” signal Sabo references here. I was expecting to find it floating through the air like normal sound effects, so the first couple of times I scoured chapters 1058 and 1060 for it I totally missed it being right there in Sabo’s speech bubble, with Dragon reacting to it and everything. The official release’s typesetting also makes it look more like two noises than three, but the original Japanese has the sounds looking more intentionally distinct from each other.

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    I’ve given up on trying to say with any confidence where the story is headed next week, but I know I’m not holding my breath for Sabo’s full Marijoa explanation right away. It sure could happen, I’d love to see it after having this event sitting in the background for so long, but it would be very like Oda to leave us hanging again. But even if we are cutting back to Egghead, that’s still giving me something I’ve been wanting, so that’s cool too. We’ve been getting the Reverie in drips and drabs since 2018, we can wait another few months to get back to this scene if we have to.

  • Choo Choo Charles Review

    Choo Choo Charles is an experience I really, genuinely wish I could recommend more than I do. Had it been a free or Pay What You Want Itch.io experience I might be telling everyone I knew to run off and play it and give Two Star Games as many pageviews and word of mouth connections as they can. But for a $30 steam release, Charles doesn’t have enough meat on its bones and has too many issues for me to in good faith say it’s worth the price of admission.

    But I want to start positive because there is a lot to genuinely like here.

    Charles strikes just the right balance between the absurd and the horrifying as a monster, skittering around on his spider legs as something between Stephen King’s namesake Charlie the Choo Choo and a creepypasta Thomas the Tank Engine. It’s hard not to love him.

    Making trains a central theme, having the player fight him from a train of their own that gets upgraded over the course of the game, was a great choice. It feels like a game built around Charles, not just a horror game where any old monster could play the part of the villain. And you don’t see a lot of train games, so points for originality. And it’s cute that the game over screen says ‘derailed’ instead of ‘you died’ or anything else generic. I like those kinds of touches.

    I also enjoyed the shoutouts to other horror titles here and there. I’m a big Stephen King fan so obviously I loved the inherent Dark Tower-ness of Charles from the start, but the Slender sidequest was a fun surprise.

    The map design is surprisingly strong. It’s an open world, technically, but you’re going to be on rails, so to speak, for most of it. While you can go in reverse, you can’t turn your train around. And because your weapons are rear-mounted and Charles is a pursuing foe, you’re incredibly vulnerable going backwards. While this is limiting, the mission placement on a forward loop of the island takes you from easy missions to harder ones on a pretty reasonable difficulty curve. The island obviously isn’t made to be explored freely. The dense woods and high hills in the spaces between the tracks would probably prove themselves dull and empty if they could be entered whenever you please, but as a danger zone that Charles could burst out of at any time they remain far more engaging. Meanwhile, NPC quests, both optional and required, lead you to basically all the actual landmarks.

    Yeah, it’s an “open world” that you can’t freely explore and wouldn’t find much in if you did, but that’s actually a feature, not a bug.

    The thing I think Choo Choo Charles does best, being a horror title, is leveraging your sense of vulnerability. While you can deal enough damage to make the eponymous spider train to leave you alone from your own train, you’re completely defenceless on foot. If he decides to launch an attack when you’re more than a couple of seconds from your train or a place of shelter, you’re dead. There’s no getting around it. But everything you need to finish the game is away from the rails, and the further you are in your loop of the island, the more overland travel NPCs will ask of you.

    I think this works great. I’ve played horror games that make you vulnerable all the time, and horror-themed games where you just shoot at monsters. Giving you a weapon that works and then telling you to choose to leave it behind to get anything done ratchets the tension up. You’ll be listening to all the ambient noise and random music cues trying to sort out which ones, if any, signal a looming attack. You’ll be weighing how long it’s been since Charles last came and trying to decide if you’re due to see him before starting a big quest, or even just before you step off for ten seconds to switch tracks.

    I was never actually killed by Charles while I was away from my train. Maybe he’s programmed not to give you inescapable encounters, or maybe I just got lucky. But I was always worried he was coming, and that’s a horror game doing its job.

    Unfortunately, it’s here that my praises for Choo Choo Charles come to an end.

    While the island looks very nice and Charles himself is an inspired bit of visual design, there are some bizarre textures that look like the details were drawn on with markers. Most doors and a lot of your train interior have this look. I imagine it’s a holdover from the early version where NPCs were literal cardboard cutouts, but it looks really out of place among the higher res environments. The lack of mouth movement on the NPCs can also be offputting. There’s a final level of visual polish that just feels like it was missed for these things. Lots of reused assets as well, the same crates of dynamite everywhere.

    But the real blight on Charles is its stealth sections where you steal supplies and monster eggs from train-worshipping cultists. These are just bad. They don’t work. Something is broken inside these sections. The enemies’ cone of vision doesn’t feel clear and you have no indication of it. The guards on patrol will whistle while they walk around, meant to give you an audio cue to approach cautiously, but their visual range is far further than their audio one. I would scale a hill and get my first glimpse of a camp, but instead of having the chance to scope things out and plan my approach I would be immediately spotted by a goon in the middle of it. Or I’m in a mine or cave and there’s a long hall. I can’t hear whistling, so I assume it’s just the route to next area, but as soon as I break cover a cultist appears at the far end of the passage and yells “No trespassing!” without giving me a chance to double back.

    And there’s no recourse when this happens either. You can’t break line of sight and hide in a cupboard or a cardboard box to reset the scenario. Can’t throw rocks to mislead the cultists. You’re barehanded off your train and they have shotguns so you can’t stand and fight. The only thing you can do is lead your pursuer on a merry chase back to your train, waste them with the weapons meant for Charles, and trudge back to the now unguarded stealth area.

    These sections were, without exception, miserable experiences. And they make up the half of the gameplay that isn’t chugging along the tracks and fighting Charles.

    There could be decent gameplay in here, if you finetuned the mechanics for being spotted and gave the player some more options to finesse their way through like dedicated stealth titles have. Or maybe you give the player a gun of their own that works on cultists but not on Charles. Make it one hit kills and maybe say that the sound of gunshots draws Charles attention to incentivise staying hidden and being efficient. Just add something to these sections to make them feel complete.

    And finally there’s the length. I have three hours of playtime on Choo Choo Charles and it was enough for 100% completion. On a $30 game. I spent less on a ticket to Avatar and got entertained for longer. I really hate to say something as harsh as this to an indie title and obvious passion project, but it’s just bad value. Sales and future price drops might help the game fill its niche as a short, novelty impulse purchase, but I couldn’t tell a friend to pay full price for something with such little meat on its bones, that feels so unfinished in places, and feel like I’d given them sound advice.

    I really don’t want to be too mean to Two Star Games and Choo Choo Charles. For what I understand to be basically a one-man show, the game is a truly impressive effort with a lot of good ideas that work well when they do actually work. I would love to see what the mind behind this game can do with a little more experience, a slightly larger team, more time to polish and a chance to iterate. There’s a great game at the heart of Choo Choo Charles, but as it stands, only half of that game gets to show. Luckily, I’ve got a soft spot for indie projects and find ambition incredibly endearing. Even if I wouldn’t recommend paying full price for Charles, I’m going to be waiting and watching with great interest for what Two Star has in store next.

  • One Piece chapter 1081 review

    We get another banger of a chapter to lead into Golden Week here, and I’m thrilled to finally be learning a little more about Kuzan’s motivations and movements in the past couple of years. I’m definitely looking forward to getting back to Egghead though.

    The colour spread is gorgeous with some wonderful colour choices. It’s low-hanging fruit that everyone on the internet’s been picking since the spoilers dropped, but I have to laugh at Sanji’s COCKING book. But I also love the one squirrel that’s wrapped itself up in Brook’s afro to sleep. It’s a real cute one.

    We pick up right where the previous chapter left off, with Garp being a truly loveable badass. Whether he means it or not that he’s lost his edge, it makes a statement just to suggest it. And it’s a clever touch for Gruz to use his clay to cushion the warship’s landing. I get the impression this might be a practiced maneuver. I think the ring of fire around these early scenes is curious just from a staging perspective. By all accounts, Garp’s Galaxy Fist was just a shockwave attack, not a combustible one. We can see some things exploding among the rubble on that first page after the spread, but would that be enough for the all-sides inferno in the following shots? I’m not assigning any significance to this, we’re not claiming a portion of Lunarian blood running through the Monkey family’s veins called forth the fire, it’s just an interesting detail.

    Kuzan makes a very cool (heh) entrance and brings us straight into a perspective-changing flashback. I think the general consensus on the guy up to this point was that he was a rogue agent for justice, possibly a top-level SWORD agent. His interactions with Smoker at the end of Punk Hazard could be read to support this impression, and I’m sure Film Z played a part in it as well, despite not being canon, but I get a slightly different vibe from the version we see in this chapter. Kuzan is genuinely commiserating his break with the Marines and didn’t seek Blackbeard out. He obviously shot first and asked later when he first encountered Blackbeard’s men and is quick to start doing it again when he thinks they’re after his fruit. But Blackbeard has a particular charisma to him, a dark mirror of Luffy’s apparent “most dangerous ability” to get people on his side.

    I think the banter in this chapter is stronger than it’s been for a long time. Gruz and Kujaku commentating on Garp and Koby’s relationship, and then Kuzan’s hangout with the Blackbeard Pirates in the flashback, alternating between genuine exposition and mocking Sakazuki. Seeing a leg gone and asking if he took an arm in exchange. Kuzan joking that he’s actually burned man. Shiryu’s idle conspiracy theorising. In a series full of explosive reactions and face faults (and there are still more than enough of those here) these scenes of marginally more grounded and naturalistic character interaction really stand out.

    The man with the burn scar is a tantalising plot hook. I was never really on board with it being Saul, as many suspected after he was revealed to be alive, and this seems to confirm it’s not him. There’s not a lot here to say who else it might be though. Dragon is compelling, but his ship’s official colours aren’t as pitch black as the monochrome art implies. Plus where would he get the time to sail around sinking Poneglyph hunters in his busy schedule as a Revolutionary leader?

    I hope it’s the dude who was drinking with Crokus. No reason. No evidence. It’s just been up in the air so damn long I want to see it wrapped up.

    So after all of this it really doesn’t seem like Kuzan joined as a spy. That doesn’t mean he won’t decide to follow his own justice and betray Blackbeard eventually, but it opens a lot of questions about when and how. I think it’s noting that Kuzan definitely wasn’t recruited as the tenth captain he is now. In fact, I’d venture to say that promotion was a recent development – on Punk Hazard Doflamingo says he’s heard some “nasty rumours” about Kuzan’s current allegiances, implying they aren’t public knowledge, and then on Dressrosa the call between Blackbeard and Burgess that Luffy overhears has Burgess saying he still doesn’t fully trust Kuzan while Blackbeard tries to reassure him that the same goes for Shiryu. Maybe this conversation was literally about Kuzan being promoted to the status of captain in the group despite his past Government allegiance (the most obvious thing that would go for him and Shiryu but no one else in the group). It’s not like he showed up to Punk Hazard on a Blackbeard ship, so it could even be that the decision was made even as recently as that. But does that mean there was another tenth captain that preceded him in the role? Or am I totally wrong, he’s had the position for a year, and Doflamingo was just being vague on purpose?

    (Also is it just me, or is anyone else getting increasingly certain that the term “Titanic Captain” was a bit of flavour and exaggeration on the part of Corridia Colosseum commentator Gyats in introducing Burgess? Kuzan’s info box doesn’t use it, he’s just a Ship Captain, and looking back over the post timeskip reintroductions of the Blackbeard crew, none of those use the title either. Have we actually seen anyone other than Gyats use the term ‘Titanic’? I think it’s been very mistakenly taken as official when it wasn’t supposed to be.)

    I didn’t think we’d be leaving Fullalead with Garp having the upper hand, but his attack on Kuzan makes for a commanding transition back to Law’s fight, and just like what happened to Kid, I feel particularly bad about seeing the end of his ship. The Polar Tang was another great vessel design that you hate to see lost like this. I maybe feel worse about the ship than the actual battle loss. People in One Piece usually survive. Sunk ships generally stay sunk.

    I think it’s a really cool connection to have Bepo’s sulong come out thanks to Chopper’s medicine. Can you imagine if they’d unveiled this drug back at Wano though? I remember a big point against Carrot’s inclusion on the crew was the need to for the plot to engineer a full moon in every single future arc for her to reach her combat potential. A handwave solution to that would have thrown the debates into overdrive. And as much as I roll my eyes at the crewmate back and forth and so many other weird fandom things we get into, there’s a part of me that secretly loves the drama.

    There’s a few things to take note of here. One is the Rocky Port victims still being alive. I would have figured the Government shoveled those hearts into a furnace or something to get rid of them, but they must be in storage somewhere. The second is the absence of confirmation whether Blackbeard recovered Law’s Poneglyphs or not. With all his officers having Devil Fruits now it won’t be easy to get them back from the wreckage of the Polar Tang. And I also think it speaks to Law’s character that he wants to go back for his crew, despite everything.

    The past three chapters from outside Egghead have been a tour de force of worldbuilding, characterisation and dramatic confrontations that threw things into a ridiculous overdrive gear at a point where the main story was still in its building stage. Hopefully there’s not too much whiplash going back to Egghead with an evening to kill before the grand finale. But then, if the Egghead Incident is going to be one of these cutaway clashes written out in long form, it’s going to be well worth the wait.

  • What Black Sails took from Treasure Island

    This essay was originally posted to Reddit in July 2022.

    It had been about a decade since I last read the original 1883 Robert Louis Stevenson Treasure Island, but after last month finishing for the first time and loving Black Sails, the 2014 – 2017 TV series that positions itself as a prequel to the novel and Long John Silver origin story, I moved the old book into the next available spot in my reading list to see how the two flowed together.

    At first, I was harsh on Black Sails’ aspirations to be a prequel. Memorable book characters who obstinately share a past with Silver, such as Blind Pew and Black Dog, were nowhere to be seen in the show, and the opening chapters really only work if the reader assumes everyone from Billy Bones to the two aforementioned pirates and Silver himself is lying through their teeth about their relationship and history with Flint. That isn’t a huge stretch of the imagination, given how much of a theme self-aggrandizing lies were in the show, but having to fill in that headcanon at all still feels like a black mark.

    And I do still think the Silver from the end of the show seemed too out of the game to return to the sea and piracy and Flint’s treasure so readily in Treasure Island. There’s a missing chapter in that man’s life no matter how you look at it. Silver’s dialogue in the book also has a very different flavour from the eloquence of the show version, even accounting for the ways the 130-year-old novel’s writing has aged. Try as I might in my head, I couldn’t quite get the book’s dialogue coming out show Silver’s mouth.

    But once the novel reaches Skeleton Island, the details click into place. Black Sails may have eschewed 1:1 continuity for the bit part pirates of the opening, but it is a loving tribute to all the best part’s of the adventure’s climax.

    Long John Silver stands out from other literary villains for walking a fine line between mentor and antagonist, a character charismatic enough that you want to like him, even when you’re sure you can’t trust him. The kinship, betrayal, and alliance of convenience rekindling the kinship between Silver and Jim is everything surrounding Flint in the show writ small. When Jim blunders into the pirate camp and, with his back against the wall, spins his series of lucky breaks and failures of impulse control into a tale that plays him as the mastermind that sabotaged Silver’s whole operation, that’s what Black Sails was looking at. Silver says around that point that he sees a young version of himself in Jim, and I couldn’t help grinning when I read that, because I’d already been thinking it. Black Sails adds layers to Silver choosing to defend Jim against the pirates because you can see how genuine the resemblance between them is and understand where that sympathy comes from.

    And the risks facing Silver, of the mutineers turning on him and voting him out, are of course reflected in everything Black Sails had to say about crew politics and the difficulties of power and leadership. Both stories show captains on a knife’s edge between keeping their pirates in line and keeping in their favour. That whole desperate section, where Jim observes Silver “keeping the mutineers together with one hand and grasping with the other after every means, possible and impossible, to make his peace and save his miserable life” is the connecting tissue between the novel and the show. It’s here in the middle and at the end, rather than from the beginning, that the two works find their unbroken line.

    Given its target audience, it wouldn’t be totally out of line to call Treasure Island a young adult novel, though the classification obviously didn’t exist in its time. In that respect, I’d been expecting more of a difference in tone between in and the adult-oriented show. But Treasure Island pulls few punches in building its tension, especially in the pirate siege of the stockade and Jim’s fight with Israel Hands on the adrift Hisapniola. It doesn’t describe the violence in quite the same level of detail Black Sails chose to put onscreen, but the battles and death are starkly present. Combined with the above tale-telling, mentor-enemy dynamics and life or death politicing, I was pleasantly surprised by how natural a fit the two works turned out to be. Particularly after the continuity glitches from the opening set my expectations low.

    I would love to see a Treasure Island adaptation, be it movie or miniseries, in Black Sails’ continuity, with at the very least Luke Arnold returning for Silver. While the dialogue is too aged to be used verbatim, the actions of and relationships forged by the book’s Silver are a perfect fit as an extension of the show’s version. I’m now hungry for Arnold’s take on John Silver realising he’s becoming to Jim as in many ways Flint was to him, and grappling with that fact as he tries to keep them both alive, but also weighing that objective against his original and far more selfish goal. I want this not just to have more Black Sails for its own sake, but because so much of the original novel’s core really is there in the show, and it would be a shame never to see those creators and actors cover that point of inception.

  • One Piece chapter 1080 review

    Watch the video version of this review on YouTube here!

    We are really spending some time away from the main plot of the arc here, aren’t we? I was talking after the last chapter about how weird it is structurally, and getting this whole other full chapter with nothing to do with the Strawhats while they’re all fighting makes it weirder still. But when this is what we get outside the main plot I’m sure as hell not complaining. The longer this goes on though, the more I’m wondering if we’ll switch back to Egghead exactly where it left off, or if things are going to have continued developing while we weren’t looking at them.

    Blackbeard’s pirate island feels like an appropriately chaotic Nassau or Tortuga of the One Piece world, now that we’re seeing a tad more of it. Like Jaya amped up to a hundred, which is fitting, given that it’s where we first met the guy. I’m definitely in the camp that’s a tad skeptical of his crew’s new powers though. I think I wrote when the first lot were revealed, back during the start of Law’s fight, that they felt like abilities Oda had decided on early in the series and stuck to his guns on, even as Devil Fruits got more and more abstract and extreme. Pizarro having such an obvious copy of Pica’s power feels especially egregious. I can only hope that having all that time to brew means that the final battles against these powers are going to be next level.

    Now, I’m not one to speculate too hard on battle matchups, but it seems to me you could make a case for Zoro being pitted against a number of Blackbeard Pirates. Shiryu because he normally fights a swordsman (though that one’s got a fruit that would draw Sanji’s ire), Burgess because he usually fights the captain’s apparent right hand, and now – I think – it would be interesting to see him as the crew’s heaviest and most regular drinker pitted against Vasco Shot. It could be another “natural enemy” situation. Shot uses his booze-related powers to try and throw Zoro’s swordsmanship off, Zoro declares that he was already drunk. Cue Enel face.

    What really has my attention is Blacbkeard trying to make Fullalead into a legitimised nation. I can only guess that it’s a scheme to gain access to Mariejoa at a Reverie or something, the same way he used the Warlord title to access Impel Down. It feels unlikely the Government would fall for it twice, especially given his current reputation. But then again, Shanks shows us that it’s not out of the question for an Emperor of the Sea to get in one way or another.

    Interesting that SWORD basically gets to operate as Schrodinger’s Marines, both in and out of the Navy as the Government’s politics require. I can see where the idea came from, offering Marine resources to these kinds of hotheads to keep them close and useful for as long as possible without restricting them so much they just go off on their own as vigilantes, while being able to instantly absolve all responsibility for their actions when it’s convenient. Whether this would actually be a good or smart system to implement in a real military remains in doubt. You’d have to keep it relatively secret and invite-only to avoid the name being thrown around to excuse premeditated insubordination and desertion. Can’t have the rank and file thinking that’s an option. And whether it’s in-character for Sakazuki to accept this kind of insubordination, even if it is planned for, is equally questionable.

    Curiously, Kuzan is fully knowledgeable of it. Which could mean SWORD predates Sakazuki’s instatement as Fleet Admiral. Or it could mean that Kuzan still has contacts feeding him intel. Or it’s just because he’s a part of it.

    We also, early on, get to see a Cross Guild bounty poster closer up. Hope we get more of these while the series has time to do it, but given that the bounties seem to be based mostly on rank (with exceptions for popular figures) there isn’t the same hype and mystery as the pirate posters. I also appreciate that the rewards are in treasure chests with only an approximate value – it adds a roughness in contrast to the Government’s precise figures. I wonder, though, if the Cross Guild members borrowed their star-based bounty system from a certain former co-worker…?

    We actually saw already a small, sketchy preview of the posters in Cross Guild’s introductory chapter, although there seems to be at least one other symbol also being used there. Potentially a crown or a set of big top tents like Buggy’s base. But what does that mean? Something beyond the star rankings, or maybe something less, for ranks below Captain.

    And a final thing from early in the chapter, Pizarro implies that Rocky Port is part of Fullalead. And we know that the Rocky Port Incident was masterminded by Law and kept from being a complete disaster by the hero Koby. I know that the Supernovas and plenty of others swept into the New World right after Marineford instead of taking time to train like the Strawhats, but there’s something genuinely strange to me about learning how far ahead of Luffy’s group they’ve all been already. Like, it would make no sense for Law to have just waited around Punk Hazard for two years, but it never crossed my mind while he was travelling with the crew that he might have been on his second or third lap of the New World already.

    Perona’s cameo is a welcome surprise, I’m a pretty big fan of her character. Weird that the chapter doesn’t make it clear if Koby was actually able to follow through and free Moria though. I guess he wanted to find his own escape route and Perona went with him.

    The G-14 Marines and new SWORD additions continue to be appealing designs with some interesting new powers to go with them. And it’s cool to see Vegapunk’s GP Flowers making a main story appearance as well. What was it I wrote during the cover story? They seem more like a weapon of sabotage than a true tool of peace, and that is exactly how the government is using them. I wonder if that sours the Mobel Prize somewhat.

    So we all remember that Prince Gruz and his squad, including the newly named Kujaku made early cameos in Bege’s cover story, but it’s easy to forget that that was far enough back that the colour manga has covered it already.

    Not often we get official colours for characters too minor for a volume cover this long before the anime gets near them.

    And then there’s Garp. This old guy is actually one of my favourite One Piece characters. The conflict he feels between his career and his adopted family is genuine, and while I’m generally critical of the morality of characters who make themselves complicit in the World Government’s evil, Garp carries enough clout to make genuine efforts to follow his heart over his orders and speak out against the worst of his superiors. He’s still contributing to a very evil organisation, but it helps his case a ton. He’s layered, his conflicts are believable, and you just can’t help liking the way he flies in on his dog-themed ship (with cute little doghouse crows nests, how charming) and levels half the town from above. Brilliant moment to end a chapter on, and the panel of his ship flying over the city is gorgeously drawn.

    In fact, if you look close at that panel, you can even see the gouges in the ground from Kujaku shifting buildings around.

    Can’t overstate how much I love that kind of attention to detail!

    Despite how long we’ve spent away from Egghead already, I don’t think this sequence is quite done yet. Maybe another half chapter to tie up loose ends (like where Moria and Perona ended up, and if Smoker is there alongside Tashigi, and if Boggard is still at Garp’s right hand) and set up a real cliffhanger of Garp and co clashing directly with the Blackbeard pirates before cutting away. And then we can get back to what the Strawhats are up to. Or hell, why not another cutaway? Still haven’t seen Dragon’s powers, since we’re apparently revealing all the heavyweight players right now. The breaks around this Golden Week time of year can be rough, but it’s hard to be too upset when we’re getting chapters like these.

  • Rhythm of War review

    This text was originally posted to Reddit shortly after the book’s release in 2020, and contains full book spoilers for Rhythm of War and all preceding volumes of The Stormlight Archive.

    The good:

    The whole central plot thread of Urithiru being occupied was fantastic and great fun throughout. Kaladin as a character benefited enormously from being put in circumstances that forced him to rely on different powers, different tactics and different members of his squad. During the preview chapters, I’d been worried he would grow stale with the same battles and sadness combo that took him through the first three books, but my fears were quickly put to rest. A pettier review might point out how arbitrary it was for the imperfect Radiant suppression to knock out exactly the things Kaladin had to learn to do without to be interesting, but the results were good enough that I didn’t care at all.

    Navani was an unexpected standout after not having a huge role in previous books. I loved the scientific elements being applied to the magic systems and the process of discovering new uses for the fundamental concepts. A really novel approach to magic I would absolutely go for more of in the future.

    Another surprise favourite was Raboniel, a fascinating antagonist/rival to Navani. I wasn’t expecting to see this kind of layered humanity in the Fused – at least not this soon. She’ll definitely go down as one of the series’ more memorable supporting characters.

    The scenes on the Emuli offensive were thinner than I thought they’d be, but every single one was absolutely carried by Jasnah. Everything she’s doing as queen is fantastic and I could watch her do it forever.

    Kaladin finally figuring out the fourth ideal. Sweet catharsis after such a long wait.

    I really liked how the Cosmere crossovers were handled in this one. The characters are being introduced to the idea of other populated worlds as this stuff comes to the forefront, which seems like it should make it accessible for non-Cosmere aware readers (though I’ve read everything else, so I can’t really talk). The unique uses and interactions of offworld objects like the Seon and the Taldian sand were a lot of fun.

    The Stormfather and Eshonai’s moment together. Really did not see that coming, but it was lovely.

    And of course, the final set of twists ending in Taravangian’s ascension. Of all the ways for things to play out I hadn’t for a second considered that as an option. Setting a ten day time limit on the next book is another bold move, and I cannot wait to see how it all plays out.

    Oh, and that epilogue! While there are a few different possible readings of it, just being able to even float the possibility that Hoid has been caught off-guard by the latest developments speaks to how immense they are.

    The inconclusive

    A few lingering questions I may have missed the answers to: How did the Parshendi get Navani’s authentication codes? How exactly did Raboniel listen in on Navani and the Sibling’s chats? Where did Zahel go when the tower was invaded? Just little nitpicks that could probably have been resolved with one throwaway line.

    I wanted to see more fallout from Shallan’s revelation about her past. How does this change her relationship with Pattern? Will she try to reconcile with Testament’s deadeye now that she knows both that it exists and such a thing is possible? I’m sure we’ll get this kind of thing in the next book, I definitely felt left hanging by it. Shallan’s flashback was two whole books ago now and we still don’t know her full history! How much longer can this go on for? I’m reserving judgement on this until it’s a complete story/character arc, if it ever is.

    The bits that didn’t work

    In some Stormlight books, the flashback sequence is the backbone of the novel’s themeing and central character arc, past and present harmonising to deepen our understanding of the story. Rhythm of War is not one of those books. Venli and Eshonai’s flashbacks weren’t awful to read, but they definitely didn’t feel in sync with the rest of the novel. They retreaded so many moments we already knew about with not quite enough information to justify breaking away from the more interesting things happening in the present.

    The pivotal moment of Adolin’s storyline felt like it was missing an ingredient. I’m at a loss to say what exactly, but I think his and Maya’s relationship needed like one more scene of development to make the ending feel earned. Perhaps part of it was how predictable it was as an outcome the moment they started talking about the trial being witness-driven. We needed some more pressure on the scene, some reason to wonder if it wouldn’t go that way. The reveal of Kelek is treated like an shocking, stakes-raising development (and for Shallan at least, it was) but it didn’t do much for Adolin’s story.

    On the topic of the Shadesmar expedition, a lot of time is spent eliminating members of Shallan’s team from the spy hunt, even though it’s painfully obvious to the reader it’s not going to be one of them. Especially because Brando likes to use this kind of subversive-answer whodunnit as an inciting plot thread and has done so a few times in Stormlight already.

    Playing with my feelings over Lift so much! Teasing that she might go on the Shadesmar expedition, then cutting that idea off before it starts. Okay, she’s staying with the group in the tower. Oh, she was probably knocked out with the rest of the Radiants. Hell yeah, she’s still awake! Lift Die Hard. Oh no, she’s been caught already and is going to jail. Just me read about her, Brando!

    I would also say that this was one of the weaker Sanderlanches of the series. Where previous finales have combined a big, unexpected explosion of plot with long-anticipated character development breakthroughs, RoW separates the two parts. The climactic battle is all the character stuff I’d been waiting to happen (and it’s all good stuff) but never really caught me off-guard as a result. And then the plot twists come in what would be the wind-down after the fighting is done. I’m sure there was a reason for the structural change, like the plot developments needing room to breathe to set up the next book properly, and it was by no means a dealbreaker for the book’s ending, but it definitely didn’t feel like it reached as high or hit as hard as previous entries.

    The conclusion

    I had a great time with Rhythm of War, even if it definitely wasn’t the best of the Stormlight Archive. The lacking flashback sequence was a big factor in it not feeling as complete and in sync with itself as Way of Kings or Oathbringer. Still, the good outweighs the bad by a significant margin, and its set a strong foundation for the fifth book. The ten day timer is probably going to force some pacing/structural changes, the status quo is altered massively, but in a way the main characters aren’t aware of or able to plan around, and a Kaladin and Szeth tag team mission sound absolutely fantastic. My hype for book 5 is now enormous, and that alone is enough to consider Rhythm of War a success.