In The Emperor's Blades by Brian Staveley, the emperor of Annur is dead, slain by enemies unknown. His daughter and two sons, scattered across the world, do what they must to stay alive and unmask the assassins. But each of them also has a life-path on which their father set them, destinies entangled with both ancient enemies and inscrutable gods.
Kaden, the heir to the Unhewn Throne, has spent eight years sequestered in a remote mountain monastery, learning the enigmatic discipline of monks devoted to the Blank God. Their rituals hold the key to an ancient power he must master before it's too late.
An ocean away, Valyn endures the brutal training of the Kettral, elite soldiers who fly into battle on gigantic black hawks. But before he can set out to save Kaden, Valyn must survive one horrific final test.
At the heart of the empire, Minister Adare, elevated to her station by one of the emperor's final acts, is determined to prove herself to her people. But Adare also believes she knows who murdered her father, and she will stop at nothing - and risk everything - to see that justice is meted out.
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4 Primary Crimes Committed By The Author
This world has a very impressive military system. A great set of forces at play. But the author commits 4 crimes against the reader that need to be called out.1) "SURPRISE! THERE'S NO ENDING IN THIS BOOK! READ THE NEXT ONE TO FIND OUT HOW THIS STORY ENDS! JUST KIDDING! READ THE ONE AFTER THAT!" These are not books. They are chapters. That is to say, they END by way of the author simply halting his writing, without the resolution of a story, let alone the primary story, and in fact, fail utterly to resolve any arc at all. - This should obviously come with a warning label since the three books combine to tell a single story. Not a single story with 3 major advents in between... just a single story. Period. - The three novels before you, are not a trilogy. They are a single book. Know this. 2) The plot is moved forward through characters being suddenly and inexplicably unintelligent and inarticulate and essentially, volunteering for victim duty. - This happens regularly and without justification. "I insist on going with you into danger, where I will get in the way because I will then be able to watch the fight as a spectator. Yet 10 pages later I will in fact present the exact opposite argument regarding the same exact fight in the same location citing zero circumstantial change because I clearly just needed a reason to be in this building."3) Repeatedly reviewing one's own circumstances aloud with a tone of wonder and awe... is lazy and ineffectual. This is the dark side of the Show-Not-Tell relationship between characters and the audience. If you SHOW the audience an awe-inspiring thing, they will feel awe. Telling the audience to feel awe by reviewing how shockingly implausible the character's survival is or how far they've come since they left Default-Village-Land 5 times is like having the author tell you he thinks you can't remember the last 3 hours to your face. I find self-review for the purpose of INFORMING the audience that they have experienced drama and not to forget it... to be repulsive.4) Repetition. - The sort of repetition that happens when an author only has one tool at his disposal. In this case it's the phrase: "If he was frightened by the giant warrior before him... he didn't show it." "If she was bothered by the weapons being brandished around her... she didn't show it." "If he was frightened by this ___ he didn't show it." Seriously. I'm guessing 30 or 40 times? ... If she was bla bla bla... LET ME GUESS! She didn't show it!?
I would have taken the time necessary to make the primary female character morally consistent.
The reader was flawless.
- Captain Spanky Of Nazareth
Of the various new fantasy series, this is... fine
- Ethan M.