Take a photo of a barcode or cover
challenging
emotional
hopeful
reflective
tense
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
Characters – 7.5/10
Kaladin’s depression arc hit me right in the burnout, and I genuinely cared about his path from human disaster to bridge-running sadboy leader. But after a while, it started to feel like I was trapped in a therapy loop, Kaladin fails, broods, makes progress, panics, resets. Again. And again. Dalinar had some great “wrestling with honor” moments, but by the fifth vision sequence and yet another scene of people not believing him, I was like, please. Just punch someone. Preferably Sadeas. Shallan, meanwhile, grated on me like a cheese shredder. Her jokes were trying way too hard, and I felt like I was being cornered by a girl at an awkward con panel who thinks being “quirky” is the same as having a personality. Even Adolin, the golden retriever of Alethkar, felt more like a vehicle for plot than a person for most of the book. Bridge Four was the emotional glue, sure, but outside the main trio? Most characters blurred into “vague grumpy lighteyes” or “guy who dies dramatically.”
Atmosphere / Setting – 9/10
The world of Roshar is a fever dream of evolution and geology, and I’ll give Sanderson this, he absolutely committed. Giant crabs for horses? Shrinking grass? Floating magic spren that emote at you like sparkly emojis? It was strange and specific in all the right ways. I didn’t just picture this world, I practically inhaled it. That said, I also got tired of hearing how alien everything was. By the third paragraph of describing stone color or inverted weather patterns, I started skimming for verbs. I wanted to be in the world, not sit through an orientation video every time a new setting appeared. Still, it’s one of the most distinct fantasy settings I’ve read in years, and I respect that level of commitment to the bit.
Writing Style – 5/10
Sanderson’s prose is the literary equivalent of a sturdy IKEA bookshelf. It’s functional. You know what it’s trying to do. It holds up well under pressure. But it sure ain’t pretty. I was constantly aware that I was reading a fantasy novel written by a man who really wants you to understand how his made-up words work. I’m not anti-accessibility, clear prose can be a strength, but here it felt like every emotional beat was spelled out like a lesson plan. The repetition was brutal. Characters rehashed their internal conflicts so often I could’ve written their therapy notes by chapter ten. And Shallan’s attempts at wit? Someone get that girl a better ghostwriter.
Plot – 6/10
This book is allergic to momentum. I’m serious, nothing happens for 70% of the page count. I kept waiting for the real story to begin, and by the time it did, I was already emotionally sunburned from all the character introspection and crab ecology. Kaladin’s plotline at least had a tangible arc, depression, despair, leadership, hope, but the pacing crawled. Shallan’s plot could’ve been condensed into a novella and still had room for an epilogue. Dalinar’s visions had promise, but they were doled out like cryptic breadcrumbs leading to a reveal I saw coming from orbit. The Sanderlanche? Solid. But one good final act doesn’t make up for a thousand-page build-up that felt like a really long meeting with excellent catering at the end.
Intrigue – 7/10
I wasn’t bored, I was just... stuck. Like pushing a shopping cart with one wobbly wheel. I’d be chugging along with Kaladin, excited to see what bridge trauma came next, and then WHAM, we’re back to Shallan explaining her tragic backstory via drawings and sarcasm. There’s tension here, but it’s buried under so much scaffolding. The interludes, which I suspect were meant to add flavor, mostly felt like someone accidentally changed the channel. I wanted to be pulled in more. But instead of feeling urgency, I mostly felt obligation.
Logic / Relationships – 8/10
Okay, credit where it’s due, Sanderson’s worldbuilding is so internally consistent it practically squeaks. The magic system is nerd-crack, the social hierarchy makes sense in an awful classist way, and the way characters respond to trauma and status? Pretty spot on. Kaladin’s loyalty spirals and Dalinar’s oaths of honor both felt grounded, and their choices flowed naturally from who they were. But the emotional payoff between characters often lagged behind the groundwork. I liked Bridge Four, but their dynamic always felt a bit too tidy. I understood Shallan and Jasnah’s relationship, but I never felt it. And romantic tension? What romantic tension?
Enjoyment – 7/10
I enjoyed myself the same way one enjoys finishing a very long hike: sore, proud, and slightly resentful. I admired the ambition. I cared deeply about some characters. I was even moved, once or twice. But I also audibly sighed at yet another Kaladin brooding scene and seriously considered skipping Shallan chapters entirely (and I never skip chapters). The high points were great, but they were buried in a lot of prose that felt like literary fiber. Necessary. But not exactly thrilling. I’m glad I read it. I might even keep going. But the idea of rereading this beast? Absolutely not. Not without a spren-powered margarita in hand.
Final Rating: 7.0/10
The Way of Kings is a slow, serious slog through fascinating worldbuilding, emotionally earnest trauma, and very uneven pacing. I admired it more than I loved it. It's a commitment, and not the hot, swoony kind. More like the “I guess I’ll train for a marathon because all my friends are doing it” kind. Worth it? Maybe. But only if you like your fantasy with a side of lectures, logic, and lingering bridge metaphors.
Kaladin’s depression arc hit me right in the burnout, and I genuinely cared about his path from human disaster to bridge-running sadboy leader. But after a while, it started to feel like I was trapped in a therapy loop, Kaladin fails, broods, makes progress, panics, resets. Again. And again. Dalinar had some great “wrestling with honor” moments, but by the fifth vision sequence and yet another scene of people not believing him, I was like, please. Just punch someone. Preferably Sadeas. Shallan, meanwhile, grated on me like a cheese shredder. Her jokes were trying way too hard, and I felt like I was being cornered by a girl at an awkward con panel who thinks being “quirky” is the same as having a personality. Even Adolin, the golden retriever of Alethkar, felt more like a vehicle for plot than a person for most of the book. Bridge Four was the emotional glue, sure, but outside the main trio? Most characters blurred into “vague grumpy lighteyes” or “guy who dies dramatically.”
Atmosphere / Setting – 9/10
The world of Roshar is a fever dream of evolution and geology, and I’ll give Sanderson this, he absolutely committed. Giant crabs for horses? Shrinking grass? Floating magic spren that emote at you like sparkly emojis? It was strange and specific in all the right ways. I didn’t just picture this world, I practically inhaled it. That said, I also got tired of hearing how alien everything was. By the third paragraph of describing stone color or inverted weather patterns, I started skimming for verbs. I wanted to be in the world, not sit through an orientation video every time a new setting appeared. Still, it’s one of the most distinct fantasy settings I’ve read in years, and I respect that level of commitment to the bit.
Writing Style – 5/10
Sanderson’s prose is the literary equivalent of a sturdy IKEA bookshelf. It’s functional. You know what it’s trying to do. It holds up well under pressure. But it sure ain’t pretty. I was constantly aware that I was reading a fantasy novel written by a man who really wants you to understand how his made-up words work. I’m not anti-accessibility, clear prose can be a strength, but here it felt like every emotional beat was spelled out like a lesson plan. The repetition was brutal. Characters rehashed their internal conflicts so often I could’ve written their therapy notes by chapter ten. And Shallan’s attempts at wit? Someone get that girl a better ghostwriter.
Plot – 6/10
This book is allergic to momentum. I’m serious, nothing happens for 70% of the page count. I kept waiting for the real story to begin, and by the time it did, I was already emotionally sunburned from all the character introspection and crab ecology. Kaladin’s plotline at least had a tangible arc, depression, despair, leadership, hope, but the pacing crawled. Shallan’s plot could’ve been condensed into a novella and still had room for an epilogue. Dalinar’s visions had promise, but they were doled out like cryptic breadcrumbs leading to a reveal I saw coming from orbit. The Sanderlanche? Solid. But one good final act doesn’t make up for a thousand-page build-up that felt like a really long meeting with excellent catering at the end.
Intrigue – 7/10
I wasn’t bored, I was just... stuck. Like pushing a shopping cart with one wobbly wheel. I’d be chugging along with Kaladin, excited to see what bridge trauma came next, and then WHAM, we’re back to Shallan explaining her tragic backstory via drawings and sarcasm. There’s tension here, but it’s buried under so much scaffolding. The interludes, which I suspect were meant to add flavor, mostly felt like someone accidentally changed the channel. I wanted to be pulled in more. But instead of feeling urgency, I mostly felt obligation.
Logic / Relationships – 8/10
Okay, credit where it’s due, Sanderson’s worldbuilding is so internally consistent it practically squeaks. The magic system is nerd-crack, the social hierarchy makes sense in an awful classist way, and the way characters respond to trauma and status? Pretty spot on. Kaladin’s loyalty spirals and Dalinar’s oaths of honor both felt grounded, and their choices flowed naturally from who they were. But the emotional payoff between characters often lagged behind the groundwork. I liked Bridge Four, but their dynamic always felt a bit too tidy. I understood Shallan and Jasnah’s relationship, but I never felt it. And romantic tension? What romantic tension?
Enjoyment – 7/10
I enjoyed myself the same way one enjoys finishing a very long hike: sore, proud, and slightly resentful. I admired the ambition. I cared deeply about some characters. I was even moved, once or twice. But I also audibly sighed at yet another Kaladin brooding scene and seriously considered skipping Shallan chapters entirely (and I never skip chapters). The high points were great, but they were buried in a lot of prose that felt like literary fiber. Necessary. But not exactly thrilling. I’m glad I read it. I might even keep going. But the idea of rereading this beast? Absolutely not. Not without a spren-powered margarita in hand.
Final Rating: 7.0/10
The Way of Kings is a slow, serious slog through fascinating worldbuilding, emotionally earnest trauma, and very uneven pacing. I admired it more than I loved it. It's a commitment, and not the hot, swoony kind. More like the “I guess I’ll train for a marathon because all my friends are doing it” kind. Worth it? Maybe. But only if you like your fantasy with a side of lectures, logic, and lingering bridge metaphors.
Content Warnings
Graphic: Child death, Death, Genocide, Gore, Mental illness, Physical abuse, Racism, Self harm, Slavery, Suicidal thoughts, Torture, Violence, Blood, Medical content, Medical trauma, Suicide attempt, Murder, War, Injury/Injury detail, Classism
Moderate: Animal cruelty, Animal death, Body horror, Confinement, Emotional abuse, Misogyny, Panic attacks/disorders, Sexism, Xenophobia, Trafficking, Grief, Religious bigotry, Death of parent, Schizophrenia/Psychosis , Gaslighting, Abandonment, Alcohol, Colonisation
Minor: Ableism, Alcoholism, Body shaming, Bullying, Child abuse, Cursing, Domestic abuse, Drug use, Fatphobia, Racial slurs, Suicide, Vomit, Dementia, Stalking, Fire/Fire injury, Cultural appropriation, Toxic friendship, Sexual harassment
While The Way of Kings never tips fully into grimdark, it doesn’t shy away from bleakness. The story deals heavily with trauma, particularly involving war, slavery, and depression. Kaladin’s mental health arc includes vivid depictions of hopelessness, suicidal ideation, and self-loathing. Bridge Four’s sequences are brutal and repetitive for a reason: they feel like a slow-motion meat grinder, and that dehumanizing grind is the point. Meanwhile, Shallan’s backstory unveils slowly, but when it hits, it lands hard—with abuse, denial, and parental trauma all tangled together. There's also institutional oppression, eugenics-coded social stratification, and casual cruelty passed off as “noble necessity.” Sanderson doesn’t dwell on graphic violence, but the emotional consequences? Oh, he marinates in those.
adventurous
challenging
emotional
funny
hopeful
mysterious
reflective
sad
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
Wow. Holy shit. Ok I get what you were all talking about now.
It started slow, but Sanderson's storytelling was frankly immaculate and he weaved all the threads together with precision and care. Kaladin was a firm favourite from the get go, Shallan is a character archetype I adore (I'm a forever student at heart and so seeing characters in any learning environment is my jam) plus her whole dilemma and how she deals with Jasnah was wonderful to watch grow and blossom. Dalinar was a slow burn but grew on me, his dry wit and blunt nature plus the inherent vulnerability in having a POV character deeply question their sanity meant I couldn't help but love him. Also loved Wit after seeing himas Hoid in Tress of the Emerald Sea , he made me snort my tea from laughing.
The audiobook narrators were phenomenal, genuinely no idea why people were bitching about Kate Reading so much (maybe it's a marmite thing but I adored how she read Shallan). There were like one or two things I thought maybe needed a biiiiit more breathing room (for example I do not for one second believe Jasnah would have forgiven Shallan so quickly at the end there) but also for pacing sake I understand why they went the way they did so I'm not complaining.
Also sorry I just have to, spoilers below also beware of cursing:
THE PARSHMEN?!? THE PARSHMEN ARE VOIDBRINGERS?!?!?!? When I got to that bit as God is my witness I paused my audiobook and just went what the FUCK
It started slow, but Sanderson's storytelling was frankly immaculate and he weaved all the threads together with precision and care. Kaladin was a firm favourite from the get go, Shallan is a character archetype I adore (I'm a forever student at heart and so seeing characters in any learning environment is my jam) plus her whole dilemma and how she deals with Jasnah was wonderful to watch grow and blossom. Dalinar was a slow burn but grew on me, his dry wit and blunt nature plus the inherent vulnerability in having a POV character deeply question their sanity meant I couldn't help but love him. Also loved Wit after seeing him
The audiobook narrators were phenomenal, genuinely no idea why people were bitching about Kate Reading so much (maybe it's a marmite thing but I adored how she read Shallan). There were like one or two things I thought maybe needed a biiiiit more breathing room (for example I do not for one second believe Jasnah would have forgiven Shallan so quickly at the end there) but also for pacing sake I understand why they went the way they did so I'm not complaining.
Also sorry I just have to, spoilers below also beware of cursing:
Content Warnings
Graphic: Child death, Death, Emotional abuse, Gore, Mental illness, Physical abuse, Racial slurs, Racism, Self harm, Slavery, Suicidal thoughts, Suicide, Violence, Xenophobia, Medical content, Grief, Suicide attempt, Murder, War, Injury/Injury detail
Moderate: Body horror, Bullying, Chronic illness, Death, Mental illness, Panic attacks/disorders, Physical abuse, Self harm, Sexual violence, Suicidal thoughts, Blood, Medical content, Religious bigotry, Stalking, Schizophrenia/Psychosis , Sexual harassment
adventurous
emotional
hopeful
mysterious
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
Writing: 5⭐️/5
I think Sanderson’s writing is outstanding. Rich descriptions, beautiful dialogue, and stunningly crafted characters all twine together in this novel to create some truly decadent writing. Even the fight scenes were wonderfully written, as Sanderson has a way of describing the action without the details becoming tangled in the movement.
Characters: 5⭐️/5
Sanderson could write a spin-off about probably any character in this series, and I would care enough to read it. Every character feels real in this book.
Plot: 5⭐️/5
The plot and the world in this novel are stunning. I loved learning about the world, and I loved the stories that were explored throughout. It’s a long novel, and yet the pacing is perfect, taking the time to explain each moment that needs explaining. Ugh, I just want to dive into it again.
Who Should Read This Book?
- Someone looking for a remarkable high-fantasy series
- Someone who likes Brandon Sanderson
- Readers looking for a fantasy series with stunning writing
Content Warnings?
- War, violence, blood, slavery, mental illness, suicide, suicidal thoughts, classism, grief, murder, injury, injury detail, vomit
Post-Reading Rating: 5⭐️/5
Love, love, love. Where has Sanderson been all this time?
Final Rating: 5⭐️/5
Content Warnings
Graphic: Animal death, Child abuse, Child death, Death, Emotional abuse, Gore, Mental illness, Physical abuse, Slavery, Suicidal thoughts, Suicide, Violence, Blood, Vomit, Grief, Stalking, Death of parent, Murder, Gaslighting, Colonisation, War, Injury/Injury detail, Classism
adventurous
dark
emotional
mysterious
sad
tense
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
Content Warnings
Graphic: Child abuse, Child death, Death, Genocide, Physical abuse, Slavery, Violence, Forced institutionalization, Xenophobia, Blood, Medical content, Medical trauma, Suicide attempt, Murder, Colonisation, War, Injury/Injury detail, Classism
Moderate: Ableism, Chronic illness, Confinement, Death, Drug abuse, Drug use, Emotional abuse, Genocide, Gore, Hate crime, Forced institutionalization, Medical content, Dementia, Kidnapping, Grief, Death of parent, Fire/Fire injury, Cultural appropriation, Gaslighting, Colonisation, Injury/Injury detail, Classism, Deportation
Minor: Panic attacks/disorders, Physical abuse, Racial slurs, Racism, Sexual violence, Slavery, Suicidal thoughts, Suicide, Torture, Violence, Xenophobia, Vomit, Police brutality, Trafficking, Religious bigotry, Stalking, Suicide attempt, Sexual harassment, War