- The OP mentioned that Midnight Tides was hard to understand. I think I know what the OP means, but I think hard to value is how I would describe it. The book is basically Trull's backstory. Why are we reading about Trull? Presumably he's important, but House of Chains didn't even make that clear. So I read Midnight Tides with the faith that there would be a pay off...and there isn't. The dots of Trull's shorning are never connected. I have read the author's explanation that the omission is intentional, that the shorning should be viewed as inevitable based on the events leading up to it. But instead I wonder why was Trull shorn and not executed? After all, his brother Fear nearly killed him and threatened him several times. Anyway, Trull's importance remains ambiguous even at the end of the book, and that is not fun after such a long read.
- Unlike Deadhouse Gates and House of Chains which were anchored by the reader's rooting interest in Bridgeburners Fiddler and Kalam, Midnight is anchored by Trull and the Crippled God. Meh.
- As much as I like Iron Bars and am intrigued by his Avowed status, there are only so many demi-badasses I have capacity for until they all just sort of glom together.
- Can someone please explain what happened to Seren Pedac? It seemed like she was raped in all of one sloppy drunken paragraph. I am tired of authors arbitrarily using rape to build or harden female characters. It sort of made sense with Felisin. But between the genital mutilation in House of Chains and Seren Pedac's treatment in Midnight, I start to think that the author forgot that he can write a female character, like Tattersail, and not subject them to sexual abuse.
- I know Tehol and Bugg are very popular, and that Midnight is generally enjoyed for its funny parts. But unlike Kruppe who seemed to produce new and clever and significant dialogue for every situation, Tehol and Bugg and their associates seem to get stuck in the same insignificant jokes: sex, rancid food, the irony of the master-servant relationship. It gets boring when I can predict their dialogue.
- Erikson doesn't craft the best sentences. He abused adverbs in Gardens but seemed to grow out of it. He has some tense problems here and there. He employs certain words, like redolent and desultory awkwardly and entirely too frequently. I can look past a lot of grammar and idiomatic mistakes, and I can try to forgive a lot of it because of the volume of work, but the overuse of dramatic sentence fragments in Midnight is chronic and glaring. Frankly. Awful. Dan Brown awful.
This post has been edited by shovelbum: 25 January 2016 - 04:39 PM