Chainfire: Chainfire Trilogy, Part 1 (Sword of Truth, Book 9) · Read more Phantom: Chainfire Trilogy, Part 2 (Sword of Truth, Book 10) · Read more. Phantom: Chainfire Trilogy, Part 2 (Sword of Truth, Book 10). Read more Goodkind, Terry - Sword of Truth 09 - Chainfire. Read more. Goodkind, Terry - Sword of Truth 3 - Blood of the Fold. Read more Confessor: Chainfire Trilogy, Part 3 (Sword Of Truth, Book 11). Read more.
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(c) 'Sword of Truth Book 9: Chainfire' by Terry Goodkind, Библиотека Наутилус — ruthenpress.info Источник: ruthenpress.info, канал #bookz. Sword of Truth has 47 entries in the series. Chainfire. Sword of Truth (Series). Terry Goodkind Author (). cover image of Phantom. Chainfire spell you ignited, the boxes you stole with Kahlan's help, how the boxes twin to the Sword of Truth, the sword he'd given up in order to find Kahlan.
For everyone else, the torment is about to begin. Naked Empire — Richard Rahl has been poisoned. Saving an empire from annihilation is the price of the antidote. With the shadow of death looming near, the empire crumbling before the invading hordes, and time running out, Richard is offered not only his own life but the salvation of a people, in exchange for delivering his wife, Kahlan, into bondage to the enemy.
The next three novels were written as a trilogy called the Chainfire Trilogy. Chainfire — After being gravely injured in battle, Richard awakes to discover Kahlan missing.
To his disbelief, no one remembers the woman he is frantically trying to find.
Worse, no one believes that she really exists, or that he was ever married. Alone as never before, he must find the woman he loves more than life itself.
Phantom — On the day she awoke remembering nothing but her name, Kahlan Amnell became the most dangerous woman alive. Confessor — Descending into darkness, about to be overwhelmed by evil, those people still free are powerless to stop the coming dawn of a savage new world, while Richard faces the guilt of knowing that he must let it happen.
Alone, he must bear the weight of a sin he dare not confess to the one person he loves and has lost. The Richard and Kahlan series This new series begins where the last novel in the Sword of Truth series ends.
The Omen Machine — An accident leads to the discovery of a mysterious machine that has rested hidden deep underground for millennia.
The machine awakens to begin issuing a series of increasingly alarming, if minor, omens. Meanwhile, Richard and Kahlan must defend themselves and their followers from a series of terrifying threats. Generally, when you have multiple storylines going on within the larger story, you tend to keep the pacing uniform across all of the storylines.
Action scenes will happen in generally the same part of the story. Quiet moments of reflection will generally happen in the same part of the story. Scenes with the same tempo are generally grouped together to keep the flow of the pacing consistent across all storylines in the larger story.
This is because when you cut from the middle of a tense action scene straight into a scene with two women talking about books, it kind of comes out of nowhere, and it makes your brain stumble a bit.
You may not consciously notice the complete reversal in the pacing, but your brain did, and it starts to wonder why we were all excited and now we're bored, and why that change happened so abruptly. Yes, this exact scene transition happens in this book. That's probably the biggest reason why those scenes fail to engage, because they're very poorly paced, and very poorly interwoven with the rest of the story.
Look, messing with pacing and the reader's expectations makes for some very good and unpredictable plot developments. But when it's not done right, it really, really hurts the stroy. An author will usually use abrupt pacing changes to either draw your attention to something, making it stand out, or to give you a sense of discord, which is often used in horror stories to make you feel uncomfortable, but you don't really know why.
A really good example of messing with pacing to enhance a plot twist would be in The Black Prism by Brent Weeks.
There is a part near the end of the book, right before the climax where Weeks weaves two scenes with very contrasting tones and tempos together. On one side you have a fanatic ranting to his armies about the evils of the system, and it's cut in with a solemn religious ceremony.
But at the same time, these two different scenes are also about the same thing. The pacing of these two events is completely opposite. It leaves you a little off balance, so that when the plot twist hits, it hits extremely hard. Yeah, Goodkind isn't doing anything fancy like that.
He just doesn't seem to understand the entire concept of pacing, and so the pacing in this book is just attrocious. And, so, the Blood Beast. Okay, so the whole randomness to its attacks really feels kind of like Goodkind is ripping off ideas from better writers here. Yes, two authors can independently come up with similar ideas, but this really feels too derivitive of other works in Fantasy and Sci-fi to be anything other than Goodkind blatantly borrowing ideas from other sources.
Most notably I'd bring up the bubbles of evil from Wheel of Time. And we're back to the similarities between the two series argument again, and well, meh. Another thing that I don't like about the Blood Beast is that it never really does anything that's really all that threatening.
Richard very easily deals with its attacks in this book. And there really are no lasting consequences to them. Sure a bunch of his men were torn up by it, but we never met these people, so their loss doesn't really impact us.
Cara survives none the worse for wear. Richard takes dozens of wounds when it attacks with acidic spiderwebs. Goodkind describes the searing pain, and says that Richard has blood pouring down his arms and legs from the wounds that the web leaves. But the second he's free, Goodkind forgets all about the wounds.
They're never mentioned again. Richard goes on like he was never hurt to begin with. When you have your character get hurt, there have to be consequences. There has to be something at stake.
If he is hurt, he has to continue dealing with the wounds. They don't get to magically disappear as soon as the tension is resolved. Especially when you have very firmly established that Richard can't generally use his magic to heal himself.
So, there's a scene in this book where a spy grabs a little girl and holds a knife to her throat. Richard puts his hand on his sword, and then Goodkind goes into this I don't even know what to call it, where he just describes what Richard plans to do and why for about 9 pages.
He overdescribes Richard's intent to the point that instead of building the tension up behind the moment that he actually strikes, that it, again, becomes something of a parody of itself.
It goes far beyond tense into boring, and then far beyond boring to the point that it's actually funny how long Goodkind draws it out. And so a scene that's meant to be an explosive moment of action from our hero is an over-analyzed, excruciatingly over-described mockery of what it was supposed to be. I mean, was there even an editor working on this book?
Was he too afraid of Goodkind to speak up and do his damn job? Did none of his superiors look over his shoulder and say, wait, what the fuck man, what are you even doing? Why aren't you marking the shit out of this and sending it back to be fixed?
And speaking of editors. Take the 40 page long conversation between Richard and Shota. Take that entire conversation away from me. Look, I know I keep harping on the repetition in these books.
And in a way, I'm doing the same thing Goodkind does by repeating it so much, but it really has to be said, yet again here. This conversation is 40 pages long, I counted them.
There is about 1 page worth of relevant conversation in it. I don't know why the Chainfire Trilogy, is even a trilogy. If you cut out all of the repetative dialog, all of the explanations of things that are given multiple times, and all of the recaps of previous books, the story of these three books, would probably have fit into a single volume quite easily, and with room to spare.
That is how much this book repeats itself. Those are the ridiculous lengths to which the author goes to pad this thing with unnecessary dialog. And speaking of dialog.
This is not how people talk to each other. This is not how people act, or react, or think. Richard learns that the Sliph knows of a place called the Deep Nothing. The Sliph takes them to some ruins called "Caska" in the Deep Nothing. Upon arriving, they find themselves in the midst of a group of Imperial Order advanced scouts who have captured a girl named Jillian, part of a people called the "Dream Casters".
While Nicci eliminates the rest of the Imperial Troops scouts, Richard and Jillian look for answers in the catacombs. Together, they find a hidden passage that leads to a protected library.
In the library, Jillian discovers a book titled Chainfire. At the same time, the reader learns that Kahlan indeed exists, and has been kidnapped by the four remaining Sisters of the Dark who escaped the Dream Walker in Blood of the Fold.
The Sisters have cast a spell called Chainfire, using Subtractive Magic to erase people's memories of Kahlan and Kahlan's memories of herself. Kahlan leaves Spirit behind, the statue Richard carved for her. Richard, Nicci, and Cara then travel to the People's Palace and learn that the boxes are missing and that they have been put into play. Richard finds the statue Kahlan left and figures out that the Sisters have stolen his wife and the boxes.
With the proof in the Garden of Life, Nicci and Cara finally believe in the existence of Kahlan, despite not remembering her. While there, they learn that an older woman has been found fatally stabbed near the D'haran army; Nicci and Richard determine that it is Sister Tovi.
Nicci uses deception to interrogate Tovi, discovering that it was Samuel who stabbed Tovi and took the Box of Orden she was carrying.