What New Shardplate Abilities Appear In 'Rhythm Of War'?

The major plot twists in 'Rhythm of War' hit like a storm. Kaladin's arc takes a dark turn when he faces his depression head-on, realizing his powers as a Windrunner are tied to his mental state—no heroic clichés here. The biggest shocker? Taravangian's betrayal. This frail old man we underestimated becomes Odium's new vessel, outplaying even the smartest characters. Then there's Navani’s breakthrough—she discovers how to create Towerlight, a fusion of Stormlight and Voidlight, changing the entire magic system. The Sibling’s awakening and alliance with Navani flip the Urithiru siege from disaster to victory. And let’s not forget Moash’s brutal murder of Teft—no redemption in sight for that one.

Navani Kholin isn’t just a queen in 'Rhythm of War'—she’s the backbone of innovation during a war that’s as much about science as it is about swords. Her research into fabrials and Stormlight technology reshapes the entire conflict, turning ancient mysteries into weapons and defenses. Without her, the Tower would’ve fallen, and the Radiants would’ve lost their edge. But it’s her humanity that resonates. She battles grief, self-doubt, and the weight of leadership while fostering bonds with characters like Raboniel, showing that even enemies can share respect. Her struggle to reconcile her intellect with her emotional wounds makes her growth unforgettable. Navani’s not just pivotal; she’s the soul of the story.

As someone who's been following Brandon Sanderson's work for years, 'Rhythm of War' feels like a massive expansion to the Cosmere's core mechanics. The book dives deeper into the connection between Investiture and the spiritual realm, showing how different magic systems are fundamentally linked. We get concrete evidence that Stormlight and Breaths operate on similar principles, with Navani's research revealing the underlying rhythms that govern all forms of Investiture. The introduction of anti-Light is groundbreaking - it's not just a new weapon, but proof that the Cosmere's energy can be manipulated in previously unimaginable ways. The Sibling adds another layer to spren lore, showing how artificial and natural spren can coexist. What excites me most is seeing worldhoppers like Thaidakar (aka Kelsier) becoming more involved, proving the Cosmere is truly interconnected.

Kaladin's arc in 'Rhythm of War' is a brutal yet beautiful exploration of depression and resilience. He starts the book already battered by past traumas, and the pressure of being a leader weighs heavily on him. The siege of Urithiru pushes him to his limits—his mental health deteriorates as he struggles with suicidal thoughts and the fear of failing those he loves. What makes this arc so powerful is how Sanderson doesn’t shy away from showing Kaladin’s lowest moments. His inability to save Teft breaks him, but it’s also the turning point. When he finally speaks the Fourth Ideal, it’s not just about power—it’s about accepting that he can’t save everyone. The moment feels earned because we’ve seen every step of his struggle. His arc isn’t just about becoming stronger; it’s about learning to live with his scars.

In 'Rhythm of War', Brandon Sanderson masterfully plants seeds for the next Stormlight book by escalating both cosmic and personal stakes. The finale reveals Taravangian’s shocking ascension as Odium’s vessel—a twist brimming with unpredictable consequences. His cunning, combined with the god’s power, threatens to unravel Dalinar’s hard-won alliances. Meanwhile, Kaladin’s unresolved trauma and Teft’s death leave the Windrunners emotionally fractured, setting up a redemption arc or further collapse. The discovery of anti-Light weapons and the ghostbloods’ expanding influence hint at a coming arms race. Navani’s bond with the Sibling stabilizes Urithiru but exposes new vulnerabilities in tower mechanics. Shallan’s repressed memories and Adolin’s trial in Shadesmar dangle unresolved threads. The book’s focus on fabrial science and spren bonds suggests future conflicts will blend magic and technology in unprecedented ways. Sanderson’s worldbuilding ensures the next installment will be a seismic shift.

Rhythm in prose feels like the heartbeat of a sentence to me — sometimes a steady march, other times a quick staccato that makes your chest tighten. When I read, I notice rhythm in how long sentences roll into each other, where commas and periods slow me down, and where a fragment or dash pushes me forward. It’s about sentence length, punctuation, word choice, and the musical stresses those words create. Great writers, from the spare lines in 'The Old Man and the Sea' to the lush cadences of 'The Great Gatsby', use it deliberately to steer your emotional tempo. Why it matters? Because readers unconsciously follow rhythm. It sets pace, controls suspense, softens heartbreak, or pumps adrenaline. If you’re skimming a scene where a fight explodes, short, clipped sentences mimic breathless action. If you’re sinking into a memory, longer, winding sentences let you linger. Rhythm also helps readability: varied cadence keeps pages from feeling monotone and makes voice memorable. For writers, practicing aloud — hearing where the prose lands — is a quick way to fix awkward spots. For readers, noticing rhythm turns reading into listening; and honestly, it makes my favorite passages feel like music I want to replay.

Waves teach rhythm better than any metronome, and I love how poets borrow that pulsing motion. When I read lines about the sea, I listen for the rise and fall: iambs that feel like gentle lapping, trochees that hit like a sudden surf, and spondees or heavy stresses that act as crashing breakers. Poets will deliberately stretch a line with long vowels and open syllables to make a phrase feel like it’s rolling out, then snap it short with a clipped consonant to mimic a foam hiss. I think of 'Sea Fever' and how the cadence feels like someone pacing toward a shore. Beyond meter, there's breath. Line breaks, enjambment, and caesura are breathing instructions—where to pause, where to surge. Repetition and refrains act like a tide returning: a chorus of the sea. Even in free verse, poets create rhythm through sound devices—assonance, consonance, onomatopoeia—so the poem doesn’t read flat. For me, the most successful ocean poems make my chest move as if I'm being rocked; they use technical craft to recreate a physical experience, not just a picture on the page. I still find myself whispering a poem like a lullaby when I want to remember the smell of salt air.

There’s a tactile pleasure when a poem about the sea actually sounds like the ocean — and that’s where rhythm does most of the magic. For me, rhythm is the heartbeat of any maritime poem: it can rock you gently like a sunlit tide, push and pull like a storm surge, or stop dead with a shoal’s whisper. I’ve read 'Sea Fever' aloud on a blustery pier and felt John Masefield’s refrains match the slap of waves against pilings; the repeated line becomes a tidal return each time. That physical echo — the rise and fall of stresses in the verse — is what tricks our ears into feeling motion. Whether the poet leans on steady meter or wild free verse, the deliberate placement of stressed and unstressed syllables, the pauses, and the breathless enjambments mimic how water moves in unpredictable but patterned ways. When poets want the sea to feel steady and inevitable, they often use regular meters. I’ve noticed how iambic lines (unstressed-stressed) can create a rolling, forward-moving sensation — like a steady swell that lifts and then drops. Conversely, trochaic or dactylic rhythms (stress-first or stress-followed-by-two light beats) can give that lurching, tumbling quality of breakers collapsing onto sand. Some lines peppered with anapests (two light beats then a stress) feel like surf racing up the shore, urgent and rushing. But rhythm isn’t only about meter labels; it’s about variance. Poets will slip in a spondee or a caesura to make a beat longer, a pause like a tide hesitating around a rock. Enjambment helps too: pushing a phrase past the line break can mimic the continuous flow of water, while sudden line stops and punctuation imitate the abrupt hush when waves retreat across shingle. Sound devices join rhythm in creating the sea’s voice. Repetition — think of refrains or repeated consonant sounds — acts like the tide's return. Alliteration and assonance produce the smack of surf or the soft hiss of salt; a cluster of s's, for instance, can feel like wind through ropes. Short, clipped words speed the pace; long, vowel-heavy lines stretch it out. Structure matters: alternating long and short lines can suggest incoming and outgoing tides, and stanza length can mirror changing currents. I once tried writing a short sea piece on a ferry and timed my lines to the boat’s lurches — reading it later, the rhythm mapped almost exactly to the vessel’s pattern. If you’re experimenting, read your lines aloud, tap the pace with your finger, and try varying where you breathe. Sometimes the silence between words — the space you leave — is more oceanic than the words themselves. If you want to write a sea poem that actually feels wet under your teeth, pick the motion first: calm, swollen, chopping, or glassy. Then choose a rhythmic tool to match — steady meter, rolling anapests, jagged line breaks, or repeating refrains. Don’t be afraid to break your own pattern; the sea rarely stays the same for long, and a sudden rhythmic shift can convey a squall as effectively as any adjective. Personally, after a day reading shorelines of poetry, I like to sit on a window ledge with a cup that’s gone cold and try to write the sound of the last wave I heard — it’s the best kind of practice.