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Bloody war rages across the Forgotten Realms world in the third book of the Companions Codex, the latest series in R.A. Salvatore's New York Times best-selling saga of dark elf Drizzt Do'Urden.
In the evolving world of the Forgotten Realms setting, the Sundering has given way to months of cloud-cloaked darkness, and war rages under that oppressive sky. The orcs have broken a hard-fought treaty that's held, however tentatively, for a hundred years, and the time to settle old scores has devolved into an all-out brawl for control of the ancient realms of the North.
- Sales Rank: #38418 in Books
- Published on: 2015-08-04
- Released on: 2015-08-04
- Original language: English
- Number of items: 1
- Dimensions: 6.90" h x 1.10" w x 4.10" l, .37 pounds
- Binding: Mass Market Paperback
About the Author
R.A. Salvatore is the New York Times best-selling author of more than forty novels, including the popular Forgotten Realms series The Legend of Drizzt. He's an avid gamer, father of three, and loyal citizen of Red Sox Nation.
Most helpful customer reviews
17 of 18 people found the following review helpful.
The story of the Companions picks up again...
By C. Jefferson
[Disclaimer: I received a copy of this book from the publisher via NetGalley in exchange for an honest review.]
The story of Dritzzt Do’Urden and the returned Companions of the Hall continues in this third installment of the Companions Codex miniseries. The war with the Orcs continues, with the Drow aiding and urging them on. The Dwarven and Elvish settlements are likely to fall under the continued pressure. And with two dragons on their side, how could the Orcs not win? But the Companions aren’t ones to give up easily. With a little strategy and some assistance from an unexpected ally, it might just be possible to hold them off and be victorious. But even if they think it’s possible, that doesn’t mean it’s probable–and it certainly doesn’t mean it’s going to be easy.
I enjoyed this much more than the previous installment, which I think was mostly setup for this one. With all the players in their proper places on the board, we’re treated to some epic battles, some cunning and decisive moves, and more of the truth behind each entity’s involvement in this conflict. There’s are more going on here than it may have seemed in the beginning. And each of the characters really gets their moment to shine, making it all the more enjoyable to read. I’m definitely very curious how things will continue to resolve in the next book.
15 of 16 people found the following review helpful.
Vengeance is sweet
By Kelly
There are nearly thirty books in the ‘Legend Of Drizzt’ series and a number of side ventures. When you get this far into a series, spoilers are inevitable. So if you’re not familiar with the ‘Legend’ series, much of the content of ‘Vengeance Of The Iron Dwarf’ will confound, and perhaps ruin you for everything that comes before.
For those who have journeyed this far, vengeance is sweet.
At the end of ‘Rise Of The King’, the hundred year peace between the orcs and the dwarves had shattered. Nesme had fallen and the dwarves were besieged. The surface elves had yet to decide how the conflict affected them and the drow elves were so busy stabbing one another in the back, it was a wonder any of them survived until the end of the book. Toss in Jarlaxle’s fiddling and it was a very long wait for the next instalment in the ‘Companion Codex’.
In ‘Vengeance Of The Iron Dwarf’, party lines shift and align – as they have to. The orcs outnumber every other army combined, so breaking the siege isn’t simply a matter of killing the enemy. The dwarves have to fight smarter. They have to fight together. The elves and humans can bolster their efforts, but everyone has to stop thinking about what’s in it for them. Of course, the drow contingent thinks only of what’s in it for them and I spent a good portion of ‘Vengeance’ wondering what was in it for Jarlaxle. His help is often the dubious sort, but over the last century or so (Toril-time), he’s become a little more predictable and he definitely has a soft spot for Drizzt.
I enjoyed reading about Team A – the Companions of the Hall – and Team B – the remnants of Drizzt’s new crew who work together here. Personality clashes were inevitable, but so were the spell combinations, to borrow an RPG term. Having everyone on the board also fostered the feeling that grew throughout this book, that the fate of the dwarves didn’t matter only to the dwarves. The shining moment, for me, came when Bruenor revealed his plan. He’s no longer the king of Mithral Hall and knows well he can’t wear that crown a third time. But he cannot watch all he strived for fall into confusion. I also delighted in reading Wulfgar and Regis working together. They are such an unlikely, yet compatible pair.
There are several side bets won and lost as the dwarves attempt to break the siege, providing a few story threads that will complicate future tales. But aside from a couple of interesting revelations, the plot here isn’t twisty. ‘Vengeance Of The Iron Dwarf’ is a straightforward book of tactics, where Salvatore pits two forces against one another and crunches the numbers back and forth. Any trickery is reserved for combat and it’s all well fought.
Where to go from here? Bruenor has a throne to claim and hold, so it will be back to Gauntlgrym to kick some drow backside, once and for all. Hopefully!
Written for SFCrowsnest.org.uk
21 of 28 people found the following review helpful.
The Future is Bleak (and not for the Silver Marches)
By sno4wy
In my review of the last book, Rise of the King, I gave an extra star (http://www.amazon.com/review/RFON3ITNT41GU/ref=cm_cr_rdp_perm). Now, I'm wishing that I hadn't. For Vengeance of the Iron Dwarf, the highest rating I'd give is probably a 3.5, but because I rounded up last time, I'm rounding down this time and find that doing so doesn't improperly reflect my overall view of this book.
I do like the Drizzt series. I do enjoy reading the books in it. I did have a good time reading this latest installment, and I feel that it's a stronger book than the previous one. Big events that transpire are more cohesive, thus feeling more relevant and interesting. The overarching picture finally comes together after an entire book of nothing but creating isolated pieces that have little to do with each other. In Vengeance of the Iron Dwarf, there are fun little details interspersed in between major battle scenes that allow the reader to experience the particulars of how the characters live and die. Through specifics like Aleina and her old comrade-in-arms giggling together as they admire an unaware Wulfgar from a distance to exactly how Tos'un's body is shattered in the demise of the younger white dragon, this book offers readers micro views of an otherwise broadly-spanning macroscopic event. While Vengeance of the Iron Dwarf would still not be very approachable to a new reader just entering the series, it is able to stand on its own better than its predecessor and is overall a better book.
That being said, I have a lot of issues with Vengeance of the Iron Dwarf. Starting from the most minor of them, I'm not sure if Salvatore's editor doesn't pay enough attention or if the author himself doesn't understand the proper usage of, for instance, "site" versus "sight". The number of instances that word misuse and just blatant typos occur is staggering, especially when considering how well-known and successful Salvatore is, compared to other authors in the Forgotten Realms franchise. Mistakes like these are just lazy.
An increasing issue I'm having with Salvatore's writing is that his style is rather static. I had no problems with it when I was younger, heck I didn't even notice it. However, I'm astonished that after almost thirty books later and a quarter century of professional writing, that his writing hasn't much improved. Yes, there is noticeable improvement between Vengeance of the Iron Dwarf and The Crystal Shard, where it all began, but the change is along the order of five years and not twenty-five. While I'm glad that he didn't use "six hundred pounds of panther" even once this time around, let's face it, as "killing teeth", "killing blow", "killing strike", etc etc demonstrates, "killing" is just not that good of an adjective to describe a deadly force, especially not when used as much as he does. In addition, Salvatore uses, "How [subject] [action]!" entirely too much, and it is yet another sentence structure that conveys very little as to the extremity that something is happening, especially when used in as much abundance as he does. Furthermore, it takes away from the whole because EVERYTHING is, "How something transpired!!!"Overall, rather than describing to the reader what is happening through the use of elements of the environment, Salvatore tells the readers what is happening by stating a play-by-play of events. This is not evocative or engaging writing.
Salvatore has always had issues with consistency, ones that span multiple books sometimes and ones that occur within a singular book. Both sorts of inconsistencies exist in Vengeance of the Iron Dwarf, and in ways that make me confused about how exactly to take things. Again, to start off with a minor example, early on, Regis is said to have been struck with a spear in the chest, and Wulfgar breaks off the shaft to leave the spearhead in his chest. Later on, the spearhead has inexplicably relocated to his shoulder. Fundamentally, the nature of Regis' injury doesn't matter all that much, as with a bit of healing magic and careful extraction it's no longer relevant to the plot. However, Saribel's personality in the later part of the book seems to have taken a complete 180 from what she has been described to be like in the previous books. Before, Saribel was the lesser of the Xorlarrin priestesses, with her older sister Berellip being more brutal, more loud-spoken, more physically imposing and more intelligent. In fact, Saribel is stated on numerous occasions to be more than a little dimwitted. Tiago even notes that despite Saribel's marked inferiority, he still prefers her to her sister because of sexual reasons. However, in Vengeance, Saribel not only displays cleverness, she does so to such an extent as to be able to impress the likes of Jarlaxle. And that's not all -- she not only impressed Jarlaxle with her "quick wit and lightning mental reflexes", but apparently it is something that she does "as usual" (chapter 17). Granted, I may be misunderstanding what that "as usual" is modifying, for perhaps it is modifying the "demanded", and it certainly wouldn't be unreasonable for a priestess of Lolth to be a regular at making demands. However, the inconsistency still exists in that Saribel has been presented as a slow-witted waif and now suddenly has undergone a transformation on the order of Quenthal's after being imbued with the brains of Yvonnel Baenre. Saribel's level of intellect matters more than Regis' temporary injury because she is drow, and intricately involved in the entire drow ploy in the Silver Marches. Perhaps she'll become increasingly unimportant, but how is a reader supposed to surmise or even believe in the degree of intrigue that Salvatore and the Realms assert to be inherent to the drow when we can't even have the basic facts straight? I suppose I'll just have to settle for waiting to be spoon-fed the explanations of an elaborate scheme, mysterious only because its details are so inconsistent, sometimes completely unstated, that it's as impossible to solve as a puzzle from pieces of a different set and missing pieces from its own set.
I can understand the need to write epic encounters in fantasy, for awesome things like dragon battles are why we love fantasy. However, while Salvatore has always suffered from overpowered characters, things are just getting more than a little Mary Sue, especially in the case of Catti-brie. While I commend him for bringing back Catti-brie's old garment, I winced when it just conveniently turned out to be a Robe of the Archmagi. But that's still not enough power for Catti-brie. Despite having a history of being terrible at divination magic, all of a sudden, standard divination techniques aren't good enough for her. Not only does she use a completely new means of divination that's arguably the exact opposite of the standard (fire instead of water), it's a significantly more powerful method and suddenly, this not even a fledgling diviner can divine on the order of dedicated practitioners of clairvoyance. Along the same lines as the sudden identification of Robes of the Archmagi, I shake my head as I wonder what new and unbelievably powers her fire ring and spellscars may conveniently manifest in the future.
On the subject of Catti-brie, and related to my earlier point about inconsistencies, while I thought that Bruenor's conclusions from Drizzt and Catti-brie's dance to be quite beautiful, I can't help but balk at the extreme to which Salvatore portrays their love compared to his early stance on their relationship. At one point, Salvatore vehemently stated that Catti-brie and Drizzt wouldn't ever be a couple, and now we get a scene where they're moving so compatibly that, "No two creatures in Faerun were more attuned to the movements of each other." (Prologue) I get that people change their minds and that's fine that Salvatore did, but what also bothers me about such a definitive statement like that is that it disregards, almost insults, the intellectual property of other authors in the Realm, as well as presenting inconsistencies and issues within itself. In Salvatore's own writing, the impression of synchronicity was a lot stronger in Tarathiel and Innovindil's fighting style, at least for me. In that case, it was also more believable, because both were elves, both had similar fighting styles and both had lived for a very long time. Heck, that fluid compatibility is felt even more strongly when Artemis Entreri and Drizzt fought back to back, and again that made sense because from the getgo we were given the impression that the two are mirrors of each other. Yes, we know that Drizzt and Catti-brie trained together, and we are led to believe that the pair are eternal soulmates, but their fighting styles have always been different enough and the gap between their skill levels big enough that what Salvatore describes in their dance is simply impossible, especially compared to all the other creatures of Faerun. Furthermore, while Catti-brie kept her mind through her reincarnation, that doesn't magically imbue her body with the muscle-memory of her previous life, and unless she's all of a sudden MORE skilled as a fighter than she was (for surely she'd need to be to be so physically compatible with Drizzt in that dance) in addition to suddenly being a super powerful mage, I really don't know how more Mary Sue she could get.
I'm not sure what's supposed to be going on with Bruenor. There hasn't been any indication or explanation of his sudden increased connection with the dwarven gods. He's sat on the throne of Gauntlgrym a couple of times, but other than that, why is he suddenly able to summon divine power when he needs it? Is Salvatore implying that he's a chosen of the three dwarven gods? It doesn't matter if he is, because even Chosens can't routinely perform the feats that he can. It just feels like Salvatore is taking the lazy route in marking someone as heroic. We know that Bruenor is a great fighter because we see cheesy Mortal Kombat-esque scenes in which time slows down and he's frozen in the air slowly delivering a roundhouse chop straight to face of the big baddies, but that's not how fights work. When I was reading that scene, I strongly got the impression that Salvatore was thinking of those movie stop-action scenes for inspiration. That doesn't work, Mr. Salvatore. Please leave the movie mechanics for the motion pictures. So much ridiculous things happen along those lines that I was actually surprised that the dispelling of the darkening was a ploy by Gromph. Drizzt's corny ascension fit in perfectly with all of the other contrived details that have occurred.
I really don't think I can get into Salvatore's portrayal of female characters at this time, but suffice to say, I wasn't at all surprised at the appearance of a super hot Knight Commander of the Knights in Silver. Women do not need to look like Victoria's Secret models with make-up on naturally to be compelling characters. Women below that impossible standard should not be immediately recognizable as doomed for death (i.e. Delly Curtie).
In conclusion, I wouldn't have wrote this long review if I didn't care. I like the Drizzt series and I care a lot about it. It is not my intent to disparage Salvatore as an author. He has a process down, and kudos to him that it's clearly a successful and profitable process. But, I feel and fear that he's complacent with it, to the point that he doesn't care about his writing enough to improve it. I haven't discussed the redundancy of the plotline since other reviewers have commented on it, but based on indications that he's given, it seems that the future will just bring the same sorts of things as before. Yes, there's the saying that history repeats so the repetition can be claimed as valid, and heck, I LOVE the Sellswords adventures, but I don't want to see rehashing of the Companions saving the world and Entreri/Jarlaxle shenanigans until the end of time. Part of what made the Neverwinter tetralogy so compelling for me is that they clearly moved Salvatore and Drizzt out of their comfort zones. Now both are back in their old comfortable habits, and things are returning to the same beaten path. I worry about the future direction of this series. I don't want to outgrow it, because it has really meant a lot to me, but its future makes me trepidacious.
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