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Angron: The Red Angel (Warhammer 40,000)

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There are a few nods to Aaron’s The Emperor’s Gift , as some of the events that took place there – and the consequences of Angron’s last banishment – have a big part to play in The Red Angel . Marooned on a worthless moon with a rag-tag band of traitors as despicable as himself, Ortan Leidis of the Angels of the Grail dares to dream of something greater. There are some great individual scenes and storylines here, but as a whole I think it lacked a cohesiveness across the various plots to really drive the story forward.

Perhaps equally great is that the Grey Knights eat up a lot of pages, and I didn't realise just how much I'd missed reading about them.They're Imperial Thousand Sons, but with absolutely zero hubris: they know what they're doing and they haven't got a single speck of doubt about the horrible sins they commit.

On the surface you have the World Eaters and their battles against the Grey Knights, but below that you also see how being reunited with their father figure changes the World Eaters – no matter how much they might hate him. Part of me does wonder if I might have enjoyed this book more if I was more familiar with the background of Angron. Parts are easy enough to follow, others made me question whether the intention was to give the reader an impression of how the butchers nails feel.The book does both immense justice, and manages to portray the world eaters in fascinating light both from inside the legion through characters such as Kossolax (My personal favorite) and outsiders such as Leidis. It depicts the titular Primarch as less a character and more an elemental force and shows the impact that his presence has on his followers, which is a really effective approach. In a way, it’s strange that I’m so happy jumping on board at the end of the story rather than climbing on at the beginning with so many others.

However this is a book about different Berzerkers relationship to Angron and the Greyknight who chase him.Now, that may not be a type of character I usually find interesting, but there are interesting things you can do with such characters. They could have been larger than life characters, but boiled down as they are to big, stompy, angry men, they sort of blur into one. Chris Forrester’s Wrath of the Lost is an excellent example of how to make rage more than just two-dimensional.

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