The Final Gambit (The Inheritance Games)
CHAPTER 78
by Barnes, Jennifer LynnThe chapter opens with Avery being led by Eve to meet Vincent Blake, an imposing octogenarian who appears decades younger. Blake demonstrates his dominance by shooting a bird from the sky and sending his bloodhound to retrieve it, then casually remarks, “we cook what we shoot.” Avery immediately demands to know the whereabouts of Grayson and Toby, refusing to be intimidated. She presents Blake with the royal chess set as a symbolic offering, but he dismisses it as mere showmanship, preferring a hand-carved set instead—a subtle power play underscoring his disdain for extravagance.
Avery returns Blake’s seal and reiterates her intention to deliver his son’s remains once the investigation concludes, offering condolences Blake coldly rejects. The tension escalates as Avery confronts Blake about his son’s crimes—impregnating an underage girl and assaulting her—to which Blake responds with detached indifference. He deflects responsibility, framing his son’s actions as a personal failure rather than a moral transgression. The exchange reveals Blake’s ruthless worldview: consequences are inevitable, but accountability is negotiable.
The power struggle intensifies as Blake tests Avery’s resolve, hinting at potential blackmail while toying with his bowie knife. Avery counters by threatening to expose more details publicly if Grayson and Toby aren’t released, leveraging media scrutiny as her shield. Eve briefly challenges Avery’s narrative, but Blake silences her, revealing his condescension toward both women. Avery internally notes Blake’s tendency to underestimate her—a vulnerability she plans to exploit. The chess metaphor extends beyond the literal set, as each verbal thrust and parry mirrors strategic moves in their high-stakes confrontation.
Blake’s final question—whether Avery will expose Sheffield Grayson—hangs ominously, suggesting deeper layers of manipulation yet to unfold. The chapter masterfully builds tension through sparse dialogue and visceral imagery (the shotgun, the knife, the firepit), painting Blake as a predator assessing his prey. Avery’s calculated bravery and Blake’s chilling pragmatism collide, setting the stage for a battle where morality and power are the ultimate stakes. The unresolved threat lingers, leaving readers anticipating the next move in this psychological duel.
FAQs
1. How does Vincent Blake establish his power and dominance in his first appearance in this chapter?
Answer:
Vincent Blake immediately establishes his dominance through multiple calculated actions. First, he’s introduced holding a shotgun, taking aim at the sky and shooting a bird with precision (shown by the “earsplitting” shot and the bloodhound retrieving the kill). His physical description emphasizes his formidable presence—looking decades younger than his age and capable of running a marathon. His aristocratic voice and the command “Around here, we cook what we shoot” reinforce his control over his environment. The way others rush to take his gun and obey his silent commands further demonstrates his authority. These details collectively paint Blake as a man who commands respect through both physical prowess and psychological intimidation.2. What psychological tactics does Avery use during her confrontation with Blake, and how do they reflect her strategic thinking?
Answer:
Avery employs several psychological tactics in this high-stakes confrontation. She begins by directly demanding information about Grayson and Toby, refusing to engage in pleasantries (showing she won’t be intimidated). Her offering of the royal chess set acts as both a peace gesture and a subtle test of Blake’s values—which he dismisses as “showy.” She strategically mentions the public nature of her visit (“the entire world knows I’m here”) to limit Blake’s options for retaliation. Avery also carefully controls her reactions, such as not commenting when Blake handles the bowie knife. Most importantly, she lets Blake underestimate her as a “little girl,” which Tobias Hawthorne had predicted would be an advantage. These tactics reveal Avery’s ability to think several moves ahead in this dangerous game.3. Analyze the significance of the chess-related symbolism in this chapter and what it reveals about both Blake and Tobias Hawthorne’s characters.
Answer:
The chess symbolism serves as a powerful metaphor for the power dynamics between these characters. The royal chess set Avery brings—adorned with black diamonds—represents Tobias Hawthorne’s lavish, materialistic approach to power (“showy,” as Blake calls it). In contrast, Blake’s hand-carved wooden pieces (“A set you carve yourself plays just the same”) reflect his belief in self-made, utilitarian power. This dichotomy reveals their fundamental differences: Tobias used wealth and grandeur as weapons, while Blake values self-reliance and tangible control (mirrored in his physical dominance with the shotgun). The chess metaphor extends to their conflict—Blake sees life as a game where you create your own pieces, while Tobias played with opulent, pre-made ones. Avery’s placement between them suggests she must navigate both philosophies.4. How does the chapter portray the theme of generational conflict through the relationships between Blake, his son Will, and Eve?
Answer:
The chapter reveals complex generational tensions through these relationships. Blake’s dismissive comment about Will (“appears to have lost quite a bit”) shows his disappointment in his son’s failures. His remark that Tobias “should have let me handle Will” suggests Blake believes in harsh, patriarchal discipline—contrasting with Tobias’s decision to involve the authorities. Eve represents the youngest generation, initially assertive (“Do they?” questioning Avery’s story) but quickly silenced by Blake’s rebuke (“That’s enough, Eve”). Blake’s sexist language (“little girl,” “shouldn’t have sent a little girl to do a man’s job”) underscores his antiquated worldview. These dynamics paint a picture of a family where younger generations struggle under the weight of patriarchal expectations, with Will’s tragic end serving as a cautionary tale about the costs of this conflict.5. What does the chapter suggest about the nature of power through the contrasting approaches of Avery and Vincent Blake?
Answer:
The chapter presents two distinct models of power through these characters. Blake’s power is physical and immediate—symbolized by weapons (shotgun, bowie knife), controlled land, and overt intimidation. Avery’s power is more subtle and strategic: she leverages public perception (“the entire world knows I’m here”), legal processes (“once the investigation is complete”), and emotional appeals (her apology for Will’s death). While Blake relies on traditional masculine dominance, Avery uses information control and calculated vulnerability (allowing Blake to underestimate her). The most telling contrast is their weapons: Blake’s literal knife versus Avery’s metaphorical ones—the chess set as a bargaining chip, the seal as a returned possession establishing reciprocity. This suggests the narrative favors strategic intelligence over brute force in modern power struggles.
Quotes
1. “Around here, we cook what we shoot.”
This quote introduces Vincent Blake’s ruthless, self-sufficient philosophy as he demonstrates both his marksmanship and his control over his domain. It sets the tone for his character as someone who takes direct action and expects others to follow his rules.
2. “A set you carve yourself plays just the same.”
Blake delivers this line while whittling wood, contrasting his practical, self-made approach with the showy royal chess set Avery brought. This represents his disdain for superficial displays of power and his belief in self-reliance.
3. “I don’t lose, Avery Kylie Grambs. My son, on the other hand, appears to have lost quite a bit.”
This chilling statement reveals Blake’s cold detachment from his son’s death while asserting his own infallibility. It showcases his calculating nature and the high stakes of Avery’s confrontation with him.
4. “Choices, young lady, have consequences.”
Blake delivers this ominous warning while testing his knife’s sharpness, creating a physical metaphor for the threats he’s making. This encapsulates the chapter’s central tension and Blake’s philosophy of retribution.
5. “I shouldn’t have sent a little girl to do a man’s job.”
This sexist remark, directed at both Eve and Avery, reveals Blake’s antiquated worldview and sets up the power dynamics of the confrontation. It highlights one of the key challenges Avery must overcome in dealing with him.