Derivative, passionless, and overall just very bland.
I’m extremely disappointed because this sounded like exactly my cup of tea: a rivals to lovers romantasy with fiery passion, the likes of which birthed the quote, “I wanted you so badly that I thought I might set this whole godsforsaken world on fire just to have you."
Unfortunately, it was none of the above.
Let’s launch right into the gripes, shall we?
THE WORLD BUILDING
This had all the trappings of fantasy-lite that I usually don’t mind in the romantasy (romance/fantasy) genre. However, where other series triumph in pulling off the lightest of world building to give one a clear sense of the world and its history, this one haphazardly sprinkles in nonsensical tidbits that never find cohesion and others that are never executed to fruition.
The shining example of this is the bonded wolves sequences in the first 10% of the book. Wolves are highlighted as sacred beings in their culture, and Will and Aya both are bonded with their respective wolves. This culminates in a strange scene in which a group of wolves turns on them and starts to attack, including Aya’s own bonded wolf. It is never followed up on why this took place aside from speculations that occur in the moment as they are being attacked.
Shortly after this, Aya and Will leave the country and the wolves are never thought of or spoken about again. This is baffling since they are sacred to their culture and supposedly bonded to these two, however they never spare a single thought for them once they move on. This was an example of a very random world building choice that was never cohesively woven into the narrative as a whole and was therefore never executed properly.
Another strange world building choice exists within her naming decisions. She manages to give her two male love interests the incredibly pedestrian names of Will and Adrian, and yet we’re to believe that these men live in a world where Tovas and Ayas roam the streets? It doesn’t work.
World building issues like this are rife within the text. If this were a first draft, I wouldn’t mind, but this is a published book. It’s extremely disappointing to see how little this was edited and it’s only to Dramis’s detriment as a writer that she wasn’t pushed further.
THE WRITING
The writing itself also posed a concern. It was clunky and dialogue was often unnatural. Will’s constant teasing tones of, “Aya, love,” never come across believably. The queen and other noble characters’ overly proper ways of speaking also are written so stilted and awkwardly that they feel alien. This needed so much more work to hit fluidity consistently and, like with the world building, it just seems that a lot of this was neglected on the premise that the gist of the plot and a few snappy TikToks about the tropes in the book could sell copies without any of the effort to transform this into an actually well-written story via the editing process.
The POV writing was also poorly done. With regard to Adrian, his POV is clumsily introduced for the first time after one third of the book has already taken place. When I first realized we were getting a third perspective, I paused my audiobook and asked myself, why?? Why do we care about this character we don’t know, whom we have no connection to, to justify him having his own perspective? By the time I reached the end, I was even more baffled. The twist ending featuring Adrian would have been all the more impactful if we hadn’t already seen his hand by peering through his eyes for half the book. It didn’t make sense and would have been an easy element of the story to part with.
The romance is also, as I mentioned earlier, completely passionless. Despite that line that I mentioned—the one I saw in another review that made me want to pick this book up ASAP—I felt nothing when the MMC, Will, spoke those words. There was no real chemistry between the two leads because both were written so blandly and inconsistently that there was nothing there for me to be attached to. This was an issue for all the characters; there were points where several had their lives threatened or were in danger and I didn’t bat an eye. I had no connection to anyone, and this led the romance, which is a focal point in any romantasy, to feel utterly passionless.
ACOTAR “INFLUENCE”
Here’s where we get into the derivative nature of this book. There were elements that seemed directly pulled from a lot of popular series, including ACOTAR, TOG, and the Grishaverse books. There were times where it felt like it bordered on plagiarism but was altered just enough to avoid accusations. Here’s what felt ripped from the pages of ACOTAR (ACOTAR trilogy spoilers ahead):
• Will’s constant “Aya, love” epithets are eerily similar to Rhysand’s “Feyre, darling”. Will is also just generally a knock-off Rhysand: Aya constantly questions whether he’s a villain or an ally; Will is similarly inconsistent with his treatment of Aya as Rhys is with Feyre—except in this case, it comes across awkwardly with Will oscillating between emotional extremes too quickly where Rhys was more subtle to hide his allegiances.
• SJM repeatedly uses certain turns of phrase that also kept popping up in this novel, including but not limited to “fighting leathers,” “rubbing soothing circles,” and “sketched a bow.”
• Aya has every single power known to man in a world where people are limited to one. This mirrors Feyre’s acquirement of all the high lords’ powers, except in that case, there was a reason she got those abilities (their kernels of power were bestowed upon her to bring her back to life), while here, there is no such justification.
• Will is killed in a final battle and then resurrected. See: ACOWAR, Rhysand, except that death fake-out actually guts every time due to the way the whole series culminates toward that moment between Feyre and the other high lords.
THRONE OF GLASS “INFLUENCE”
• Aya is Celaena Sardothien before she became a good character. Both are bitter, bratty, gloomy and headstrong. Both have woe-is-me attitudes that chafe and, in Aya’s case, it never truly feels justified in the text. Her mom was killed and she set off the sequence of events that allowed that to take place. That is a kind of trauma. However, the amount of self-flagellation that she engages in is exhausting considering there has been nothing else to date indicating her life has been difficult. She easily rose through the ranks and became the spymaster to the queen at 21 (that’s a whole other level of literary suspension of disbelief that is entirely inaccessible to myself). At least Celaena had more she was grappling with.
• There is a love triangle where the FMC has to choose between the clean-cut nice-guy prince and the rough-around-the-edges, standoffish captain of the guard/enforcer. FMC rejects the prince and chooses the other guy.
• The imagery of their “well of power” and “diving deep into [their] power” both reflect imagery used by SJM to describe how the Fae in TOG access their own powers.
GRISHAVERSE “INFLUENCE”
• The queen’s Tria mirrors the Grishaverse triumvirate in that three ridiculously young people in both series have risen to the highest positions of power they can possibly be appointed to.
• The aforementioned sacred wolves and human-wolf bonding in Dramis’s iteration reflect the Fjerda customs deeming wolves to be protected as sacred beings, as well as the drüskella’s taking of animal familiars via those wolves.
• In a dramatic moment that threatens the life of her friend, FMC is revealed to have super special powers that prophecies foretold will save the world, that grant her subsequent sainthood. Am I describing The Curse of Saints or am I describing Shadow and Bone? Trick question: I’m describing both.
THE AUDIOBOOK
Finally, I’m extremely disappointed to say that the audiobook performance by Devon Sorvari is poor. She doesn’t alter her voice when she narrates different characters. This leads all characters to sound the same and makes it difficult to become immersed in the story when I’m constantly having to rely on dialogue tags to figure out who’s speaking. She also has very awkward delivery for most of the dialogue in this book, particularly the way she kept delivering all of Will’s “Aya, love” epithets. It was not a good listening experience and I’m sad to say that I was really looking forward to completing the audiobook so I could be done hearing her performance.
FINAL THOUGHTS
This was a let down. Between the Franken-plotting of popular tropes and plot points of much-beloved series, I just couldn’t get behind any of this. For future books in this series, this publisher really needs to push their editors to take a closer look and really dig in with this author. This needed so much more work and I’m disappointed that I’m seeing what appears to be a first or second draft getting published in full form. Dramis has promise as a romantasy author, but more fleshing out needs to be done before she can truly grow.
Spice Rating: 🌶️🌶️ - Explicit touching, does not go all the way
Overall Rating: 1 star
A big thank you to Netgalley and the publisher, Dreamscape Media, for providing me with an advanced copy of this audiobook in exchange for an honest review!