3.25 ★— Alright, alright, I had some pretty high hopes for this sequel. For one, I like shiny, pretty things — that extends to books, and the cover of this one is exceptionally gorgeous.
My other reason: though I gave the first book in this series a very middling score, the ending positively surprised me, and I had hopes that this would carry into the sequel.
Well… the sequel did take off exactly where the first book ended. It begins with Kenna, after having killed King Osric - now the Princess and newly emerged head of the House of Blood - having to rebuild the House, learn how to manage it, step into the role of a leader, support her friend’s recovery from trauma, and cast a vote for the new regent of the realm, which will shape the future of the fae living there.
On paper, all of that sounds like it should make for an engaging story.
Sadly, while I was reading it, I didn’t feel that the author did a good job of making all these plot threads interesting to follow. It just felt very, very hollow and predictable, and even as I was reading, I kept trying to pinpoint why that was.
Kenna, for one, acknowledges to herself multiple times that she’s prone to making mistakes, that she’s failing all the time and trying to learn all these important skills as a future leader. She’s in over her head, which is understandable; she grew up human, in a village, and was thrown into this fae world unwillingly. I think the real problem for me was that I truly don’t think she’s an interesting protagonist.
It’s not because she’s not a badass warrior or a cunning strategist - being a fish-out-of-water, wide-eyed protagonist trying their best can be so fun (and plenty of media I love feature heroines like this). But with Kenna, there just aren’t many interesting traits to her.
She wants to help people, she’s generous, she’s trying to change things in fae society, and she’s kind. That’s great! But it felt like there was nothing else to her. She felt like a milquetoast of a FMC, not because she lacked strength or power, but because there’s a certain depth she’s missing. Something that makes her stand out and want to follow her journey. And I couldn’t find it.
Even her relationship with Kallen, which develops more in this book, gave me the same feeling. He’s a walking cliché of broody male leads, cobbled together out of every tall, dark, handsome, and dangerous fantasy love interest you’ve ever read about. And as the story tried to bring him to the forefront, that view didn’t really change. There wasn’t an original bone in his body. I didn’t understand why he was so clearly pining and devoted to Kenna so early in the narrative, and their connection felt just as hollow as most of the book did. His backstory, his mannerisms, his anxieties and traumas - it’s like he came from the Shadow Daddy™ factory, and there was nothing else interesting beyond that.
The side characters that made up Kenna’s allies and friends felt similarly bland. I didn’t connect with any of them, and so my interest in their scenes was low. But also, they were mostly pushed to the background 90% of the time, so there wasn’t much room for that connection to grow.
A big plot point, like I said, is Kenna rebuilding Blood House. She tries to do this in her own way, which I appreciated, and I did like her honest desire for change and her push to improve aspects of fae society. Those parts were genuinely appealing.
I also enjoyed learning more about the political aspects of this world and getting more background info that gave some depth to certain characters.
I think what really made the story feel so hollow to me was how heavily it leaned on familiar character types without doing much to make them feel fresh. Kallen’s brother, Hector, is your classic Tragic Older Brother™ - emotionally closed-off, misunderstood, hiding a wound from the past while everyone thinks he’s a villainous figure. Drustan, the fae Kenna slept with, fills the annoying manipulator ex part. Sure, there are attempts to humanize both of them, but it felt like I was reading character blueprints rather than actual people. The tropes were doing all the heavy lifting - and not very well.
There were a few more interesting characters, like Oriana, whose commanding presence and her steadfastness in remaining neutral - even when that neutrality results in actual cruelty and pain for her - gave her some genuine intrigue.
But she was an exception, not the rule. Even the newly introduced antagonists felt like echoes of Osric all over again: cruel, sadistic fae with superiority complexes and vague, generic plans for domination. There’s just not much nuance to them, and that lack of complexity made the stakes feel just as flat.
Similarly, the ending left me with a slight sense of déjà vu, and because I’d finished the last book with this same feeling, I didn’t really appreciate the direction it took, because it just felt like a rehash.
In the end, Princess of Blood had the setup, the world, and the potential, but it leaned too heavily on familiar tropes without adding enough new depth to make them feel exciting. I was rooting for it - really rooting for it, because I like fae stories, I love fantasy romance, and I want more fae fantasy romance I can adore - but too much of it felt derivative, and it just didn’t deliver the emotional payoff I was hoping for.
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Thank you to Berkley and Edelweiss for the opportunity to read an ARC of this book.