This is by far one of the hardest and most conflicting times I've ever had when writing a review to date. No kidding.
I probably wrote, deleted, rewrote, and edited this more times than I could count on, to finally come up with the version you're seeing uploaded here today.
Fleshing out thoughts on paper is never easy. Some books are complex and hard to understand and dissect, allowing all kinds of interpretations about their possible deviations.
I wish I could say that those were the same things that kept me up all night regarding Alchemised.
Reality, as usual, has nothing to do with expectations.
I equate the experience of going through this monstrous doorstopper (and it certainly is, running over at the impressive mark of little more than 1000 pages) to that of coming back home from an excruciating crusade. One torturous, unending, exhausting crusade.
And here we are, my friends, at the end of all things.
I confess that when I first shelved this book little did I know what I was getting myself into. By now, I should've known better than to fall for a pretty cover, but it seems I never learn.
I was fool enough to believe that this book was something that's not.
I was today years old when I found out that this was actually the trad-published version of a very popular Dramione fanfiction (apparently, Dramione fics have become a thing since my long-gone days as a hardcore Potterhead of the first dawn).
But I was even more today years old when I learned about its controversies, mainly due to the presence of sexual assault scenes and its very problematic takes about it (I'll come back to this later on, I promise).
An unfortunate turn of events for the author, perhaps, but expected to happen when you take the most disturbing aspects of The Handmaid's Tale just for emotional impact and sensationalism, depriving it of all the social critique Margaret Atwood intended with it in the first place.
I wasn’t aware back then that I was setting myself up for the most traumatizing, discomforting and twisted story I've ever experienced as a reader.
But also, and without a question, one of the poorest written and edited ones, making it the worst book I've read in my life, by MILES.
A lot of adjectives, I know, but I'm at the brink of pulling out my hair from my scalp from seeing all those raving, biased, highly unreliable, five-star reviews.
How this has a 4.55 average rating on Goodreads is something I don't and probably will never understand (yeah, yeah, don't look at me like that. "To each their own," but I would have expected for people to do better than this. Sorry not sorry. And by the way, this ain't meant to say I'm judging you for liking a book. I'm judging certain people for their lack of judgment when analyzing this book, which is a completely different thing).
But hey, let’s look at this positively. If you're planning on publishing your book, you might have a chance after all.
The bar has never ever been so low.
For the most part, diving into this book felt like being trapped inside one big endless loop. It's the best allegory I can come up with to describe the overuse of the same recycled scenes over and over, like a bad song playing on repeat.
I've lost count of how many times I've read about Helena touring around the house, or walking down the courtyard, her infinite seizures, her eyes or vision going red, her going back and forth between the Outpost and Headquarters and the other way around to meet Ferron ( for your information, part 2 consists of 43 chapters, the equivalent of about 500/600 pages, of which 90% are iterations of this same scene), her being saved by him, him being saved by her, and the recurring scenes of both characters getting injured and being healed by the other.
For a book this long, it certainly falls short on ideas. And after finishing this, I see no motives to justify this behemoth being over 1000 pages. At all.
But besides being borderline on repetition, Alchemised suffers from some of the heaviest exposition and info dumps I have ever read in a trad-published book, something kind of expected in rough drafts from aspiring writers trying their hand at writing for the first time, but not in stuff from such renowned publishers (or so I thought) as Del Rey and Penguin Random House.
There's too much passive voice and excessive telling over showing, with a lot of relevant events happening offstage, the most obnoxious and unforgivable one almost at the very end. To give you all an idea, It's the kind of information that makes it unfathomable to think how it was simply left aside as a side note, something in the magnitude of finding out about Voldermort's death in a Daily Prophet article, or learning about Sauron's downfall because of some tavern gossip.
When a book tells instead of showing, it rips you away from the possibility of feeling what the characters are going through. It deprives you of the emotional connection we might develop towards a certain character and whatever we may feel towards them.
People cater to stories for this. We want to feel what they're feeling, see what they're seeing, live what they're living. Stories, after all, revolve around characters. Everything falls second if readers don't care about them.
Excessive telling makes readers feel the way I did while reading this.
Disengaged. Cold. Aloof. Detached.
With everyone and their mother being devastated and heartbroken, and screaming-crying- throwing out, I thought, well, maybe I'm just a savage, heartless bitch.
But nope. This is not a case of "Hi, I'm the problem, it's me", but of the book failing at its very basics of making me even care at all.
I have never read Manacled (the fanfic this originated from) nor do I have plans to. Like ever. But having learned about this book's fanfic roots pretty much explains the reasons why it can barely stand on its own.
The way I see it, you alone are setting up yourself for trouble by trying to claim this as your own original work of fiction, without changing much of the overall story, and not having seven books lore as a backbone to rely on anymore.
Without HP background, a lot of stuff just doesn't make sense, like how Helena and Luc came to be friends, how Helena and Ferron came to know each other, the motives that led to the war..... In this scenario, readers without zero clue about the fanfic are forced to do mental gymnastics to understand what the hell is going on half of the times, or who are certain characters and the role the play within the story.
Here, there aren't prior books to established how those characters came to know each other, how they interacted between them all those years and how they became the persons they turn out to be. There aren't also years and years of history that eventually led to a war.
We are just thrown in the middle of it and left on our own to figure it all out.
Without HP solid ground pretty much everything feels out of place, once beloved characters now turned into empty shells with made up names and no past. Nothing but no ones no one cares about.
Worldbuilding and magic system are also messy and not so well defined.
People have "resonance" but they still bring steel swords to a fight. There are cars, photocameras, and bombs, but fighters geared up in steel armor for battle.
There's medical equipment and knowledge, allowing a character to revert a tubal ligation, and yet the only way to impregnate an unwilling woman is by sexually assaulting her.
Magic system tries to be complex, but ends up being a mishmash and a lot of mumble jumbled words.
And even so, it looks suspiciously familiar to the one of Fullmetal Alchemist.
But, besides its dubious quality, which makes me automatically side-eye anyone labeling this as a masterpiece or comparing the prose to the likes of Rothfuss or Tolkien (what a way to admit you're smoking fungi), there are the controversies surrounding this book and the reason why it's getting so much heat.
Does this book romanticizes rape?
The answer is a much more complex one than a simple yes or no.
Deconstructing those scenes alone: yes, it's rape, and there's no beating around the bush about it. People saying otherwise are either in denial or being delusional. It doesn't matter the excuses the author comes up with further along in the story; at the moment it happens, consent is not given, which categorizes the situation as blatant rape.
What other name would you call it if your longtime partner took advantage of you while you were intoxicated, or forced you to have intercourse even after you told him no several times? Try talking a judge or a jury round about it not being rape. Be my guest, please.
I might give it to the author and the fans that the actual scenes are not romanticized. I wouldn't say either that they are treated with sensitivity, as some people say. The tone is actually dry, emotionless, not far from the one of someone giving you the weather report.
But problems arise when the author twists the narrative, going all the way to make up excuses to justify what's unjustifiable. I could summarize part 2 as nothing more than a lengthy scapegoat so that readers with 512 MB RAM memory can start developing feelings of pity and compassion towards a very questionable character like Ferron.
Looking out at the whole picture, the overall message is far worse than whether simplifying if this is romanticizing rape or not.
What this book actually does is to glorify abuse, cajoling people into the belief that love can be born out of it.
It displays an imbalanced relationship of dominant/subordinate, or rather oppressor/oppressive, one that's deep-seated in fear, coercion, abuse, and emotional dependence.
It is not love, but trauma bonding, disguised as some kind of romantic redemption. And people praising it as so and believing that a mass murderer like Ferron is worthy of devotion and redemption because of a single act of kindness or sporadic, random gestures of tenderness in the midst of all his violence and cruelty, just makes my blood boil.
I can't for the life of me understand how people are willing to turn the blind eye on a character of his caliber, with the excuse that he didn't have a choice or that he was just following orders.
Or that he did it all for a greater good, so the ways and means to achieve that actually don't matter, even if they are deeply unethical.
As society we should have learned by now that the end does not justify the means. Ever.
We could say Ferron's ways are a distorted version of the old trope "I'll burn the world for you", so typical of romantasies, but taken to the extreme, with the character killing and torturing persons, because, hey, he's doing it for her, and he doesn't have a choice, and can't you see he's traumatized?
So, in Alchemised´s fashion, mass murderers are forgivable, if they show some glimpses of remorse of conscience at night.
How lovely.
What a terrible and dangerous way of thinking.
You probably think I'm exaggerating and that I'm taking this too far. But nope. Let me elaborate.
There's actually one scene when Ferron kills a whole family with only his bare hands, by cracking their necks. Three of them, children.
Or somes scenes in part 3 when he tortures innocent people. Oh, but he´s being forced, you know. He can´t choose or he´s gonna blow up his cover. Besides, who cares for the expendable lives of 300/1000/10000 souls just to save only ONE, right?
I actually don't know what's worse. The author toying with the narrative so people can feel empathy towards a genocidal, or Helena giving two flying fu##$ about it. This scene actually exists, where he literally comes to meet her at night, after a long working day torturing people. And she greets him like nothing has happened and feels pity towards him, 'cause remember, he's doing all that because of some great cause.
People, there's always a choice.
Even those under a chain of command, who follow orders from a superior, have the free will to choose to do what's right. Even if going against them is risky and comes at the cost of your job, or your own life. There's no scenario when choice is not an option.
Ironic that being born as Harry Potter fanfic, this book misses one of the most crucial messages from that series: that you always have the choice to do what's right, instead of what's easy. It's ours choices who define us, which shows what kind of person we are.
Stating that choices aren´t our own, or that someone can´t be held accountable for its actions because he was just obeying, is a pretty lame excuse to elude that person´s personal responsability for them.
I might be an idealist (I can't help it being an INFJ), but to me, ideals and values are not negotiable. Willing to do even the worse in the name of love isn´t romantic. It´s selfish.
You see, books like this one, that deal with such sensitive topics, need to keep the rightful narrative tone, so readers don't end up romanticizing things that shouldn't be romanticized.
It's a given when you're an author. There's some responsibility that comes with it, and the stuff you put out to the world.
I don´t expect characters to be moral endorsements, nor stories to be perfect utopias, but when dealing with such delicate themes, like torture or sexual assault, you gotta keep it right so the message you wanted to convey doesn't get twisted.
For example, no one who has read Margaret Atwood would think she was justifying rape or using graphic violence as an aesthetic resource, just to add more drama.
No one who has read Wuthering Heights with a critical mind would think that Cathy and Heathcliff were tragic lovers. Emily Brönte didn't write that book for people to swoon over the idea of an impossible, tragic love, but to reflect on how destructive, possessive and consuming some relationships could turn.
I find it quite disturbing when the author puts in Helena's mouth stuff like "we were both raped", or "love isn't as pretty or pure as people like to think. There's a darkness in it sometimes. [...]. I made him who he is [...]. If he's a monster, then I'm his creator".
The scene where the last quote is delivered needs an analysis on its own, because it´s the perfect example as how the wrong narrative tone changes the perception of the story.
When a character with common sense confronts Helena about Ferron's red flags (such as his possessiveness over Helena, his isolation, and his refusal to interact with anyone other than her), and the nature of their relationship, she simply shrugs it off, regarding her feelings for him as "love".
Instead of highlighting Helena's traumatized mind, what becomes evident is the author's deliberate intention to glorify a deeply toxic relationship, one born of submission and subservience, and not one out of a pure, free love.
Instead of condemning possessiveness, obsession, and emotional codependency as red flags in a relationship, they´re glorified as true love, when actually they are not. Ask any couples therapist or check out any book on couples psychology about it. Again, be my guest, please.
When I see the author reposting Helena/Ferron fanart on their Tumblr account, or a post about emotional codependency as something to be exalted or romantic (cause you know, healthy relationships are boring), I can't help but wonder if maybe this was deliberate, and that maybe this whole thing about the book being a gothic war novel is simply a way to gaslight people who don't know much about how shipper fanfics works.
This is why I can't consider this book a war novel. People who say this make me wonder if they've ever read one (stuff like "All the Light We Cannot See", "The Heart of Darkness", Anne Frank´s The Diary of a Young Girl") or if they're just repeating what the author says like an echo chamber.
While the story takes place during one, it's used more as a setting for the story itself to develop.
You see, war stories are rarely told from the audience's armchair, by telling instead of showing, and they rarely if ever focus on the romantic relationship between two characters, leaving everything else aside.
Alchemised attempts to reflect on certain themes, but by focusing so much on said relationship, it loses all meaning. What could have been a profound message ends up being superficial.
Choosing to tell Helena´s pregnancy and giving birth to her baby, instead of making the reader live firsthand the resolution of the conflict, says it all about the real purpose of this book.
Overall, I can't help but see this book as what it was originally intended to be: nothing more than a fanfic.
It is, from a technical standpoint, but especially from a plot standpoint.
Throughout the most part, this book largely reminded me of a soap opera or a telenovela, with its cheap drama and emotional undertones. This type of content relies on intense emotions, but not on serious or well-crafted story arcs.
Putting your characters through all kinds of suffering to generate drama is not indicative of a good story; it's quite the opposite. The use of drama and violence to shock, but without substance.
Those of you who follow me know that I don't usually say don't read this, but I'll allow myself an exception.
Don't waste your time on this. I've sacrificed some of my own so you don't have to, and objectively, for the general public, this is not an interesting nor a relevant book.
I just can't imagine anyone other than fans liking this.
It's 1,000 pages of a very deppresive, boring misery porn, which I wouldn't recommend even to my worst enemy.
Don't be afraid of feeling FOMO. Sometimes, Ignorance is bliss.
*Quality based rating: ⭐️
*Liked based rating: ⭐️
TW #graphicviolence #sexualassault #warviolence #torture #violenceagainstwomen #forcedpregnancy #miseryporn #darkromance
DISCLAIMER: if you want to comment, keep it civil.
While I consider myself an advocate of freedom of speech and tolerance, that doesn't mean I'll indulge in someone else's negativity and will to start a fight over a book.
Get a grip, make yourself some chamomile tea, venture into mindfulness or consider getting into anger management therapy.
All this to say: any disrespectful toy chihuahuas barking from a tiny purse will be banned and ignored.