3⭐️|3🌶️
So Dawn of Chaos and Fury… where do I even begin? Probably with the fact that the book started like someone lit a match… and then immediately dropped it into a puddle. I went in expecting epicness after the last book’s ending. I expected Majesty™. I expected Carnage™. I expected Razik, honestly, because I’m very simple like that.
Instead, the first 30% was like being trapped in a psychiatric facility whose only patient is Tessa—who insists on being referred to as “we,” which is bold considering none of her personalities are likable. I was holding on purely out of loyalty to Axel and my feral obsession with Razik. If Axel hadn’t been there like “hey girlie, let’s provide a crumb of entertainment,” I would’ve been OUT. GONE. CLOSED BOOK, BYE.
Tessa opened this book like she woke up, took a deep breath, and said, “Today I will be the most annoying person alive,” and then actually succeeded. Congratulations to her, truly. Someone compared her to Gollum and I felt my soul leave my body. Not because it was mean—no, because it was accurate to a level that should honestly be illegal. She’s in the corner muttering “we must keep it, we must not let them take it, chaos and fury, fury and chaos,” like she’s auditioning for Lord of the Rings: The Psych Ward Edition.
And the worst part? We’re trapped in her head! The book said “POV: your intrusive thoughts have unionized and formed Tessa.” My eyes rolled so hard I’m typing this review from the back of my skull.
Her characterization is somehow everywhere and nowhere at once. Unhinged but not in a cool morally gray “stab a man, look stunning doing it, trauma-chic queen” way. No. More like “local 2am gas station gremlin arguing with her reflection over who gets to hold the last Monster energy drink.” She has the personality of someone who would burn down a village because she misunderstood a joke. She’s the human embodiment of clicking “I agree to the terms and conditions” without reading a single line, and then being SURPRISED when consequences appear.
And can we TALK about her decision making? She’s supposed to be this god-tier being of power and destiny and whatever—yet every single choice she makes is the exact opposite of what a functional adult (or functional toddler, honestly) would do. The girl’s like, “I’m traumatized, therefore I am entitled to commit war crimes AND play the victim at the same time.” Babe, no. That’s not how that works. Go to therapy. Go to sleep. Go to jail, maybe.
And the WHINING. OH MY GOD. I didn’t think she could get whinier after the first book but she said “hold my emotional support dagger.” Her entire personality is self-loathing and expecting everyone else to drag her out of it.
The poly relationship situation is its OWN disaster zone. I’m sorry but the hypocrisy was so foul it actually made my eye twitch. Tessa gets two men — cool, fine, spicy, whatever. But GOD FORBID either of them look at another person. No, they must worship only her holy unbalanced existence while she gets to float around being indecisive and withholding and self-destructive. And what exactly do they get from her? What are the benefits? Where is the package deal that makes this make sense? She doesn’t communicate, she lies, she makes terrible decisions, she takes zero accountability, and her behavior swings like she’s on a malfunctioning mood rollercoaster. They spend the entire series chasing her, soothing her, forgiving her, praising her, and for WHAT? She's beautiful? She’s powerful? Okay? Power’s useless if the owner is using it like a child who got into the kitchen knives.
Their dynamic is basically:
Luka/Theon: Tessa, please just tell us what’s going on.
Tessa: no <3 I’m quirky and tragic.
Luka/Theon: queen of our souls.
LIKE???
Why are they obsessed with her? What does she give them besides migraines and premature aging? She keeps secrets the way dragons keep treasure—hoards them, sits on them, snarls at anyone who comes close. But somehow she’s never wrong and always justified?
And then—AND THEN—after dragging these immortal men through four books of chaos and emotional waterboarding, she ends it all by telling them she will never want kids with them, not even in eternity. I’m not saying she needs to want kids. I’m saying the way she said it felt like someone slapping you with a wet dishrag. It was weirdly hostile. And frankly? She shouldn’t be allowed to care for a cactus, let alone an actual child, but it was STILL weird.
Anyway. Moving on before my blood pressure rises. Let’s talk plot. Or what was left of it after Tessa chewed on it like a teething toddler.
Everything the last three books built up to… happens in like 100 pages. Blink. Done. No stakes. No tension. Deaths? Quick and forgettable. The big bads? Defeated like wet paper towels. I wanted tears, anguish, emotional devastation—I got “okay so we won, anyway moving on.”
And the Genesis Bond? Mentioned twice and then thrown into the same abyss as Tessa’s rationality. The “inevitable but also a choice”? Make it make sense. Spoiler: the book won’t.
Meanwhile, the DARK aspect of the series? Gone. Watered down. This is “Chaos and Fury Lite,” now with 30% less flavor.
But THEN — THEN — the dragons show up and suddenly the book remembers it’s supposed to be interesting. Razik, Luka, Xan? Inject that into my veins. Do not dilute it. Luka’s POV whenever dragons were involved was the single strongest part of the entire story. Razik and Luka developing that tentative, awkward, “maybe I don’t hate you but don’t get comfortable” relationship? ICONIC. Razik returning Luka’s picture frame like “here idiot I stole this but I’m giving it back don’t make it weird”? I ascended. Luka flying with his father after the collar removal? TEARS. ACTUAL tears.
But we barely got them. Criminal. Pure criminal behavior.
And oh Razik, sweet dragon of my heart, my Roman Empire, my reason for living. Every time he showed up the book suddenly had flavor again. He is the only character in this entire mess who consistently uses his brain. He hates Tessa with the burning passion of ten thousand suns and frankly? Valid. He says things exactly as they are, no coddling, no sugarcoating, no “oh but she’s traumatized.” No. Razik said “you are annoying and I do not like you” and I said “YES KING DRAG HER.”
The man is perfect. I would read 800 pages of him breathing in a corner. I fold like a lawn chair the moment he appears. The fact that we didn’t get his POV in this book is an actual crime. WHY. WHY WOULD YOU DO THIS. WHY DENY US A POV FROM THE MOST INTERESTING CHARACTER IN THE ENTIRE SERIES. That is a narrative crime punishable by dramatic screaming.
And let me just say one more thing — because I need this on the record. The bonus scene being yet ANOTHER Tessa POV after I spent almost a THOUSAND PAGES trapped in her head? That was hate crime energy. I was praying — BEGGING — for even half a page from Razik. A scrap. A bone. A droplet. Anything. Instead I got more Tessa. I nearly threw my kindle.
And let’s not forget Razik’s entire backstory situation. Because after Tessa pulls the ol’ trauma card on Razik, she really stands there like “oh but I was abandoned as a baby,” and Razik, rightfully, is like “yeah cool but my parents willingly dumped me with my uncle at age seven and then happily popped out Luka centuries later and raised him themselves, soooo who had it worse exactly?” And he’s RIGHT. He’s so heartbreakingly, mind-shatteringly right. He had to grow up with the crushing awareness that his parents looked at him — their son, their firstborn — and still chose to walk away. No explanations. No messages. No reassurance. Just silence and absence and a child trying to make sense of a pain that old.
And then — THEN — after gods know how long, his parents just show up in Devram like it’s a normal Tuesday… with a five-year-old Luka. Which means they didn’t just leave Razik — they built a whole new life, a whole new family, STARTED OVER, and somehow decided he did not fit into that picture.
And Razik has to swallow that. He has to sit with that reality. Of COURSE he’s guarded and sharp and aching in ways no one else understands. Razik wasn’t just abandoned — he was replaced. And he knows it.
But Tessa has the gall — the AUDACITY — to act like her situation trumps his, as though suffering is a pie and she gets the biggest slice. Girl, sit DOWN. For somebody who’s supposed to be this divine being of chaos and fury, she sure spends a lot of time emotionally sparring with people she should be apologizing to.
And THEN the series tries to — I don’t know — redeem her? Like suddenly she snaps out of her insanity spiral and is like “lol nvm I actually don’t want to commit mass murder anymore.” Girl WHAT changed? Between page 500 and page 600 did you just suddenly experience a personality patch update? Did you download the new firmware for Emotional Stability 1.1? NOTHING about her “redemption” made sense, because nothing about her devolving into madness made sense either. You can’t have a breakdown arc when the character wasn’t mentally intact to begin with.
Meanwhile Axel and Kat? Oh they CARRIED. They carried so hard they needed physical therapy afterward. Every time their POV appeared I unclenched. Axel—my beloved spare heir who became the superior heir—and Katya, quiet firecracker queen turned fiercely loyal mama bear? PERFECTION. They should’ve been the main characters. The fact that their storyline took up like 12% of the book is atrocious.
Eviana? Survived unimaginable trauma and still managed to be more coherent, relatable, and emotionally stable than Tessa EVER was. Corbin and Lange deserved POVs just to pad the book with more quality content. Bracken? KING. RATIONAL KING. Betrays his entire purpose because it’s the right thing to do. I miss him already.
Tristyn? Obsessed. Give me his book, his novella, his audiobook, his cereal box, something.
Imagine how SHORT this series would be if characters just said the things they were thinking out loud. I’m talking ONE (1) conversation. One. Uno. A single honest chat and suddenly we’d be done at book one with everyone alive, happy, and not possessing random chaotic glowy powers. But then again, if Tessa communicated like a normal human instead of some sort of cryptic gremlin oracle scribbling riddles on a cave wall, I suppose we wouldn’t have a plot. Not a GOOD plot, mind you, but a plot nonetheless.
Honestly? The whole series was entertaining. Not good—but entertaining. And Razik owns my soul. He could stand in the background doing nothing and I’d still rate his scenes five stars. I need his book. I need Eliza. I need dragons. I have suffered long enough.