Scan barcode
reish3ll's review
dark
emotional
mysterious
sad
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0
ycano's review
adventurous
challenging
emotional
hopeful
inspiring
lighthearted
tense
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
3.75
ashndean88's review against another edition
adventurous
dark
emotional
hopeful
inspiring
mysterious
reflective
sad
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? It's complicated
4.5
Maybe?? I need to think about this. The rating could change. Wowza!
jennytho's review
adventurous
dark
emotional
tense
medium-paced
- Plot- or character-driven? A mix
4.5
carolinekysela's review against another edition
5.0
dude... and i thought ACOTAR was good
i loved everything about this book. everything. i can't even think of what to say because there was just so much and it itched every scratch in my brain.
so great. on to the third book!!
i loved everything about this book. everything. i can't even think of what to say because there was just so much and it itched every scratch in my brain.
so great. on to the third book!!
hillmeister's review against another edition
5.0
Well I didn’t think it could get better than book #1, but I was wrong! This was a perfect balance of action, adventure, passion, and soul searching. I found Feyre’s healing journey in this one to be particularly moving.
willster3010's review
adventurous
fast-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
5.0
ateclaw2's review against another edition
adventurous
dark
emotional
funny
sad
fast-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
2.25
islishmd's review against another edition
adventurous
challenging
dark
emotional
funny
hopeful
inspiring
mysterious
sad
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? It's complicated
4.5
trinityb2021's review against another edition
emotional
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.5
I am embarrassed with how much I enjoyed this book. It has a lot of issues which I will get into but at its core, it was so fun. I was screaming, crying, giggling, kicking my feet at this book. This book was better than the first one. I wanted to give it five stars but because of some writing and plot issues I decided that was too generous. I fear BookTok has popped off with this one.
The biggest hurdle this book has is trying to rewrite Rhysand to be likable. Maybe it was because I knew reading the first book that Rhysand becomes the main love interest, but I never found Rhysand’s actions to be too abhorrent. He was backed into a corner and found the best way to help himself and Feyre. The only part that I still find hard to justify was drugging Feyre every night Under the Mountain with the fairy wine. That seemed unnecessary. He justifies it as making it so she “wouldn’t remember.” But, for a relationship that hinges on Feyre having agency and choice in all of her decisions, this seems like a weird choice for him to make for her. For me Rhysand’s actions were more or less defensible and I started to really like him.
The largest flaw in this whole series so far (but seems to be improving by the end of this book) is the weak fantasy setting. This is a perfect example of width and not depth. Something Brandon Sanderson has talked extensively about when he gives world building advice. There are dozens of extended fairies and fae and monsters in Prynthian that seem like plot devices rather than fleshed out races or cultures. A good example of this is the Suriel. Rhys says he has tried twice and failed to capture the Suriel yet Feyre captures it twice within a year easily without breaking a sweat. I think Sarah didn’t know how to write a way for Feyre to know how to cure Rhys and decided that this was an easy solution.
Many of the powers are the same way. Just plot devices to solve conflict rather than powers with interesting rules and limitations. Tamlin’s powers in particular seem way weaker than the other High Lords. Waterbending, firebending, shadowbending, magic light (I forget what all the other ones are; They aren’t explained well), all seem stronger than just shapeshifting. The history of Prythian had a lot of plot holes in the first book that got written away as Tamlin lying to her. This has left me confused on what was real and what was made up. The ending of this book started to get me more immersed in the world and fantasy elements rather than just the romance side. I am eager to see if Sarah can pull off an interesting fantasy world in the third book where romance needs to take a back seat.
Something that stuck out to me is Sarah’s lack of skill in conveying exposition. Almost everything we learn about Rhys and his past or teams past comes from expository dialogue around a table. There are rare instances of a sort of flashback which is refreshing but MANY times it is page after page of characters explaining things to Feyre (but really to the reader). This is exhausting to read. This is boring. Please don’t write exposition like this. I can think of three separate times that lengthy expository dialogue was conveyed around a table.
I think the portrayal of PTSD and other mental health issues surround what happened to the characters was fairly well executed. It wasn’t particularly deep, but it got the message across in a tasteful way. I think Tamlin is way too hated in the community. I’ve seen reaction videos to the “horrible thing” Tamlin does in the first third of the book that causes the focus to shift to Rhys and I felt it wasn’t that bad? I understand why it was triggering to Feyre but Tamlin’s feelings are never explored. He suffered as much as Feyre but his actions are completely inexcusable? If we are forgiving Rhys for what he did Under the Mountain I feel like Tamlin can be forgiven for what he does in the first act of the book. He was doing what he thought was best. He couldn’t protect what he loved most when it mattered and he feels like a coward so he is overcompensating now. Rhys and Feyre call him a coward for it later on. I think calling Tamlin a coward just because he cried instead of trying to kill Amaranatha in the finale of book one is crazy. You can’t blame him for how he responds to trauma. If you attempt to have mature discussions about trauma in Rhys and Feyre then you need to do that about Tamlin too. It is alluded to by Feyre but never really explored. All that being said, the reveal at the end changes my opinion on him. I think up to that point he was still salvageable. I hope the next book focuses more on Tamlin’s trauma since this book focused mostly on Feyre and Rhys’.
Sometimes the writing can be goofy and take me out of the story. There are a few examples, mostly in Feyre’s internal dialogue, that makes me go “who would think like that.” There were maybe 6 or so moments like this, overall not a deal breaker. Less goofy moments in this book than the first.
This sounds critical but the romance elements were extremely well done. Other than a weird third act breakup that doesn’t make sense and is resolved at a breakneck pace, I really enjoyed Feyre and Rhys’ dynamic. They have amazing banter and chemistry. The mate situation was a little too much. Normally I would say I like the idea of mates in fantasy romance but they started calling each other “my mate” and their friends referred to them as “his mate” or “her mate.” This was a little too much. Just say it a few times and then use names and pronouns like normal people.
Twilight wishes it was ACOTAR. Although for a slightly older target audience, ACOTAR so far is everything I wanted from Twilight. It doesn’t take itself too seriously but approaches the sensitive topics (like trauma) with the tact they deserve. The romance is hot and steamy and the love interest isn’t a stone wall. He is funny and flawed. He has other interests and character traits outside of the main character. There are fantasy elements but they take a background to the character work being done. The side characters feel like they have a life outside of the main characters but don’t hog too much of the spotlight. I really enjoyed this book and I think anyone who is looking for a better version of Twilight or a light-hearted romantasy needs to read this.
The biggest hurdle this book has is trying to rewrite Rhysand to be likable. Maybe it was because I knew reading the first book that Rhysand becomes the main love interest, but I never found Rhysand’s actions to be too abhorrent. He was backed into a corner and found the best way to help himself and Feyre. The only part that I still find hard to justify was drugging Feyre every night Under the Mountain with the fairy wine. That seemed unnecessary. He justifies it as making it so she “wouldn’t remember.” But, for a relationship that hinges on Feyre having agency and choice in all of her decisions, this seems like a weird choice for him to make for her. For me Rhysand’s actions were more or less defensible and I started to really like him.
The largest flaw in this whole series so far (but seems to be improving by the end of this book) is the weak fantasy setting. This is a perfect example of width and not depth. Something Brandon Sanderson has talked extensively about when he gives world building advice. There are dozens of extended fairies and fae and monsters in Prynthian that seem like plot devices rather than fleshed out races or cultures. A good example of this is the Suriel. Rhys says he has tried twice and failed to capture the Suriel yet Feyre captures it twice within a year easily without breaking a sweat. I think Sarah didn’t know how to write a way for Feyre to know how to cure Rhys and decided that this was an easy solution.
Many of the powers are the same way. Just plot devices to solve conflict rather than powers with interesting rules and limitations. Tamlin’s powers in particular seem way weaker than the other High Lords. Waterbending, firebending, shadowbending, magic light (I forget what all the other ones are; They aren’t explained well), all seem stronger than just shapeshifting. The history of Prythian had a lot of plot holes in the first book that got written away as Tamlin lying to her. This has left me confused on what was real and what was made up. The ending of this book started to get me more immersed in the world and fantasy elements rather than just the romance side. I am eager to see if Sarah can pull off an interesting fantasy world in the third book where romance needs to take a back seat.
Something that stuck out to me is Sarah’s lack of skill in conveying exposition. Almost everything we learn about Rhys and his past or teams past comes from expository dialogue around a table. There are rare instances of a sort of flashback which is refreshing but MANY times it is page after page of characters explaining things to Feyre (but really to the reader). This is exhausting to read. This is boring. Please don’t write exposition like this. I can think of three separate times that lengthy expository dialogue was conveyed around a table.
I think the portrayal of PTSD and other mental health issues surround what happened to the characters was fairly well executed. It wasn’t particularly deep, but it got the message across in a tasteful way. I think Tamlin is way too hated in the community. I’ve seen reaction videos to the “horrible thing” Tamlin does in the first third of the book that causes the focus to shift to Rhys and I felt it wasn’t that bad? I understand why it was triggering to Feyre but Tamlin’s feelings are never explored. He suffered as much as Feyre but his actions are completely inexcusable? If we are forgiving Rhys for what he did Under the Mountain I feel like Tamlin can be forgiven for what he does in the first act of the book. He was doing what he thought was best. He couldn’t protect what he loved most when it mattered and he feels like a coward so he is overcompensating now. Rhys and Feyre call him a coward for it later on. I think calling Tamlin a coward just because he cried instead of trying to kill Amaranatha in the finale of book one is crazy. You can’t blame him for how he responds to trauma. If you attempt to have mature discussions about trauma in Rhys and Feyre then you need to do that about Tamlin too. It is alluded to by Feyre but never really explored. All that being said, the reveal at the end changes my opinion on him. I think up to that point he was still salvageable. I hope the next book focuses more on Tamlin’s trauma since this book focused mostly on Feyre and Rhys’.
Sometimes the writing can be goofy and take me out of the story. There are a few examples, mostly in Feyre’s internal dialogue, that makes me go “who would think like that.” There were maybe 6 or so moments like this, overall not a deal breaker. Less goofy moments in this book than the first.
This sounds critical but the romance elements were extremely well done. Other than a weird third act breakup that doesn’t make sense and is resolved at a breakneck pace, I really enjoyed Feyre and Rhys’ dynamic. They have amazing banter and chemistry. The mate situation was a little too much. Normally I would say I like the idea of mates in fantasy romance but they started calling each other “my mate” and their friends referred to them as “his mate” or “her mate.” This was a little too much. Just say it a few times and then use names and pronouns like normal people.
Twilight wishes it was ACOTAR. Although for a slightly older target audience, ACOTAR so far is everything I wanted from Twilight. It doesn’t take itself too seriously but approaches the sensitive topics (like trauma) with the tact they deserve. The romance is hot and steamy and the love interest isn’t a stone wall. He is funny and flawed. He has other interests and character traits outside of the main character. There are fantasy elements but they take a background to the character work being done. The side characters feel like they have a life outside of the main characters but don’t hog too much of the spotlight. I really enjoyed this book and I think anyone who is looking for a better version of Twilight or a light-hearted romantasy needs to read this.