This is from an advance review copy for which I thank the publisher
This book was overall decently well-written from a technical perspective and it started out quite engaging, but as I read on, I found it more and more slipping into the worn-out mold of young adult fiction: the perky best friend who is either gay or a female. In this case it was a female named Margo who was obsessed, of course, with fashion. There was the trope of the girl (in this case the oddly-named Felicity Bough) finding her new and great magical power and then being thrown into the threat or clutches of evil. There was the tiresome love-triangle with the reliable trustworthy boy-next-door versus the so-gritty-he's-really-animated-sandpaper bad boy who rescues her. That's what actually turned me off the story. Not so much the ultra-predictable bad boy as the fact that this girl who was initially shown to be so strong, was rescued and thereby was rendered into nothing more than a simpering acolyte of the thoroughly nauseating bad boy.
Evidently like other reviewers, I initially thought this was a graphic novel. It is not. It's a ~400 page tome of pure text, which is way too long. The story revolves around a world which is evidently ours but projected into a future where evil has become so pervasive that even the sun has gone out. What keeps the planet alive are these inexplicable well-springs of light which fountain-up from various places on the planet, But, just like in The Never-Ending Story movie, the dark is encroaching upon the planet piece-by-piece and no one seems to be interested in doing anything about it.
This world is predictably exactly like the USA, except for the magic and the asinine transportation, which seems (for no reason I was given in the fifty percent of this novel that I read) to be based on animals. Cars are tigers and stallions, buses are bears, cargo transportation is elephants, and so on. I was rather surprised not to see the cat bus from the anime Totoro. These are not real animals, but machines named after them and which apparently have some animal traits, but the description was so vague as to leave these things a mystery. They do evidently have wheels, so I didn't get the animal reference at all. None of this made any sense to me; it wasn't entertaining or amusing. Quite the opposite: it increasingly became an irritant in short order.
Someone at Chapterhouse Publishing needed to read this because there were multiple problems with the text. In general it was not awful by any means, and spelling and grammar were fine as a general rule, but there were some bizarre oddities which ought to have been caught by an editor if not by the author himself. For example, on page 48 I read "...then is shot down and dived...." I assume the author meant, 'then it shot down'. A little later I encountered, "...verdant shade of green" on page 73. Verdant actually means green, so this is a tautology. On page 117, I read "...plain stone brick wall...." It's either brick or it's stone; the two are not the same. This is maybe a case where the author started out using one and changed to the other, but forgot to delete the one they were trading out for the other. We've all done that!
On page 128 there was a mistake of using clamored instead of clambered as in "...clamored over the old blocks....' Clamor is to make a noise, whereas clamber is to climb over. I suppose one could say that clambering over the rocks was causing a clamor, but it really doesn't make a lot of sense to do that. On the next page I read, "...who knew what something bigger could do." which ended in a period instead of a question mark. I encountered a common error on page 134, where I read "She tread quietly...." The past tense of tread is 'trod', not tread, and certainly not 'treaded' which I've actually read in more than one novel.
On page 153, I read, "...two large trees that created the top of the hill" I don't get what that's supposed to mean. The trees don't create the top of the hill; they might sit atop it or surmount it. They might even furnish it, but they don't create it. In a part of the novel where Felicity is sitting in a machine I read "...two throttles sat upright ready for steering." Nope! Throttles control speed. They don't control steering, unless the direction is also controlled by the thrust, but since this was a land vehicle, not a water or space vessel, that seemed unlikely, especially since Felicity didn't know how to drive it. Finally on page 156, I read, "I'm hungry too," this speech was followed by the word 'returned' I think it was intended to be 'he returned', as in he spoke back to her. I'm guessing by how often I was discovering these that they didn't end on that page, but that's what I found in as far as I wanted to read in this novel.
In terms of overall formatting, I once again find myself having to beg authors and publishers to have some consideration for trees. This book had very wide margins on all four edges, constituting, by my rough estimate, some twenty-five percent of the page. If the book is issued only in electronic format, this isn't such an issue (although longer novels eat up more energy to transmit over the Internet), but for a book that might go to a long print run, serious consideration needs to be given to how many trees you're going to slaughter in this era of runaway climate change. No one wants to read a novel where the text is jammed together over the entire page, but if the margins had been even slightly less generous, the book would have been shorter and eaten up less paper.
Chapter one didn't actually begin until page fifteen and it ended on page 400. Some of those fifteen pages could have been also dispensed with, instead of rigidly and blindly conforming to antiquated publishing rules created when no one gave a damn about trees and climate change. I found it ironic that the encroaching evil upon which this author discourses is actually upon us (albeit in a different form from the one he writes of), and yet publishers and authors perpetuate their blithe (or blithering) blindness to it.
If these story had been shorter, less 'maiden in distress', and the bad boy third leg of the tired love triangle been dispensed with, this would have been a lot better. In faith, methinks it too low for a high praise, too long for a short praise and too little inventive for an imaginative praise. Only this commendation I can afford it: that were it other than it is, it is unhandsome; and being no other but as it is, I cannot recommend it.