I picked up this book because I was interested to see how another writer might handle a contemporary fantasy which invokes ancient gods in the modern world. That the ancient gods were Asian (specifically Chinese) and that it was set in Hong Kong were also attractive for obvious reasons.
I expected a fantasy action novel - certainly there is a war going on amongst the Spirits, Immortals and Demons on the celestial plane and leaking down to the Earth. You’d think that there would be plenty of material for the conflict that is required for an interesting story. You’d be wrong - there is simply no conflict at all in this book and the potentially interesting story is lost to a romance which made me cringe.
There is action and fighting, certainly and it’s well written and keeps you glued (it was what made it possible for me to get through to page 478) but action is not conflict. Plot-wise the action is mostly training for threats which come few and far between. When at last the real tests come and one of our characters is, of course, mortally wounded - there is always a way to heal or even return from Hell so any real concern for life and limb goes out the window fast. (Hell sounds interesting, right? Don’t get your hopes up we’re too busy watching the romance while the other characters are there.)
Anything that might possibly add a little conflict/interest/suspense to the story is handled by the author by making her protagonist … how can I put it… just so… ace! Other characters continually point out that Emma is "cold-blooded"* and able to take virtually anything without emotional effect, The heart of a story is the emotional journey taken by the protagonist - what is the point of a protagonist without emotion? I am truly baffled. (I lie, sometimes she is moved - she is often shocked into gaumless "No way"s at the sight of great wealth). Emma learns everything soooo easily and is sooo remarkable and is sooo wonderful that even the Gods are second to her and don’t think twice when she is placed in ridiculous position amongst them because one of them is in love with her. And no, that MBA by correspondence she has nearly finished is NOT proof she will be capable of administering a celestial realm - how are we supposed to suspend disbelief for something THAT ridiculous?!
The closest our protagonist gets to conflict/potential for emotional growth (the whole point of a decent, let alone good, story) comes in the form of a spurious, bodice-ripper, Mills and Boon style love-upon-which-she-must-not-act romantic plot, which becomes the main plot of the book. Yet again the author removes the actual conflict by making the protagonist just too in lerve! Death is nothing if she can be with her man! URGH. She’s 28 for goodness sake and he’s several thousand years old but they act like teenagers (or, as every single character seems to get a chance to say multiple times "Fools" - isn’t it romantic to be foolish boys and girls?)
You may have noted by now that I found this book and it’s characters exceedingly annoying. I’m sure there will be people who love it but it needs to be marketed to them and put on the romance shelves, not the fantasy shelves. We are given so little of the celestial war that the Gods plotline becomes little more than an explanation of the romantic interest’s extraordinary wealth. Similarly, the significance of the very promising, well written action scenes is reduced to an excuse for physical contact between the forbidden lovers and the occasional expression of deep concern and therefore lerve when someone is injured (which we know will be fixed in no time either by a little magic or because Emma is sooo extraordinary). It reminds me very much of the many romance novels I produced on audio, from Mills and Boon to Danielle Steele, in which the "every day" servant girl (did I mention Emma is the nanny…ick), "refreshing" in her down-to-earth, wide-eyed-at-wealth character, falls in love with a man and then has his immense wealth and power forced upon her (she’s too "real" to accept it willingly) as proof of his devotion.
It’s not that I don’t want romance in my drama novels - it can be a rich addition as a PART of a dramatic plot but that is not what we have here - the romance usurps the entire novel. For a romantic subplot to be a realistic part of a drama a few different things are needed (in no particular order):
- a plot which would stand up on it’s own without the romance and is the main focus of the novel (i.e., the characters must have some goal beyond falling in love)
- two characters which are well fleshed out before they fall in love so that the reader can actually be invested enough in the characters to also be invested in the success of their relationship
- characters which are able to spend more than a couple of paragraphs without melodramatically lusting after the object of their forbidden affection. Why? Because if the characters themselves don’t find the plot interesting enough to grip them, how on earth is the reader meant to be engaged?
So, how does it fair as a romance novel? Probably very well judging by the novels which sell well. The values in romance novels is almost always "anything for true lerve" and that is certainly the case here, both Emma and her romantic interest show the most appalling character not just in indulging in a nanny-widower relationship but even use the child as a "shield" for physical contact between the two - I won’t explain, it’s just.. yuck. The romance between them has both the intensity and sense of longevity that a teenage crush has - Emma’s willingness to die for him is explained, many teenagers in love feel that strongly - but there is no sense of a foundation that would last. They lust after each other, they are in the classic MINO** circumstance by way of her being the nanny and so the classic widower-nanny thing happens, they may state that this is a once (well actually twice) in a lifetime love but we aren’t shown that. One of the characters, when giving his blessing to the union, says that he resisted at first because he had been close to the first wife (and mother of the child which Emma is nanny to) and he had thought Emma was trying to take her place - frankly I don’t know what changed his mind. The coy "family moments" which we are given over and over and the giving of gifts and taking of trips and public declarations of love really do make him look like a foolish old man (and not in the sweet way the author means when over-using that term). There is no sense of having witnessed a love develop - as we are shown in one of the most extraordinarily uncomfortable examples of cheating the rule of third person intimate POV I have ever witnessed, it was "love at first sight" so that the author could get on with the melodrama of self-denial. Not that showing real love develop is easy - but when you have decided to give yourself the entire Chinese folklore universe to play in - why of why would you restrict yourself to the POV of such a small, small person as this woman who feels no emotion for anything but money and good looks (I’m deliberately not including the child)?
To be fair, this novel may be suffering from "series-itis" - this is book one in a series called "Dark Heavens" and it may be that Chan has been asked by the publisher to pad her story out to make it a trilogy or whatever it will be. It is possible that Chan has a great story over all and it will eventually develop into something interesting beyond just a romance but I just cannot bring myself to read another word coy, conflict-less, protagonist-flattering word.
*the author uses that particular phrase for a different and quickly obvious reason with which the author clearly thinks she is teasing us. There is a LOT of this dropping hints and teasing out when the protagonist will find something out (accompanied by Emma incessantly whining about not being told something) long, long after we have worked it out and are either annoyed with Emma for not working it out herself or just bored with the whole topic.
**MINO: Marriage In Name Only is the name given by Mills and Boon authors which describes any situation in which the characters live together but are not together for [insert reason here] and is the most popular settings for romance novels