cozylittlereadingcorner's review
4.0
4.5/5
SO GOOD
Perfect way to end a great series -
Dragged in the beginning, picked up & had me wanting more from the middle to the end!
SO GOOD
Perfect way to end a great series -
Dragged in the beginning, picked up & had me wanting more from the middle to the end!
thebookishpaws's review
3.0
A good book to end, tied up a lot.
Overall I think the series is okay, but not one I’ll re-read or encourage others to get into.
I enjoyed the inclusion of mythology and ancient history etc.
Overall I think the series is okay, but not one I’ll re-read or encourage others to get into.
I enjoyed the inclusion of mythology and ancient history etc.
hgranger's review against another edition
2.0
This series had great promise but was drawn out for way too long. If you only have enough story for three books, don't write six. Also, the ending felt like a huge let-down. There was six books worth of build-up and a fizzle of an ending. I wish the author had delivered on his early promise.
isauldur's review
1.0
Review originally published in Phantases and Other Funny Words
*Deep breath*
Okay
*Sighs*
Note: The following review is divided into two parts. The first part is spoiler-free and gives my overview thoughts on the book and series. The second part provides an in-depth analysis with spoilers. Be warned.
Part One: Overview
This is a very difficult review for me to write, and chances are, it’s going to be a very long one as well. I don’t like writing negative reviews, and usually I try to focus on the positives. But I regret to say that there are very few in this book. I understand the effort and work and time that goes into writing a novel, and it is nothing short of amazing to have one published. And this makes the following review all the more difficult. I will simply say that this review is entirely subjective, and it is only a depiction of my opinion.
If you’ve read my reviews for the past volumes in this series, then you’re probably aware that I’m not the biggest fan of it. I was tired of the series by book 3, and yet I read it all the way through. Some of you may wonder, why did I do that? Mainly because I saw potential in the series. I saw that it could become much more than what it was, at least up to The Sorceress. Then the series was utterly derailed and lost and unfocused.
While The Necromancer was jumbled and clumsy, and The Warlock was just plain boring, The Enchantress was very infuriating. The previous books failed to deliver on what they promised, but I kept expecting (hoping) that at least the final book of the series would deliver something that felt epic or grand or amazing. However, as you can imagine, I don’t think it met even those expectations. Nothing in this book is satisfying. The characters are but traces of what they were, and they weren’t even that developed to begin with. Nicholas Flamel, after whom the series is named, disappears from the primary narrative and becomes less than a side plot. He becomes plain filler.
The prose in this novel is beyond awkward, and the action is almost laughably described. At one point, the author uses the word “miasma” to describe the aura of Joan of Arc. From context, it can be inferred that the word is supposed to work in a positive manner. However, by definition, the word “miasma” is a negative word that couldn’t politely be applied to someone’s aura. Miasma: a highly unpleasant or unhealthy smell or vapor. Not to mention the repetition in the writing.
In Chapter 21, p. 144:
In Chapter 22, p. 149:
It’s too clumsy to have been a joke and too shortly after to be a callback. It’s almost like the author only has a limited number of phrases and he applies the best-fitting one to the situation. At times it almost feels like he underestimates his audience. Throughout the entire book, he describes nearly every character’s appearance and setting and the situation they’re in every time they appear, even if we just last saw them two chapters ago. Readers, even young readers, are fully capable of remembering the characters they’re supposed to be following without needing a constant reminder of what they look like. These repetitive descriptions occur with Bastet, Billy the Kid, Scathach, Niten and Prometheus.
But the repetition isn’t the only problem with the writing style. During a battle, the author writes “The hardest part was knowing when to move. Too soon and he’d miss the spear, too late and the blade would have already struck him.” The character in question is trying to knock a projectile out of the way, and reading the two sentences above mentioned, I can’t help but think that they describe all there is to deflecting a projectile. That’s not the hardest part, but the absolute description of the action. It is almost like saying that the hardest part of walking was knowing how to take several consecutive steps without falling.
The dialogue is no better. I even believe the quality decreased from the last book. Not only are the words overly simplistic and unrealistic, half the time the dialogue is useless and serves no purpose beyond inflating the book with words. Some characters are in the middle of End of the World danger, and they keep pausing and having these long conversations about the past and their powers. The Flamels are guilty of this, stopping and walking about their past and how they met and where they have been while a battle is happening. And this wouldn’t be a problem, except that the author keeps hammering in the urgency of the battle and the time crunch.
The myths, yet again, are abysmal. I may be repeating myself with each review, but if Scott doesn’t care about using the same phrase twice in the span of ten pages, I shouldn’t care either. Looking back over the book series, I should have let go of all my expectations for the myths. These legendary beings and creatures, especially as presented in this book, are completely eviscerated of their essence; they are completely unrecognizable. Gone is the wonder or the awe or the larger-than-life scale of these creatures. They’ve been reduced to poorly executed, weakened, bland, geeric and undignified mutants who never were worthy of respect or of having tales told about them. They’re a bunch of bickering, annoying, pretentious and unoriginal bunch of elitists who differ in no way from virtually every other Upper-Class-Villains in all of the Western canon. They started as little more than low-budget versions of themselves, and ended as entirely different, hollow, uncompelling things.
Finally, I have to address the impeccable directions provided. This has bothered me since reading the first book, but I saw it as a minor problem for the most part. But now, I must bring it up. Scott keeps using the names of roads and streets and neighborhoods to describe the paths that characters take from one location to another. I’m fairly certain that most of this book’s readership doesn’t live in San Francisco, or London or Paris, so naming all these streets is utterly useless and needless. In previous books, as I mentioned, these GPS-caliber directions didn’t bother me so much because the pacing kept the characters jumping from one action scene to another. However, in this book there are a couple of instances where the only objective of an entire chapter is to have a character walk from Point A to Point B. And to make things worse, Scott names the streets, specifies which direction, right or left, the characters take and why and which route is faster. It almost feels like the author is bragging that he had a map of the city open beside him as he wrote, and he marked every single path. If he had spent as much time developing characters as he did planning Nicholas Flamel’s Guidebook to California, the series would have been a lot better. Specific directions are fully useless even if you live in the city in question, because these directions are altogether unnecessary and irrelevant to the narrative, and serve as nothing but a waste of time.
Before going to the spoiler section, I will say that this book was unnecessarily long. The main plot kept getting derailed by pointless asides with characters that I cared so little about, I was very sorely tempted to skip their chapters altogether. Characters that were once prominent in the series wind up becoming part of the background, and yet the author keeps focusing on them even though they serve no real purpose to the narrative. Their small plotlines could be easily summed up in one or two chapters, with the remainder of the novel focusing on the two only characters who have any impact on the story anymore: Josh and Sophie.
Any and all passion seems to be gone from the series, the characters move just like figurines on a gameboard, moving from one place to another with very little investment or emotion or even necessity. They do what they do because the author wants them to and that’s the only thing driving them. The word “motivation” is beyond a joke by now. Allegiances have shifted at least three times for almost every character, and nobody, not even the villains, know what they want anymore.
Part Two: Detailed Analysis and SPOILERS
As it happens, the grand finale of this series involves Josh and Sophie going back in time to destroy the island of Danu Talis and to guide the surviving humans into building their own civilizations. One of the twins is meant to destroy the city and the other is meant to lead the survivors. However, as with every single time-travel story, there are many plot holes in the shape of paradoxes. The time travel in this book makes absolutely no sense. The twins must destroy Danu Talis for them to be able to even go back in time to begin with. But they still have the choice to let Danu Talis be, which would erase all of human history from day that onward…and this would render the twins as people out of time, incapable of affecting events which led to them even existing. The attempted explanation using time-streams doesn’t help, and if anything, makes the time-space travel all the more confusing. There were so many holes that I gave up trying to make sense of it and to even try to pinpoint them all.
At the end of The Warlock, it’s revealed that Josh and Sophie are the children of Isis and Osiris, who also happen to be John Dee’s masters. Near the end of The Enchantress, it is then revealed that Isis and Osiris are Earthlords who kidnapped Josh (a Neanderthal baby) and Sophie (a 10th century Russian steppe dweller infant) and placed them in a Shadowrealm that had no concept of time. Though it may make me seem all the more pretentious for it, I will praise the twist that Josh and Sophie are from different points in time, both kidnapped by the creatures who manipulated them (and of course there’s a but). But the manipulation of Isis and Osiris is half-baked at best. Osiris tells the twins that “We taught you history and mythology so that when you did discover the truth, it would not be such a terrifying revelation, and so you would have some familiarity with the characters and creatures you’d encounter.” Firstly, myths have absolutely nothing in common with whatever these Elders are supposed to be, as I already mentioned above. Secondly, these teachings in mythology and history clearly didn’t include even the names of Bastet, Anubis, Hecate, Odin, Coatlicue and only vaguely touched on the background for Mars. Some of these I could understand, like Odin who was a recluse and Coatlicue who was banished to a distant Shadowrealm. But how could Osiris not teach the twins about Bastet and Anubis, two of the most prominent Elders who would stand in the way of Isis’s and Osiris’s plan?
With that smooth segue, let me talk about Osiris’s and Isis’s plan. As I already said, they’re Earthlords, the oldest race mentioned in this series. And what do these uber-ancient beings of forgotten history look like? Dragons. Just plain, vanilla, generic dragons. At least I should be grateful that they don’t look like Komodo dragons. And their plan was to open a portal to the past to bring all the other Earthlords into Danu Talis and rule again. Their real plan was identical to their fake plan, which involved opening a portal to the past to bring something through. Not only is this plan colossally flawed, but it would also open another million plot holes in the story to add to those already made by the twins’ time travel. I must admit that I almost laughed out-loud at this unexpected, unfounded, so-called reveal that sprung entirely out of nowhere. There were no hints to this reveal. The best reveals are those which change the way we, the readers, see past events in the story. This changes absolutely nothing.
And for all their power, the Earthlords are very easily defeated with the four gladii-ex-machina, which come from nowhere and are never explained. But these swords are but some of the things that are never explained. Abraham the Mage was just some Elder. How could he see the future? Why could he see the future? Why did he choose to help the humans? Why did he write the Codex? How come he was forgotten in myth even though he was a fairly prominent Elder? What deal did he make with Chronos that gave him the power of foresight? Why did Chronos have this power? Where even was Chronos? And speaking of missing characters, where was the Witch of Endor during the events of this book? Sophie has her memories, and the Witch clearly remembers the Fall of Danu Talis, so why was she weirdly absent? And the most important question of all, how could Tsagaglalal, a mere human of literal clay, defeat the Spartoi, these legendary monsters of myth? We see her fight, and she’s amazing at it, and she’s revealed to be the teacher of both Scathach and Aoife. Her power doesn’t stretch only to her combat, but her aura is apparently strong enough to completely alter full sections of the Golden Gate Bridge, turning them to vapor, liquid, quicksand and heat the up. If this is the power that a mere clay human has, how were the ancient humans enslaved by the Elders? Of all we’ve seen, Elders have absolutely no mystical power whatsoever. They resort to claws or teeth or fists, because, apparently, they are nothing but weird-looking humans who are weaker than the real humans. These so-called Gods straight out of legend are as useless and weak as the human writing this review. The only difference, it seems, is that the Elders mutate at some point in their lives to make them conveniently match the myths of Egyptians, Greeks, Babylonians, Aztec and others.
Having read the whole series, I’ve developed a theory. The first half of The Secrets of the Immortal Nicholas Flamel follows a patter that is fairly familiar. Normal kids turn out to be special, an ancient prophecy talks about them, and they’re destined to save the world. Additionally, we have ancient myths and legends that are supposed to be magical. That’s not a bad setup. But then something happened. The Last Olympian, the final book in the Percy Jackson series, was published, and Scott found that he had been beaten to the finale he himself had been building up to. So, the last three books of his series were quickly rewritten so they would be different from Rick Riordan’s own series of modern-world-meets-myth. Scott made his myths lean more towards science fiction, introduced the madness of the Ancients and the Earthlords, added the concept of ancient aliens to fit his Elder Race, and shoehorned in time travel. The Last Olympian was published in 2009, the same year as The Sorceress (which is the last book in the series that has any structure or passion or drive). So, Scott, wanting to stand out, came up with a jumbled, roundabout second half of a series that makes little to no sense and that loses the small value that the first three books had. Of course, this is just a theory, but so far, it seems to hold up. Characters from the first three books become nothing more than an afterthought in the last three. Dee goes from being the main antagonist to just another name in a word jumble. Saint-Germain, Scathach, Joan of Arc, Shakespeare, Palamedes and even the titular Nicholas Flamel are tossed to the side in favor of the new characters of the last three books: Virginia Dare, Aten, Marethyu, Prometheus, Niten, Tsagaglalal, Isis and Osiris.
All in all, not a very good finale to a series that had quite a lot of potential. Apologies for the longer review than usual, but I wanted to provide my analysis on this book and on the series as a whole.
*Deep breath*
Okay
*Sighs*
Note: The following review is divided into two parts. The first part is spoiler-free and gives my overview thoughts on the book and series. The second part provides an in-depth analysis with spoilers. Be warned.
Part One: Overview
This is a very difficult review for me to write, and chances are, it’s going to be a very long one as well. I don’t like writing negative reviews, and usually I try to focus on the positives. But I regret to say that there are very few in this book. I understand the effort and work and time that goes into writing a novel, and it is nothing short of amazing to have one published. And this makes the following review all the more difficult. I will simply say that this review is entirely subjective, and it is only a depiction of my opinion.
If you’ve read my reviews for the past volumes in this series, then you’re probably aware that I’m not the biggest fan of it. I was tired of the series by book 3, and yet I read it all the way through. Some of you may wonder, why did I do that? Mainly because I saw potential in the series. I saw that it could become much more than what it was, at least up to The Sorceress. Then the series was utterly derailed and lost and unfocused.
While The Necromancer was jumbled and clumsy, and The Warlock was just plain boring, The Enchantress was very infuriating. The previous books failed to deliver on what they promised, but I kept expecting (hoping) that at least the final book of the series would deliver something that felt epic or grand or amazing. However, as you can imagine, I don’t think it met even those expectations. Nothing in this book is satisfying. The characters are but traces of what they were, and they weren’t even that developed to begin with. Nicholas Flamel, after whom the series is named, disappears from the primary narrative and becomes less than a side plot. He becomes plain filler.
The prose in this novel is beyond awkward, and the action is almost laughably described. At one point, the author uses the word “miasma” to describe the aura of Joan of Arc. From context, it can be inferred that the word is supposed to work in a positive manner. However, by definition, the word “miasma” is a negative word that couldn’t politely be applied to someone’s aura. Miasma: a highly unpleasant or unhealthy smell or vapor. Not to mention the repetition in the writing.
In Chapter 21, p. 144:
She looked at Niten. “And you don’t have to look quite so happy about it!”
In Chapter 22, p. 149:
Joan of Arc pinched her friend’s arm. “You don’t have to look quite so happy about it!”
It’s too clumsy to have been a joke and too shortly after to be a callback. It’s almost like the author only has a limited number of phrases and he applies the best-fitting one to the situation. At times it almost feels like he underestimates his audience. Throughout the entire book, he describes nearly every character’s appearance and setting and the situation they’re in every time they appear, even if we just last saw them two chapters ago. Readers, even young readers, are fully capable of remembering the characters they’re supposed to be following without needing a constant reminder of what they look like. These repetitive descriptions occur with Bastet, Billy the Kid, Scathach, Niten and Prometheus.
But the repetition isn’t the only problem with the writing style. During a battle, the author writes “The hardest part was knowing when to move. Too soon and he’d miss the spear, too late and the blade would have already struck him.” The character in question is trying to knock a projectile out of the way, and reading the two sentences above mentioned, I can’t help but think that they describe all there is to deflecting a projectile. That’s not the hardest part, but the absolute description of the action. It is almost like saying that the hardest part of walking was knowing how to take several consecutive steps without falling.
The dialogue is no better. I even believe the quality decreased from the last book. Not only are the words overly simplistic and unrealistic, half the time the dialogue is useless and serves no purpose beyond inflating the book with words. Some characters are in the middle of End of the World danger, and they keep pausing and having these long conversations about the past and their powers. The Flamels are guilty of this, stopping and walking about their past and how they met and where they have been while a battle is happening. And this wouldn’t be a problem, except that the author keeps hammering in the urgency of the battle and the time crunch.
The myths, yet again, are abysmal. I may be repeating myself with each review, but if Scott doesn’t care about using the same phrase twice in the span of ten pages, I shouldn’t care either. Looking back over the book series, I should have let go of all my expectations for the myths. These legendary beings and creatures, especially as presented in this book, are completely eviscerated of their essence; they are completely unrecognizable. Gone is the wonder or the awe or the larger-than-life scale of these creatures. They’ve been reduced to poorly executed, weakened, bland, geeric and undignified mutants who never were worthy of respect or of having tales told about them. They’re a bunch of bickering, annoying, pretentious and unoriginal bunch of elitists who differ in no way from virtually every other Upper-Class-Villains in all of the Western canon. They started as little more than low-budget versions of themselves, and ended as entirely different, hollow, uncompelling things.
Finally, I have to address the impeccable directions provided. This has bothered me since reading the first book, but I saw it as a minor problem for the most part. But now, I must bring it up. Scott keeps using the names of roads and streets and neighborhoods to describe the paths that characters take from one location to another. I’m fairly certain that most of this book’s readership doesn’t live in San Francisco, or London or Paris, so naming all these streets is utterly useless and needless. In previous books, as I mentioned, these GPS-caliber directions didn’t bother me so much because the pacing kept the characters jumping from one action scene to another. However, in this book there are a couple of instances where the only objective of an entire chapter is to have a character walk from Point A to Point B. And to make things worse, Scott names the streets, specifies which direction, right or left, the characters take and why and which route is faster. It almost feels like the author is bragging that he had a map of the city open beside him as he wrote, and he marked every single path. If he had spent as much time developing characters as he did planning Nicholas Flamel’s Guidebook to California, the series would have been a lot better. Specific directions are fully useless even if you live in the city in question, because these directions are altogether unnecessary and irrelevant to the narrative, and serve as nothing but a waste of time.
Before going to the spoiler section, I will say that this book was unnecessarily long. The main plot kept getting derailed by pointless asides with characters that I cared so little about, I was very sorely tempted to skip their chapters altogether. Characters that were once prominent in the series wind up becoming part of the background, and yet the author keeps focusing on them even though they serve no real purpose to the narrative. Their small plotlines could be easily summed up in one or two chapters, with the remainder of the novel focusing on the two only characters who have any impact on the story anymore: Josh and Sophie.
Any and all passion seems to be gone from the series, the characters move just like figurines on a gameboard, moving from one place to another with very little investment or emotion or even necessity. They do what they do because the author wants them to and that’s the only thing driving them. The word “motivation” is beyond a joke by now. Allegiances have shifted at least three times for almost every character, and nobody, not even the villains, know what they want anymore.
Part Two: Detailed Analysis and SPOILERS
As it happens, the grand finale of this series involves Josh and Sophie going back in time to destroy the island of Danu Talis and to guide the surviving humans into building their own civilizations. One of the twins is meant to destroy the city and the other is meant to lead the survivors. However, as with every single time-travel story, there are many plot holes in the shape of paradoxes. The time travel in this book makes absolutely no sense. The twins must destroy Danu Talis for them to be able to even go back in time to begin with. But they still have the choice to let Danu Talis be, which would erase all of human history from day that onward…and this would render the twins as people out of time, incapable of affecting events which led to them even existing. The attempted explanation using time-streams doesn’t help, and if anything, makes the time-space travel all the more confusing. There were so many holes that I gave up trying to make sense of it and to even try to pinpoint them all.
At the end of The Warlock, it’s revealed that Josh and Sophie are the children of Isis and Osiris, who also happen to be John Dee’s masters. Near the end of The Enchantress, it is then revealed that Isis and Osiris are Earthlords who kidnapped Josh (a Neanderthal baby) and Sophie (a 10th century Russian steppe dweller infant) and placed them in a Shadowrealm that had no concept of time. Though it may make me seem all the more pretentious for it, I will praise the twist that Josh and Sophie are from different points in time, both kidnapped by the creatures who manipulated them (and of course there’s a but). But the manipulation of Isis and Osiris is half-baked at best. Osiris tells the twins that “We taught you history and mythology so that when you did discover the truth, it would not be such a terrifying revelation, and so you would have some familiarity with the characters and creatures you’d encounter.” Firstly, myths have absolutely nothing in common with whatever these Elders are supposed to be, as I already mentioned above. Secondly, these teachings in mythology and history clearly didn’t include even the names of Bastet, Anubis, Hecate, Odin, Coatlicue and only vaguely touched on the background for Mars. Some of these I could understand, like Odin who was a recluse and Coatlicue who was banished to a distant Shadowrealm. But how could Osiris not teach the twins about Bastet and Anubis, two of the most prominent Elders who would stand in the way of Isis’s and Osiris’s plan?
With that smooth segue, let me talk about Osiris’s and Isis’s plan. As I already said, they’re Earthlords, the oldest race mentioned in this series. And what do these uber-ancient beings of forgotten history look like? Dragons. Just plain, vanilla, generic dragons. At least I should be grateful that they don’t look like Komodo dragons. And their plan was to open a portal to the past to bring all the other Earthlords into Danu Talis and rule again. Their real plan was identical to their fake plan, which involved opening a portal to the past to bring something through. Not only is this plan colossally flawed, but it would also open another million plot holes in the story to add to those already made by the twins’ time travel. I must admit that I almost laughed out-loud at this unexpected, unfounded, so-called reveal that sprung entirely out of nowhere. There were no hints to this reveal. The best reveals are those which change the way we, the readers, see past events in the story. This changes absolutely nothing.
And for all their power, the Earthlords are very easily defeated with the four gladii-ex-machina, which come from nowhere and are never explained. But these swords are but some of the things that are never explained. Abraham the Mage was just some Elder. How could he see the future? Why could he see the future? Why did he choose to help the humans? Why did he write the Codex? How come he was forgotten in myth even though he was a fairly prominent Elder? What deal did he make with Chronos that gave him the power of foresight? Why did Chronos have this power? Where even was Chronos? And speaking of missing characters, where was the Witch of Endor during the events of this book? Sophie has her memories, and the Witch clearly remembers the Fall of Danu Talis, so why was she weirdly absent? And the most important question of all, how could Tsagaglalal, a mere human of literal clay, defeat the Spartoi, these legendary monsters of myth? We see her fight, and she’s amazing at it, and she’s revealed to be the teacher of both Scathach and Aoife. Her power doesn’t stretch only to her combat, but her aura is apparently strong enough to completely alter full sections of the Golden Gate Bridge, turning them to vapor, liquid, quicksand and heat the up. If this is the power that a mere clay human has, how were the ancient humans enslaved by the Elders? Of all we’ve seen, Elders have absolutely no mystical power whatsoever. They resort to claws or teeth or fists, because, apparently, they are nothing but weird-looking humans who are weaker than the real humans. These so-called Gods straight out of legend are as useless and weak as the human writing this review. The only difference, it seems, is that the Elders mutate at some point in their lives to make them conveniently match the myths of Egyptians, Greeks, Babylonians, Aztec and others.
Having read the whole series, I’ve developed a theory. The first half of The Secrets of the Immortal Nicholas Flamel follows a patter that is fairly familiar. Normal kids turn out to be special, an ancient prophecy talks about them, and they’re destined to save the world. Additionally, we have ancient myths and legends that are supposed to be magical. That’s not a bad setup. But then something happened. The Last Olympian, the final book in the Percy Jackson series, was published, and Scott found that he had been beaten to the finale he himself had been building up to. So, the last three books of his series were quickly rewritten so they would be different from Rick Riordan’s own series of modern-world-meets-myth. Scott made his myths lean more towards science fiction, introduced the madness of the Ancients and the Earthlords, added the concept of ancient aliens to fit his Elder Race, and shoehorned in time travel. The Last Olympian was published in 2009, the same year as The Sorceress (which is the last book in the series that has any structure or passion or drive). So, Scott, wanting to stand out, came up with a jumbled, roundabout second half of a series that makes little to no sense and that loses the small value that the first three books had. Of course, this is just a theory, but so far, it seems to hold up. Characters from the first three books become nothing more than an afterthought in the last three. Dee goes from being the main antagonist to just another name in a word jumble. Saint-Germain, Scathach, Joan of Arc, Shakespeare, Palamedes and even the titular Nicholas Flamel are tossed to the side in favor of the new characters of the last three books: Virginia Dare, Aten, Marethyu, Prometheus, Niten, Tsagaglalal, Isis and Osiris.
All in all, not a very good finale to a series that had quite a lot of potential. Apologies for the longer review than usual, but I wanted to provide my analysis on this book and on the series as a whole.
martinz's review
The parents were the big scary unknown villains the whole time, and they live in the past?
No, forget this, too many holes on an already wishy washy 2nd grade level attempt to make myths from across the world work well in the same story line
No, forget this, too many holes on an already wishy washy 2nd grade level attempt to make myths from across the world work well in the same story line
sjtouqan's review
5.0
Best book in the series, by far. I am sobbing, legitimately sobbing right now. I have never cried like this since Harry Potter. This book is worth it. I am dying. I have never seen a book so tied up. Oh lord god, I can't stop crying. I love all the characters... Just, I think I... Oh lord... Just... I'm just done. Kill me now... Brb, I'mma go sob my heart out
lsvicente537's review
4.0
What an exciting conclusion to a great story! The ending was such a surprise, but it fit so perfectly with the story, and it explained almost all of the questions I had. I loved it, and I'm actually sad that there will be no more stories about Sophie, Josh, the Flamels and all the others.
carmengtz27's review against another edition
5.0
Le pongo las 5 estrellas por el plot twist de la historia.
Además de que fue un buen desenlace.
Además de que fue un buen desenlace.