A Queen Comes to Power: A Disappointing Plunge into the Unoriginal
When I first laid eyes on A Queen Comes to Power by Talia Peñaranda, I felt a rush of excitement. After devouring the first installment, I had high expectations—perhaps a little too high. With the centuries-old trope of kingdoms, betrayal, and the quest for power, how could this not grasp my heart? Yet, here I am, lowering my rating from 2 stars to a staggering 1 star, and I find it almost painful to admit that my day spent within these pages was met with more frustration than fascination.
Right from the start, this book treads a fine line between inspiration and imitation. I couldn’t shake the feeling that I was reading a knockoff version of Throne of Glass. Everything felt recycled, as if scenes were plucked directly from Sarah J. Maas’s masterpiece with only a whisper of originality. And let me tell you—there’s a massive difference between homage and plagiarism. The characters, pacing, and plot elements all felt painfully familiar. If I wanted to relive that Throne of Glass magic, I would have just reread it.
I pushed through the book, more as a personal challenge than out of enjoyment. Unfortunately, my frustrations were compounded by the protagonist, Feythe. While I found her slightly annoying in the first book, this time around, she transformed into a monument of drudgery. Did her infuriating whining have to be the centerpiece of every chapter? The monotony was unbearable. Despite her claims of being a “spymaster” and “silent assassin,” where was the action? I expected cunning dualities and stealth, yet instead, I got Feythe lounging with little growth or ambition to seek what she claimed to treasure most.
As for the supporting characters, I couldn’t help but feel their perspectives were squandered. Nik and Tauria’s viewpoints added little substance, and Jakon’s inclusion felt puzzling at best. Why, oh why, did he have a voice while Marlowe, the oracle, didn’t? There was so much potential for enriching the narrative by diving into her thoughts, yet the choices felt arbitrary and left me scratching my head.
Romance, often a saving grace in such stories, fell flat. Feythe’s relationship with Reylan was nothing more than a diluted version of Rowaelin. Their chemistry had all the spark of damp fireworks. Nik’s sudden affections for Tauria came off as contrived, throwing me off the narrative’s emotional axis. At least Jakon and Marlowe provided a glimpse of what could’ve been, but their connection merely highlighted the gaps in the main plot.
In conclusion, A Queen Comes to Power had all the makings of a tale steeped in magic and intrigue but ultimately turned into a lackluster replica of something far greater. For devoted fans of fantasy looking for originality, you may find your expectations better met elsewhere—perhaps in the cherished pages of Throne of Glass. While I remain curious about how Peñaranda might evolve in future installments, I can’t recommend this effort to anyone seeking depth or innovation.
So if you’re looking for a refreshing and original journey into fantasy realms, I’d suggest turning to books that lead, rather than imitate. The disappointment stings, but I’ll hold on to the hope that original stories await just around the corner!
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