Romantasy, according to Wikipedia, is a “sub-genre of fantasy fiction combining fantasy and romance”. As journalist Ella Creamer explains via The Guardian, romantasy novels “are typically set in fantastical worlds, with fairies, dragons, magic, but also feature classic romance plot-lines – enemies-to-loves, soulmates, love triangles.”
But, as Wikipedia further suggests, there is a subtle and constantly shifting borderline between “romantic fantasy” and “fantasy romance”. In the case of The Dagger and the Flame, by Irish author Catherine Doyle, the romance elements are predominantly significant, although the fantasy elements are definitely satisfying.
The first instalment of The City of Fantome series, the book tells the story of Seraphine, who seeks sanctuary with the Cloaks, a group of thieves vying for control over the city’s underworld. Their rival are the Daggers, a gang of assassins. Both groups make use of a mysterious substance called Shade, which allows them to manipulate shadows in different ways.
Seraphine seeks revenge for her mother, a smuggler of Shade. However, the man who murdered her mother also wants her dead, so a young Dagger named Ransom is assigned the task. Such is the enemies-to-lovers trope utilised here that the storyline is almost predictable, if not for the intriguing plot twists involving the impact of Shade on those who use it.
Indeed, although the world-building is not particularly elaborate, the magic system in the story is sufficiently fascinating, as the Cloaks sew Shade into their clothing in order to move through shadows. In contrast, the Daggers consume Shade in order to choke the life out of their victims in ten heartbeats.
More importantly, Shade can be mixed with other substance to create amazing or terrifying powers, depending on one’s intent. As Seraphine’s and Ransom’s secrets are revealed – and as their unique romance deepens – the story turns dazzling, with fast-paced action, devastating destruction and breathtaking confrontation all the way to the end.
This can almost compensate for the slow build throughout the first half of the book, and for the unbearable but supposedly sizzling banter between the two main characters. Fans of fantasy stories will feel bogged down by the “electric” tension between Seraphine and Ransom, while wondering how this book, with its deliberate yet graceless inclusion of sexual content, can be targeting young adult readers.
There is no doubt that this book is more suitable for (new) adult readers. This, unfortunately, makes Seraphine and Ransom two very awkward characters. As much as their emotions and actions are often inconsistent with their age, we as readers are constantly told, instead of being shown, who they are and what they want. It considerably reduces the richness and effectiveness of the switch between their perspectives.
Knowing The Dagger and the Flame is a “fantasy romance” further takes away any potential surprise that one might expect from the ending. Luckily, the author leaves it open for a sequel, and answers why the book is not titled “The Dagger and the Cloak” instead. Hopefully, the rest of the series can find a better balance between the fantasy and romance elements, and give the supporting characters a chance to advance from being bland to three-dimensional.
Voices under the Sun 陽光下的聲音 