MASTERS OF DEATH

The latest in a series of rereleases from a prolific fantasist’s previously self-published works is a contemporary spin on the fairytale “Godfather Death.”

Viola Marek is an aswang, a shapeshifting vampire from Filipino folklore. She’s also a Chicago real estate agent trying to sell a mansion even while the ghost of its last owner, Thomas Edward Parker IV, is doing his supernatural best to block the sale.  In a desperate attempt to earn her commission, she hires Fox D’Mora, Death’s mortal godson, to use his connection to get the ghost to leave. Unfortunately, Death is unavailable: He’s been kidnapped, and to get him back and prevent a worlds-spanning catastrophe, Fox, Vi, the ghost, and assorted other supernatural creatures will have to enter a high-stakes gambling game that usually only immortals can play…but rarely win. The story begins with an unusual blend of myth, fairy tale, and cosmology and inevitably descends to an almost unbearable level of sentimentality, which is simultaneously a refreshing change from Blake’s usual tableau of self-involved, selfish characters who seem driven toward tragedies of their own making. Blake could definitely do a better job at showing the love between characters rather than merely telling the reader that they’re in love. She also has an unfortunate tendency to skip potentially intriguing bits of backstory if they don’t immediately drive the plot along, which is why readers never learn anything about Fox’s childhood and what it was actually like having Death as a parent. Nor does she explain why only two of the four archangels, Gabriel and Raphael, play outsize roles in determining the order of the cosmos, while Uriel and Michael are nowhere to be seen. Bits of anachronism—like the use of a rubber band as aversion therapy 200 years ago or the presence of a magical wristwatch from a time long before watches were common—might be intended to be Pratchett-style humor or chalked up to magic? It’s hard to tell what’s intentional and what is simply careless. Now that Blake has a traditional publisher, perhaps the editors of her future novels will guide the author to address these issues when they arise.

A reasonably charming urban fantasy that could have used a more rigorous edit before primetime.