***SPOILERS! BIG ONES! SERIOUSLY! BEWARE!***
So, The Land of Stories series.
Before I get to my review of the final book in the chapter, a bit of context:
My daughter, age 5, heard of this series thanks to an appearance by the author, Chris Colfer, on the Netflix series "Julie's Greenroom." My wife checked the first book in the series, The Wishing Spell, out for her, and she was totally hooked. And, admittedly, I was, too.
The whole series is, to sum up, good-hearted and clever. It follows twins Alex and Connor Bailey as they enter another dimension called the Land of Stories--the source of all of *our* world's fairy tales.
It deconstructs and mashes up almost every major fairy tale and fantasy story (at least those written by famous authors of European descent, anyhow) into an epic tale. It's intricately plotted, and its secret sauce is focusing on the characters' personal growth and overcoming obstacles--all in the midst of having adventures with dozens of fictional characters.
It should be noted that the author, Chris Colfer, is the award-winning actor from TV's Glee--and he's completed an epic six-book fantasy series by age 27. He's got oodles of clever ideas, but tends to fall back on stock phrases over and over again (forms of "tears came to their eyes," and "their stomachs felt like they fell out of their bodies" pop up conspicuously often, for example) ... and he's also exacting in his descriptions almost to a fault, oftentimes saying something in 20 words that could just as effectively have been said in 10. And, for the most part, almost every major character makes it through all six books virtually unscathed, with countless "just in the nick of time" moments saving the characters.
But that said, he tells a heck of a yarn that pulled me in, and I had to see how the big finale would play out. True to a statement Colfer made in an interview, if the final book someday gets turned into a film, it'll be a very, very expensive one.
So it's a shame that, despite note-perfect and true-to-character emotional beats throughout all the books, two flaws pop out at me in the final book. One, a relatively minor quibble ... and another, a massive plot hole that effects half the series (or based on the complex timelines of the series, the whole thing).
Minor quibble: the final book has a connected prologue and epilogue that touch on Connor at age 80, offering a charming glimpse into who the young man becomes, as well as hints at the story we're about to read. Connor, you see, became a beloved children's book author, and wrote... a six-book series that's almost exactly like the Land of Stories series.
So far, no biggie. But there's a passage that I'm assuming Colfer thought would be an amusing wink at the audience, but comes off as unintentionally, obnoxiously precious: Connor's series, its explained, became a profitable film series, spawning hefty merchandising and helping improve literacy.
Ahem.
Look, Colfer can write funny scenes and one-liners, but this bit of meta-commentary was played very matter-of-factly. For all the positive messages Colfer includes in his stories, *this* moment seemed smugly satisfied. "Well of *course* my stories are loaded with positive messages. You're welcome!" Maybe not his intent, but still.
As far that other problem...
So the last three books in the series are basically one big story arc, teed up by the events of the third book. They all boil down to the villains trying to use a magical Portal Potion--it can turn any work of fiction into a portal *into* that story's world--and the efforts of the heroes to stop their nefarious plans.
The big bad of books 3, 4, and 5--and the one who gets the whole Portal Potion plot rolling--is The Masked Man, aka the Fairy Godmother's secret first son, aka Connor and Alex Bailey's secret uncle.
The potion has very specific rules, but to sum up: three drops on the first page of any fictional work turns it into a portal. Step in, and there's a copy of that same book to use as a portal back. Get out before the story's over, and you're golden; if not, you're trapped.
So far so good; rules established. Hinted at in book 3 and made explicit in book 4, the Masked Man's goal is to rule over the Land of Stories--and basically any world he can get his hands on--by using the Portal Potion. Indeed, he spends all of book 4 recruiting Captain Hook, the Wicked Witch of the West, and the Queen of Hearts (along with scores of their armies and minions) to help him succeed.
In retaliation, Connor and Alex decide to counter by recruiting characters from *Connor's short stories*--all the better to relate to and understand characters of your own creation in order to conscript them into your army of good and right. That takes up book 5--in which Connor and Alex bring all of hundreds of recruits into their world, and manage to stash them in an unfinished hospital wing until it's time for the battle.
And book 6? Worlds collide, and so do all of the armies.
But...
But...
... Wouldn't it have been far easier for Alex and Connor to write a one-paragraph story called "The Big Comfortable Hotel Where We Kept Our Army Until it Was Time for them to Fight our Uncle's Armies"? I double-checked--yes, I had to--and nowhere is there a magic rule against writing a fresh story and turning *that* into a portal.
Yes, Colfer gets a lot of comic mileage out of cramming scores of fictional characters into the same confined space--and in "our world," no less--but given the resourcefulness of the twin protagonists, that seemed like either a massive oversight, or Colfer just wanting to play out the mother of all fish-out-of-water scenarios ... but at the expense of internal narrative logic or economy.
... Taking it a step further ...
We're told explicitly that the Masked Man (aka Uncle Lloyd) has literally spent almost his entire life plotting to rule the world, after having his magic taken from him as a child by his mother, the Fairy Godmother. He literally dreamed of it as a child. He's exacting, meticulous, patient, intelligent, and thorough. And, crucially, his mother *made the potion to cheer him up as a child,* so he knows its rules intimately.
... So, with no rule against using a freshly-written tale to dive into, and after finally obtaining the potion as an adult...
WHY didn't he write a story called "The Tale of How Lloyd Gained His Magic Again and Recruited an Army of Millions of Indestructible Creatures Only He Could Control to Rule Over Every Dimension"? He's a flashy villain to be sure, but he's more of a pragmatist than a showboat. I simply can't imagine how that wouldn't have been his only plan for decades. Instead, he goes on the most convoluted mission possible.
That plot hole nagged me from the moment the Portal Potion came into play. Perhaps I'd missed something? Perhaps there was a rule that it had to be fiction, but, you know, written a year or more in the past?
So through books 4, 5, and most of 6, I managed to convince myself that there must be some underlying rule preventing someone from whipping up a quick story to serve their portal purposes.
And then...
Characters in book 6 do exactly that.
Twice.
At critical points in the story.
With no mention of "Hey, we should of tried this before!" or "Good thing Uncle Lloyd never thought of that!"
One involves writing literally *just* the names of authors James Barrie, L. Frank Baum, and Lewis Carroll. (Charlotte, the twins' mother, needs to pick the authors' brains on how to defeat the villains they created. It's only mentioned in passing--a real shame we didn't delve into *that* more!)
Further, by any definition, writing down three names, any names, with no context, isn't a work of fiction; it's not even a story. So, sub-plot hole there.
The other, frustratingly, is at the climax of the book. The climax itself is beautifully written and appropriately tear-jerking... but looming over the whole scene like a stormcloud was the gaping, series-spanning plot hole. Sadly, it robbed what should have been the emotional high point of the entire series of its weight, as it was only manifested by hundreds of preceding pages built on a massive narrative snafu.
That said, it's an optimistic series that champions the power of imagination, self-confidence, and believing in oneself despite impossible odds. Hopefully young readers will be inspired--and hopefully turn into young writers who can avoid gaping plot holes in their own stories.
...