Genre: Cozy Fantasy, Romantic Comedy, Domestic Magic
Rating: ★★★☆☆ (3/5)
Delemhach’s The House Witch has become a surprising favorite among readers craving a softer side of fantasy. This first installment in the series blends domestic magic, royal intrigue, and a touch of slow-burn romance into a world that feels equal parts comforting and chaotic. But while it certainly casts a spell of warmth and humor, the novel’s flaws sometimes outweigh its charms.
The story follows Finlay Ashowan, a quiet, mysterious man who joins the royal palace as a cook. Beneath his apron, however, hides a secret: Finlay is a witch whose magic manifests through domestic arts cooking, cleaning, and caretaking. Accompanied by his clever kitten familiar, Kraken, Fin’s life in the royal kitchens soon becomes far more complicated than he ever expected. What begins as a cozy slice-of-life tale soon grows into a story involving courtly intrigue, romance, and a few too many near-disasters in the castle halls.
For readers like Melindam, the book perfectly fits the “cozy fantasy” label that has gained popularity in recent years. There is minimal angst, a focus on everyday magic, and a tone of gentle humor that can feel refreshing in a genre often dominated by war and darkness. However, as she notes, the pacing eventually falters. The early charm gives way to a sluggish middle where the plot drifts aimlessly amid repetitive romantic tension and modern-sounding jokes that clash with the medieval setting.
Shay Vande found similar frustrations. While she appreciated the unique premise of a male witch using nurturing magic instead of brute power, the writing style began to wear thin as the story stretched past the halfway point. Characters outside the main pair felt one-dimensional, and the romance relied heavily on misunderstandings rather than genuine chemistry. Her observation that Fin spends much of the book reminding everyone that he is “not gay” adds an odd, distracting layer to an otherwise gentle fantasy.
Marcus Rigsby’s review takes a sharper tone, highlighting Delemhach’s uneven prose and clunky dialogue. He points out the strange mix of formal and awkwardly modern phrasing that turns scenes of potential tension into unintentional comedy. His examples ranging from “superiorly crafted blade” to the infamous “Again, I am not gay” underline how stylistic quirks can make the book both frustrating and weirdly entertaining. For Marcus, The House Witch reads like a “charming mess,” one that made him laugh both with and at the story.
Still, even among its critics, there is a shared affection for the book’s heart. Finlay’s nurturing magic and his devotion to good food bring an undeniable coziness to the story. The culinary descriptions are vivid and mouthwatering, and Kraken the cat familiar adds a dose of delightful mischief. Readers looking for a comforting escape with magic-infused cooking, gentle humor, and lighthearted fantasy will likely find moments of joy here.
In the end, The House Witch is a curious recipe: part comfort food, part chaos. It is too long, too uneven, and occasionally absurd but it is also warm, funny, and surprisingly sincere. For fans of “cozy fantasy” and domestic magic, this might just be the kind of imperfect comfort read that feels like home.
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