Man... there is way too much deus ex machina at every plot point of that book to give it any credit. If you have the end of the 6th book as a starting point and the end of series that Rowling had in mind as an end, then Deathly Hallows is just connecting those two points using plot conveniences at every single opportunity. Too many fortunate coincidences in a very short period of time. (Half-Blood Prince is still peak Harry Potter IMO).
I believe there's very little deus ex machina. The main point is that Voldemort delved too greedily into dark magic, weakening himself very much, while Lily's love magic was pure and protected her son against Voldemort's evil magic. This is why Harry can see into his mind and why he manages amazing feats like Gringotts or escape at Godric's Hollow, because Voldemort's hubris handed Harry the tools. It's all explained in the chapter "King's Cross", re-read that chapter and you'll gain fresh clarity.
JKR does introduce new concepts and history unknown previously to Harry, but name a book she doesn't do that. She'd be raked over the coals if she didn't offer anything new in one of her longest of the seven books. She needed the Deathly Hallows as a new mystery, a new suspense that creates tension throughout the book, pulling you onwards and competing for the horcruxes. It also highlights Harry's temptation to attain that which Dumbledore sought, but ultimately Harry chose the wiser path than Albus.
The other new concept was wand lore, which was not very fleshed out before DH. I don't love that wand lore dictated the final duel so heavily, why does Harry have to win based on overpowering a 3rd wizard, the wand truly knows that? Why not just have Harry's courageous, love-inspired magic overcome Voldemorts? It's kind of a letdown that Harry beats Voldy because he took 3 wands from Draco's hand...
Other than these two concepts, I don't see anything new and cheap like a deus ex machina. That term would literally mean that Harry is defeated by Voldemort in the end (he never was), only to be saved by a God at the last minute (he never was). Harry won on his and his allies' courage, and Voldemort lost due to his own hubris and his own determination to focus on wands and to tell all his servants not to kill Harry.
> Deus ex machina is a plot device whereby a seemingly unsolvable problem in a story is suddenly and abruptly resolved by an unexpected and unlikely occurrence.
Examples from Deathly Hallows.
Having no idea how to proceed on your quest of finding and destroying Horcruxes? The only soul who was there with Voldemort when the locket was planted, happens also to be magically bound to Harry and have obligation to obey Harry's every command.
Need to impersonate someone? Just pick a hair off your cloak for the potion.
Don't know where the next horcrux is? Immediate vision from Voldemort's mind to help you.
A character who has crucial information is killed? Well no, instead of using a spell like any other time, Voldemort decides to leave Snape to slowly die giving him just enough time to share his memories with Harry.
Need to check if your mortal enemy is really dead? Don't verify yourself but send the only person in the group who has any incentive to lie to you about it. (And you're supposed to be able to magically tell when people are lying by the way).
The way to destroy a horcrux is hidden in a place accessible only to those who speak parseltongue? Nope, Ron can just guess his way into an ability that was previously established to be hereditary or transfered through magic.
I could go on... the point isn't any single one of these, it's more about how they accumulate throughout the book.
- Yeah finding the locket was a bit too serendipitous but Kreacher has been shown before to obey Harry _contemptuously_. When asked to report on Draco's activities in HBP, he reports the most mundane things, making his report essentially useless without breaking his obligation. He only finally cooperated when Harry looked at him as a creature with feelings, not just a servant. Ties back to when he asked Dobby to sit down in CoS, which sends the elf wailing at the decency.
- Polyjuice has been established since CoS, along with the cost of using/making it and its limits. Hardly sudden and hardly an unfair advantage.
- Did a Voldyvision ever lead Harry directly to a Horcrux? I don't remember so. The closest I recall is Harry willingly slipping into this trance to verify Voldemort's anger at discovering the loss of the locket---not a huge advantage and a reasonable tactical move. The diadem, Harry had to rack his brains for that, even empathize with a ghost.
- Voldemort couldn't Avada Kedavra Snape because he believes Snape is the Elder Wand's master.
- Snape lied to Voldemort to the very end, his legillimency is not infallible. Sending Narcissa Malfoy is a bit of good luck, I'll grant, though it also emphasizes how one of Voldemort's weaknesses is his inability or plain refusal to read people. He failed to see that Snape loved Lily so, which caused him to turn for the good, and he failed to see how much Narcissa cared for her son---he didn't consider she'd have a reason to lie to him.
- Ron "speaking" Parseltongue as a plot turn feels a bit rushed and unsatisfying indeed but is not at all miraculous. I can say "Spasibo" to thank my Russian coworkers even if I'm not Russian and hardly has training in Russian.
To this day i'm pretty confident I could pick up a Harry Potter book and enjoy it. There are different types of storytelling, and not every kind has to have balanced stakes or world-building that stands up to scrutiny. And it's not like Asimov's work doesn't have similar flaws: as much as I love the scope of the Foundation series, it does settle into a bit of a pattern of setting up seemingly insurmountable challenges and then resolving them through neat changes to the rules of engagement of psychohistory (though as a much more ambitious series than HP, it's more understandable).
[1] Literally; I was ravenous
I'm sorry, that's plain incorrect. First, they're at Privet Drive, then the Burrow, then Grimmauld Place, then they camp for a few weeks-months but it's highly condensed plot-wise. They don't "run around the woods" at any point, that silly chase scene with the snatchers is onlyin the film.
Why do they hide? Because there is ZERO safe-space in the rest of the UK. They are forced into hiding to maintain their safety until such time as the horcruxes are gone and battle can commence. How is that much different from Frodo and Sam wandering the wilds alone at the last 2 LotR books? In HP, they are in society and non-wilderness far more than Frodo and Sam. And then they do a lot of epic shit at the end that has nothing to do with the woods.
Re-read the book, the woods part is a very small aspect.
Well, ok, second most if we're going by the books, there was the two chapters of bombadil
Why was the book centered around a children’s story that we didn’t hear about until book 7? Why were the deathly hollows items not mentioned at all throughout the entire rest of the series? Why do we not find out until the last book that the invisibility cloak should have faded a long time ago? That last point especially irritates me because it just smells like lazy writing.
I love Harry Potter. I have read the series many many times. I sincerely wish I had never read the last book. It felt rushed, unplanned, and almost desperate.
There is a fluid cohesion between books 1-6 that completely disappears in book 7.
While HP:DH does have a "summary" vibe, going back to all the old places and seeing all the old characters' plots wrapped up nicely, I do think she needed SOME new material in there. She needed to create new tension, she needed new suspense; simply wrapping up things she'd already devised wouldn't have been fresh enough for her, or for us, I think.
If I had to change just two things about DH, I think I'd remove the epilogue (it could just be an online essay, there's no need to put a second bow on top of the present, you know?) and I'd remove wand lore. The idea that your wand changes allegiance whenever someone bests you in any way, physical or magical? Come on, that is borderline plot manipulation. Now, Harry wins the fight at the end because Voldemort's wand knew that Harry's hands pulled some wands out of Draco's hand, who in turn disarmed a Dumbledore who wasn't trying to not be disarmed? I mean, ugh, wand lore was a sort of hand-wavey MEH aspect, IMO.
I think Book 6 and Book 3 are the pinnacles...they don't feature battles with Lord Voldemort, they're nicely self-contained, they have fantastic endings, I'm getting chills thinking of them.
Little, if any, mention is made of wizards/witches from other countries unless absolutely required, and none are portrayed as being equal to the one based in England. There is not even a mention of Ministries of Magic of other nations (China?) or in former colonies (US? India?).
The books deliver a fantastical, childish view of morality where the world will always save you from having to make difficult decisions.
Almost like they were written for children...
* https://en.wikipedia.org/wiki/Mistborn
* https://en.wikipedia.org/wiki/Brandon_Sanderson
'Booktuber' Merphy Napier recently did two videos on magic systems in fantasy novels:
Sanderson has lectures on a system of rules for magic in books to balance their coolness against deus ex machina: https://stormlightarchive.fandom.com/wiki/Sanderson%27s_Laws...