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It is decidedly, deliberately, unabashedly {{Troperiffic}}. The TheoryOfNarrativeCausality is in full force, and characters are GenreSavvy enough to actively ''{{invoke|dTrope}}'' tropes if they stand to benefit from them (in the first book alone Princess Alisande calls upon "UnderdogsNeverLose" and "TheGoodGuysAlwaysWin"). The result is a PostModern series in the trappings of an HistoricalFantasy (complete with YeOldeButcheredEnglish, even though technically they are speaking French), a flood of classic poetry, and a series of {{Lampshade Hanging}}s which can only be described as loving..
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It is decidedly, deliberately, unabashedly {{Troperiffic}}. The TheoryOfNarrativeCausality is in full force, and characters are GenreSavvy enough to actively ''{{invoke|dTrope}}'' tropes if they stand to benefit from them (in the first book alone Princess Alisande calls upon "UnderdogsNeverLose" and "TheGoodGuysAlwaysWin"). The result is a PostModern series in the trappings of an HistoricalFantasy (complete with YeOldeButcheredEnglish, even though technically they are speaking French), a flood of classic poetry, {{poetry}}, and a series of {{Lampshade Hanging}}s which can only be described as loving..
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* RhymingWizardry: Any rhyme can have the magical power to make what it describes come true. The quality of the verse can make a difference: a well-phrased, well-loved old song packs a lot more power than a slapdash off-the-cuff couplet, for example.
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* {{Railroading}}: After his rash promise (see below), Matthew finds himself magically transported into the kingdom he swore to conquer and unable to leave until he conquers it.
