#what monstrous gods

[ash-and-books]

Rating: 3/5

Book Blurb: A rich and romantic new standalone fantasy loosely inspired by the classic Sleeping Beauty fairy tale, from the New York Times bestselling author of Cruel Beauty!

Perfect for fans of These Violent Delights and The Shadow Queen.

Centuries ago, the heretic sorcerer Ruven raised a deadly briar around Runakhia's palace, casting the royal family into an enchanted sleep—and silencing the kingdom's gods.

Born with a miraculous gift, Lia's destiny is to kill Ruven and wake the royals. But when she succeeds, she finds her duty is not yet complete, for now she must marry into the royal family and forge a pact with a god—or die.

To make matters even worse, Ruven's spirit is haunting her.

As discord grows between the old and new guards, the queen sends Lia and Prince Araunn, her betrothed, on a pilgrimage to awaken the gods. But the old gods are more dangerous than Lia ever knew—and Ruven may offer her only hope of survival.

As the two work together, Lia learns that they're more alike than she expected. And with tensions rising, Lia must choose between what she was raised to believe and what she knows is right—and between the prince she is bound to by duty...and the boy she killed.

Review:

How far would you go for your god? Reylo meets Sleeping Beauty in this story about gods, sacrifice, and forbidden romance. Lia is a girl who was raised by nuns to follow her goddess, believing that she was raised to kill the evil heretic sorcerer Ruven and bring back the royal family that was cursed to sleep. When Lia does succeed in killing Ruven, to her great disbelief his ghost begins haunting her. She also discovers that she is forced to marry the newly awakened prince and that if she refuses she will be killed. It also doesn't help that the new queen is forcing her to prove that she is blessed by gods... but Lia soon discovers just how monstrous the gods can be and that her love for them does not mean they will love her in turn. Then there's the matter of the fact that she is falling in love with the ghost of the boy who represents everything she doesn't believe in and the fact that she will have to turn to him for help as she fakes her miracles *(least she be killed by the royal family for not being blessed by the proper gods and performing proper miracles). Can she find a way to survive the royal family and bring back the boy who has captured her heart, no matter how blasphemous their relationship is. This was definitely an interesting stand alone fantasy romance. The pacing of the book was slightly odd to me, it felt rushed at some parts but dragged on at others. Lia was a frustrating protagonist and honestly I have to give her some leeway because she is 17 years old and was raised by nuns... but this entire book felt like watching someone's religious discovery of deciding whether or not to believe in god. I did like the romance (despite the emotional whiplash of : I love him, I hate him, I'm gonna make out with this other guy, but I love him again). So I am in between giving this a 2 star vs a 3 star, but I will give it that bit of bonus because I liked the overall romance in the end. It wraps everything up neatly. If you are a fan of Reylo, I'd say give it a go because I think you'll have fun with it.

*Thanks Netgalley and HarperCollins Children's Books, Balzer + Bray for sending me an arc in exchange for an honest review*

[miithridatism]

"And his eyes are still so lonely. Suddenly his hand locks onto my wrist, his grip painfully strong. I flinch but don't pull back. My eyes are the last he will ever see. My hand on his throat and my wrist beneath his fingers are the last human touch he'll ever feel. For one endless moment, nothing else matters—not what he did five hundred years ago, nor how long I've dreamed of killing him for it. Nothing is real but the two of us holding on to each other."

— WHAT MONSTROUS GODS BY ROSAMUND HODGE

[bookcoversonly]

Title: What Monstrous Gods | Author: Rosamund Hodge | Publisher: Balzer + Bray (2024)

[acourtofpaperandink]

Book Review: What Monstrous Gods By: Rosamund Hodge

Post by: Anastasia What Monstrous Gods By: Rosamund Hodge Cover: It’s a decent cover, not my favorite, but it fits the story pretty well. Story: ★★★★ What Monstrous Gods is a standalone ya fantasy that begins as a kind of sleeping beauty-ish tale and goes off in a direction I never would’ve expected. I think that the concept of the story is really interesting and the plot twists were great.…

[jessryno]

Book Review: What Monstrous Gods By: Rosamund Hodge

Post by: Anastasia What Monstrous Gods By: Rosamund Hodge Cover: It’s a decent cover, not my favorite, but it fits the story pretty well. Story: ★★★★ What Monstrous Gods is a standalone ya fantasy that begins as a kind of sleeping beauty-ish tale and goes off in a direction I never would’ve expected. I think that the concept of the story is really interesting and the plot twists were great.…

[nzbookwyrm]

[catedwrites]

What Monstrous Gods by Rosamund Hodge

Bear in mind, whatever else I say in this review, I finished What Monstrous Gods in about 3 hours. 1 to begin in the evening, and then 2 straight hours of reading the next morning. So. Take that how you will (positive. You should take that positively). The world Hodge has created is lush and magical, deadly and treacherous. The magic is interesting and the vague parallels to our own world offering tantalising possibilities. Lia is a wonderfully dynamic and true-to-life protagonist, with flaws and doubts that make her quite human; we are so closely fitted inside her mind throughout the story that her journey is one we take as well. But this intense closeness to Lia’s perspective means that a) some aspects of world building remain confusing and unexplored and b) all other characters feel much fuzzier and vague. While not necessarily a huge downfall, it was, at least for me (an adult reading YA lit, to be fair) a hindrance. It meant that the romance was much less engaging than it, by all rights, should have been. It also meant that the world and magic isn't well-explained until about 40-50% of the way through the book. If you can wait it out, it's worthwhile, but it is frustrating as a reader to feel like you "missed something," only to realise that it's not you, it's the book itself.

A note: I did not realise before reading the book that it is, at minimum, a Reylo ”inspired” book. Now that I know that, upon reflection, I feel stupid I didn’t see it before, as the fingerprints are all over the characters. I just thought others should know because it...changed my thinking about the book afterward. I won't say more than that at this point. Thank you to Netgalley and HarperCollins Children's Books, Balzer + Bray for the ebook ARC. All opinions are mine alone.

[thatexygurl]

there's so many things in tsc that just come at you all at once, so it's hard to focus on just one thing to break down, but the most glaring thing that stood out to me is how hard it is to really put someone back together. especially someone so shattered that it's nigh impossible to glue them back and pray they don't crumble under your ministrations.

if jean is neil's foil, then jeremy is andrew's direct antithesis. whereas andrew is a steady bedrock because he's been broken too many times to know how to weather the storm, jeremy is too soft hands and an even softer soul. he cares and cares and cares. so empathetic and so gentle it almost breaks your heart. you pray for the impossibility that jeremy can survive knowing the truth because if he doesn't, then what hope does jean have? so you pray he can be steady too. that he can weather the storm as well. that he will not break when knowing that just under the surface lies shark-infested waters.

but then you remember the beginning. "even knowing everything could go completely sideways, you'd make that choice every time"

in every other universe, jean has not survived. but in every other universe, he did not have the trojans.

[ahaura]

im sure its been said already but as the election draws near more and more liberals will come out of the woodwork to shame people with a conscience to give away their vote to the democrats for free. i'm already seeing posts saying "why aren't people more concerned about a trump presidency?" you want to know why? it's because people already know he's bad. everyone already knows what he is and what he's done and what he'll do. there's nothing to discuss. he's a racist despotic worm of a man. there's nothing else to say.

biden is currently president. the genocide is happening under his watch. he's the one funding isra*l and arming them; he's sidestepped congress more than once to give them weapons. by oct. 27, the biden administration already knew that "Israel was regularly bombing buildings without solid intelligence that they were legitimate military targets." the state department/biden have engaged in atrocity propaganda, cast doubt on the legitimacy of the death toll recorded by the gaza health ministry, and so on. the united states is currently in the process of trying to pin the "war in gaza" on netanyahu (see sen. schumer's speech) after months of backing blatant genocide as a means to act as if they're "doing something" about the genocide (Instead of, say, threatening to cut off all aid to israel with the condition that all hostilities in gaza, the west bank, and occupied jerusalem are halted immediately and permanently, allowing palestinians freedom to travel, allowing aid into gaza, etc etc etc.)

the long and short of it is that liberals view their own lives as being worth more than palestinians'. that's it. they'll vote for another 4 years of the guy ushering in genocide and supporting apartheid + settler colonialism because he isn't outright attacking them (despite various laws and rulings happening both at the supreme court level and at the local level all over the country that will endanger people). they'll settle for the illusion of safety and security and shame anyone with a conscience and accuse them of "supporting the republicans" when in an actual democracy you would be able to use your vote as leverage to extract concessions from those who want to be elected. that's how it's supposed to fucking work.

democrats are not owed people's vote. if biden loses, it will be biden's fault; it will be his campaign's fault; it will be the democrats' fault. trump is bad; the republicans are bad. we already know this. this is not an endorsement of either. but if democrats are too cowardly and feckless and servile to the motivations of the american empire and never do anything for their constituents then why the fuck should anyone vote for them. you want to get mad at someone, why don't you do something useful and stop worrying about team-sports with a purely selfish basis and start hounding the people in power who are supposed to serve you, the voter.

[idiosyncreant]

Adding What Monstrous Gods, which came out last week to this list!

Being haunted by that heretic boy you assassinated is awful but at least there’s one person to talk to who can’t tell anyone your saint powers are faked…

One of my favorite pet names in literature between these two worsties!!

ok you know what i need more bodysharing/brain roommates. malevolent got me feeling some kind of way and I need MORE. tvtropes has like 15 different categories that are all sort-of-but-not-really under the umbrella of what I'm looking for, and sorting through all of that is a little too unwieldy, so I'm turning to you guys. 

key factors of the specific flavor of "multiple consciousnesses stuck in the same meat suit" that I'm looking for are:

any variation of, a human (or this universe's equivalent [so like, an elf where elves are commonplace would count]) has another, nonhuman consciousness attached to them and only them in such a way that the two can communicate, and subsequently

they Banter Constantly

^that^ is probably the most important qualifier here tbh

second most important qualifier is that they are not separated at the end (this obv. doesn't apply if the thing is still ongoing). it's okay if the passenger gets a new body (cf. subnautica) or is freed from their binding (cf. baldur's gate), as long as the partnership isn't broken.

Related: they don't actually have to SHARE a body (so enchanted objects, an AI implant, a Mysterious Disembodied Voice, an imaginary friend, etc., also count). they just have to be tethered to each other such that the passenger cannot move around or function on their own without a host. (I think this is part of why it's hard to narrow down on tvtropes: it's more about the dynamic than about the specific mechanism of "possession".)

Third most important qualifier is that only the current host can hear/communicate with the passenger, even if other people around them are aware of the passenger's existence.

two humans stuck in the same body is okay as long as the other criteria are met, but I would prefer it if the host is human(/equivalent) and the passenger is not (or vice versa if the passenger/possessor is the one with control of the body, as with things like the yeerks, most demonic possession, etc).

it doesn't have to be romantic. they don't even have to like each other. conversely, it absolutely can be romantic too.

They DO have to be the POV character/s for a significant majority (like, at least 60-75%) of the work, because the internal back-and-forth is the entire point.

Bonus points if: they do actually share a body; they are either never physically separated either, or are rejoined at the end (voluntarily or otherwise); passenger has lots of setting-relevant knowledge/an alien or fantastical perspective, while host shows passenger what it's like to be Alive™; despite constantly butting heads, host and passenger work patently better as a team; super extra bonus points for all of the above 

My favorite examples of what I am looking for:

Malevolent podcast (super extra bonus points x10000000000000000)

Venom movies (this is probably the codifier for most people here tbh) (super extra bonus points)

Subnautica: Below Zero (AL-AN gets their own body but stays with Robin, and it hits all of the others)

Forspoken (super extra bonus points)

the "a bagel. two bagels." vine

(I know there's a couple others that I'm just blanking on. If I remember them, I'll add them.)

other things that have moments or flavors of this, but aren't focused on it/don't quite hit all of them:

the Bartimaeus trilogy had it at the end a little, but, well. it didn't last very long. (i STILL haven't recovered from that ending and i was, what? 15 or something? g o d)

the emperor in bg3 kiiiinda counts since they're magically bound to the player/party and can't exist outside their prison, but they do have their own body and are not nearly as chatty as I'm  looking for. also, while only the holders of the prism can hear them, All of the holders of the prism can hear them and I'd really prefer one-on-one.

I think Death Note would also count? I read it in like 6th grade and never finished it so my memory is patchy At Best, but since nobody else can interact with Ryuk, he's bound to whoever holds the notebook, and he's the supplier of the holder's powers, it's close enough that I would accept something similar.

Slay the Princess has the bickering in spades and fulfills the "do not separate" criterion depending on your ending, although the jury's out on whether the voices are Actually their own entities or just symptoms of you losing it. Also, nobody in it is human. The bickering is definitely good enough to make up for it though. (The fact that it's Jonny Sims clearly having a grand old time might have something to do with it...)

with the caveat that I have not watched any of it, i think jadzia (and?) dax from ds9 miiight count, but they're part of an ensemble cast and thus fail the "pov characters for a majority of the work" and "we get to hear their constant internal banter" criteria.

things I tried that fit at least some criteria, but didn't like for various reasons:

the good demon by jimmy cajoleas. promising concept, but 1) the protagonist smokes, which is an instant and unnegotiable dealbreaker (seriously, who makes their protagonist do that in The Year Of Our Lord Anything Later Than 1950?? and to a child? DEATH. ONE MILLION YEARS DUNGEON.), and 2) I looked it up and they separate at the end anyways, so there's even LESS of a point. 

the venom comics. honestly I just... really dislike superhero comics, there's always way too many of them to keep track of + I'm very shallow and they're usually unbearably ugly to me (and also having started with the movies I just found comics!eddie really unpleasant tbh) 

parasyte manga. perfect concept, great dynamic, but its particular brand of body horror was... not great for me and I had to put it down. (horror in and of itself isn't a dealbreaker, though, so if you've got something similar that doesn't involve lots of hands bent at nauseating angles, I'll gladly take it.)

Cyberpunk 77 has the two-humans flavor of this and hits almost all of the other criteria, but i viscerally hated literally everything about j*hnny s*lverhand with every fiber of my being and the rest of the game was so mediocre already that i just gave up

....I know it's a highly specific/potentially niche dynamic, but if anyone has any recs, PUHLEEASE hmu!!! I'm looking for original work rather than fanfiction, but apart from that, format doesn't matter at all (although if it's some like super difficult indie game or something, I probably won't get very far lol). the MAIN points are 1) bickering and 2) host-and-passenger, so if you have something that hits those but not the others, feel free to share it anyway!

[miithridatism]

"I reverence the one who heals what none of us ever could. He kneels and stares up at me in desperate adoration. I reverence you. And before I can fully absorb the full import of those words, he seizes my monstrous hands. His grasp is lighter than a breath of air, but I yield to it like I am grass swaying in the breeze. He draws my hands forward, and he kisses my charred, cracked palms."

— WHAT MONSTROUS GODS BY ROSAMUND HODGE

[turtleblogatlast]

[ cw: violence mention / death mention / ]

Will never stop thinking about how Leo, all alone in an endless void and being beaten again and again and again by the only other living thing around, still finds comfort in that space. The situation he was in was completely hopeless, and in any other circumstances he would not have escaped, at least not fast enough to save him from permanent (or even fatal) damage, be it physical or mental.

And yet, despite the bleakness of his situation, despite the agony and helplessness, all he needs is one glance at a crumbled photograph, one glance to remember his family, and that’s enough of a reason for him to smile.

Maybe that’s why his powers center around manipulating space - because no matter how much space is between them, no matter how dire his own situation may be, just the thought of his family, alive and okay, is enough to give Leo hope.

[p4nishers]

she was just a woman. god. do you get it do you understand.

[poorly-drawn-mdzs]

He's a Beautiful Butterfly!

[finalgirlsamwinchester]

was meaning to write a serious and thoughtful meta on this shot as the show's first use of metatextual framing (a story within a story) linking its premise to the war movie as a genre (the show as a fascist gothic work) but yknow what. scratch all of that lmao. the only thought that matters is: the moment you really start thinking about the show as a reactionary post 9/11 power fantasy, you can't stop.

[bacchuschucklefuck]

Can you expand on what you mean by Baron being "too cool" to really fit a horror monster? It's a very interesting concept and I'd love to hear your thoughts. Is it that they're too active/involved/tangible and it detracts from their scariness?

I feel like I should preface this with a wall of disclaimers lmao 1/I am a hardcore, down-to-the-marrow, avid, deeply sincere horror enthusiast, esp. horror creatures. this usually means my mileage is vastly different from the average populace's, and my scaredy bone has been disintegrated by longterm exposure. most things in a piece of horror media won't scare me! so I practically never use that on its own as the scale to talk abt horror experiences, but when something does scare me it's always a special occasion to be treasured. 2/canon d20 is never really meant to be horror horror, and for good reasons: it doesn't fit the company's output, it takes a kind of carelessness in production estimation that is always a huge risk, it's often vulnerable in a way that kinda goes against how TTRPGs usually facilitates vulnerability, and for most people it's just! stressful! d20, even with the "horror-themed" seasons, generally just plays with horror tropes and stays focused in its goal of being a comedy improv tabletop theater show. 3/fantasy high's chosen system is DnD, which as I've mentioned before is before all a combat-based game system, which means the magic circle of play is drawn based on stats that facilitate and prioritize combat. want or not this affects every interaction you have in the game, and given fantasy high's concept from the ground up (everyone's going to school of DnD stuff to get better at DnD) it's doubly relevant. 4/This Is Fine I have no quarrel with this. my meters are internal, I do not ask this show to be anything it doesn't advertise itself to be, and what it is is fucking great! I like it! when I expand on this ask's question it will be like a physicist going insane in a lab. that's the mindset we're going in with.

disclaimers done. my stance on horror as a genre is that it's a utility genre rather than a content genre or a demographic genre; it is the discard of narratives. it's the trash pile. horror, above being scary, is about being ugly and messy, it's the cracks on the ground any story inevitably steps over to stay a genre that isn't horror. the genre's been around long enough to develop a codex and a general language that medias and makers and enthusiasts of the genre can use to talk about and build onto, but if you go into individual pieces there's really no unifying Horror Story. one person's beautiful life can be another's horror story, it's just how it is.

this makes The Monster a deeply intriguing piece of the genre. thing is a monster is in a decent percentage of any story - it's just when the antagonist force steps into something past a certain line traced out in the story's world. monstrousness is in pretty much every western fantasy story, it's in any story with a hero and something to vanquish or win; more than anything it's a proxy of that thing up there. the line in a narrative's world. the monster is the guard of the unknown lands, where heroic, civilized people don't tread.

what does this mean in the context of horror? the genre is about that perceived lawlessness, that "unknown land" so to say. we're in the monster's home. that's the literary context that we often walk into a horror piece with; the monster knows more than you about where you are. it may not understand you, but it holds more information than you, and with that it moves swifter than you, has more covered than you, and is more assured in its existence in this context than you. it's a struggle to catch up to it, it's nigh impossible to get one over it, and you're never sure it'll 100% work, because you just don't have the information necessary to.

with that framing you can kinda see where I'm coming from here: horror's often about the breaking of rules. I always think a monster's most effective when it breaks well-established rules of both existence and visual storytelling. think Possum (2018) or Undertale's Omega Flowey or the Xenomorph Queen - unique change in medium, unique change in graphic, unique change in design language, etc. in that sense I actually really like how canon baron plays out: they don't really function like anything else in the fantasy high universe, the bad kids have not managed to kill them when they've felled literal gods, their domain in fhjy literally introduces new mechanics to encompass their existence! from an experience design standpoint they slap mad shit. BUT! I can't help finding their character, like as a character riz (and the other bad kids, eventually) interact with, to be very... coherent? in design. this is kinda hard for me to articulate in words, it's more often a sense you get once you've looked at enough of these scrumptious fuckers, their general design and the way they show up is just kinda too clean, so to say. always kinda newly made? fresh unboxed. it, once again, makes sense for their lore - they are looking for more about themself from riz - and their function - they're an antagonist in a game experience, they're meant to be interacted with in a way that produces results and meshes with the existing magic circle - but that shininess takes away from the implied history they should have dominion over and the person they're haunting doesn't.

from another angle there is kinda something there about how put-together canon baron is as a concept; the domain they call home is riz's deep-seeded fears, extremely vulnerable things he's drawn borders around to quarantine and refused to walk into. things that from his perspective would irreversibly shatter certain pleasant fictions his world is built on top of. canon baron, While Extremely Cool, I feel is kinda too neat to connect with and signify the apocalyticized mess that'd result from this paradigm shift. the part where they're in riz's briefcase and looking through every mirror is Very Cool And Fucked Up! but ultimately the show draws a line around them as well, by making game-physical, tangible spaces they're in (the mirrors and the haunted mordred manor) and put riz and the bad kids there only when they need to confront stuff. riz is meaningfully narratively away from baron's unknown land for most of fantasy high.

with that and all of my disclaimers in mind my conclusion here is if canon baron wants to be a Horror Monster they'd have to cross way more lines. be a Lot more invasive. hence (holds up my class swap baron like a long cat)