What do you think?
Rate this book
Gods Squad #3
Oh What A Knight!
Join the Gods Squad in the third and final hilarious new installment of the Oh Maya Gods series! Vesper and Aster need Excalibur to save the world. At the top of Glastonbury Tor, they find an elevator down to the enchanted realm of Camelot, where Arthur has been waiting for this day.
The elderly King and his loyal knights snap to attention – at last they have a quest! But Excalibur will only serve its chosen master. What would anyone do with such power?
The third and final instalment in the laugh-out-loud bestselling series. Over half a million copies of Maz’s books sold. Ties in neatly with KS2 curriculum as readers learn about mythology and Arthurian legend. Full of epic adventure and big laughs!
The elderly King and his loyal knights snap to attention – at last they have a quest! But Excalibur will only serve its chosen master. What would anyone do with such power?
The third and final instalment in the laugh-out-loud bestselling series. Over half a million copies of Maz’s books sold. Ties in neatly with KS2 curriculum as readers learn about mythology and Arthurian legend. Full of epic adventure and big laughs!
303 pages, Kindle Edition
Published September 12, 2024
9 people are currently reading
48 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 6 of 6 reviews
February 15, 2026
We finally reach the end of the Who Let The Gods Out series. True, we were proved incorrect when we assumed that Against All Gods was the final installment, but now I am absolutely certain that there will be no sequels at all. Even if more are somehow written, I will steadfastly refuse to read them. Sequel Syndrome (see my critique of The Sinister Booksellers Of Bath) would make yet another installment the most disgusting cash grab in writing history. I really hope books never fall into the trap movies and video games have fallen into where it's most profitable to just make more installments of the same series forever.
This brings us to the first problem with this book: Sequel Syndrome. I mentioned this last time, but it's more complicated here. The first time you go to (insert mythology here) afterlife, it's really novel. The second time it's still great. The third time it's getting repetitive, and the fourth time the writer had better have a trick up their sleeve to make this run different. Luckily, the writer really does have a trick up his sleeve.
This book's afterlife isn't really an afterlife, it's a version of Camelot hidden underground. This allows the characters to meet many of the knights of Arthurian legend, including King Arthur, and explore their stories through medieval quests. The main themes of this book are the knights being sexists and Vesper's mother being horrible. The medieval quest format allows us to see the interactions of knights with the people of Camelot and still gives us time to follow Vesper's emotional journey.
Then there's The Parent Problem. This problem occurs in almost every single story about a child saving the world. The problem is that the plot requires children to go on dangerous adventures, but no responsible parent would allow their child to go on dangerous adventures! There are many bad ways to solve this problem: 1. The parents are dead (it seems like every single orphan in the world has magical powers). 2. The parents don't care, which is possibly the explanation with the worst implications. 3. The children are sneaky, and the parents never notice that their children aren't in bed when they should be. The list is very long. One of my favourite explanations is that the parents are the villains, though that can't be done too many times. In these books, The Parent Problem is usually solved by the children being forced somewhere against their will, or the children saving the parents. This is a trick that really can only be used a couple times. It becomes ridiculous the umpteenth time Vesper and Aster are forced to travel to (insert underworld).
The final issue is the ending. Or more accurately, the final issue is that there are too many endings. The first turning point is an absurd sequence where Morgan tries to convince her daughter Vesper to join her in ruling the world. This is an incredible display of pathetic desperation. The heroes are already predestined to win as long as they have Excalibur, so Morgan is just begging for it instead of taking it. This might be more dramatic if Morgan was clearly winning and Vesper hadn't just had a whole book to sort out her parent issues. Worse, Vesper just slaps away the offer with impunity. Even the book admits it's ridiculous!
The second turning point is Vesper sparing Thanatos's life after eviscerating him in a fight. (No, she didn't literally eviscerate him, that would be disturbing.) This choice would normally be easy to make, but Thanatos just killed her father. This would be a great turning point if it weren't for the small problem of containment. Thanatos escaped the last two times he was imprisoned, and in neither case was the Diabolon treated as a maximum security prison. All one needs in order to break him out is a god to open the heel stone and a mortal to break his chains. That doesn't exactly inspire confidence in the security measures the gods will take this time.
Overall, the capstone of the Who Let The Gods Out series isn't quite as good as the first end of the Who Let The Gods Out series. Still, it's worth reading, like every other book this author has put out. Humor, character development, and more humor carry the series to its end. Hopefully, the author seriously intends for this to be the real end this time.
This brings us to the first problem with this book: Sequel Syndrome. I mentioned this last time, but it's more complicated here. The first time you go to (insert mythology here) afterlife, it's really novel. The second time it's still great. The third time it's getting repetitive, and the fourth time the writer had better have a trick up their sleeve to make this run different. Luckily, the writer really does have a trick up his sleeve.
This book's afterlife isn't really an afterlife, it's a version of Camelot hidden underground. This allows the characters to meet many of the knights of Arthurian legend, including King Arthur, and explore their stories through medieval quests. The main themes of this book are the knights being sexists and Vesper's mother being horrible. The medieval quest format allows us to see the interactions of knights with the people of Camelot and still gives us time to follow Vesper's emotional journey.
Then there's The Parent Problem. This problem occurs in almost every single story about a child saving the world. The problem is that the plot requires children to go on dangerous adventures, but no responsible parent would allow their child to go on dangerous adventures! There are many bad ways to solve this problem: 1. The parents are dead (it seems like every single orphan in the world has magical powers). 2. The parents don't care, which is possibly the explanation with the worst implications. 3. The children are sneaky, and the parents never notice that their children aren't in bed when they should be. The list is very long. One of my favourite explanations is that the parents are the villains, though that can't be done too many times. In these books, The Parent Problem is usually solved by the children being forced somewhere against their will, or the children saving the parents. This is a trick that really can only be used a couple times. It becomes ridiculous the umpteenth time Vesper and Aster are forced to travel to (insert underworld).
The final issue is the ending. Or more accurately, the final issue is that there are too many endings. The first turning point is an absurd sequence where Morgan tries to convince her daughter Vesper to join her in ruling the world. This is an incredible display of pathetic desperation. The heroes are already predestined to win as long as they have Excalibur, so Morgan is just begging for it instead of taking it. This might be more dramatic if Morgan was clearly winning and Vesper hadn't just had a whole book to sort out her parent issues. Worse, Vesper just slaps away the offer with impunity. Even the book admits it's ridiculous!
The second turning point is Vesper sparing Thanatos's life after eviscerating him in a fight. (No, she didn't literally eviscerate him, that would be disturbing.) This choice would normally be easy to make, but Thanatos just killed her father. This would be a great turning point if it weren't for the small problem of containment. Thanatos escaped the last two times he was imprisoned, and in neither case was the Diabolon treated as a maximum security prison. All one needs in order to break him out is a god to open the heel stone and a mortal to break his chains. That doesn't exactly inspire confidence in the security measures the gods will take this time.
Overall, the capstone of the Who Let The Gods Out series isn't quite as good as the first end of the Who Let The Gods Out series. Still, it's worth reading, like every other book this author has put out. Humor, character development, and more humor carry the series to its end. Hopefully, the author seriously intends for this to be the real end this time.
May 13, 2025
A perfect ending to a perfect series! Maz Evans ended the series with a hit... great way to finish such a magical adventure.
I really enjoyed this book (and the rest of the WLTGO set, to be honest), and I managed to learn a lot more about the Arthurian period of history. I love Maz's incorporation of different areas of history, and I found it the perfect combination of happiness and mystery.
I really enjoyed this book (and the rest of the WLTGO set, to be honest), and I managed to learn a lot more about the Arthurian period of history. I love Maz's incorporation of different areas of history, and I found it the perfect combination of happiness and mystery.
June 12, 2025
A perfect finale to the 7 part series! While the book can seem like a drag with so many side quests and storylines, it wraps up quite well, in the end. In fact, having been invested in this series for over a week, it seemed like an extremely emotional, if not "optimal" (you'll get the reference if you read the books), moment.
August 13, 2024
My gosh. My gosh. I’ve laughed (a lot). I cried. I gasped. There’s so much goodness in this! There’s old faces, new faces, surprise appearances. Knights, jousting, daemons of death, tournaments, secrets, lies… and family. I just adored this so much.
December 4, 2024
A review for the overall series:
Whilst I loved exploring the mythology of different civilisations and seeing Max Evans’ fun take it just doesn’t compare to WLTGO. The emotional investment was not there, the stakes did not feel high despite it being apocalyptic. The stakes felt high in WLTGO because of Eliot’s Mum you felt the anxiety, the fear, the hope and that emotion carried through to cement the apocalyptic feeling because their where personal high stakes. However, here the emotional beats seemed to fall a bit flat perhaps too overtaken by the need to say something funny or pop cultural. There wasn’t enough room for the emotions to breath or grow and become something a bit scary or uncomfortable in their closeness to reality. Children’s books can have realistic to life scary elements WLTGO (and all of Jaqueline Wilson’s work) shows that.
Whilst I loved exploring the mythology of different civilisations and seeing Max Evans’ fun take it just doesn’t compare to WLTGO. The emotional investment was not there, the stakes did not feel high despite it being apocalyptic. The stakes felt high in WLTGO because of Eliot’s Mum you felt the anxiety, the fear, the hope and that emotion carried through to cement the apocalyptic feeling because their where personal high stakes. However, here the emotional beats seemed to fall a bit flat perhaps too overtaken by the need to say something funny or pop cultural. There wasn’t enough room for the emotions to breath or grow and become something a bit scary or uncomfortable in their closeness to reality. Children’s books can have realistic to life scary elements WLTGO (and all of Jaqueline Wilson’s work) shows that.
April 1, 2025
There’s a lot more references to snogging than I expected to find
Pros:
The Knights of the Round Table are funny
Cons:
Main villain was super underwhelming
Deus Ex ending
Pros:
The Knights of the Round Table are funny
Cons:
Main villain was super underwhelming
Deus Ex ending
Displaying 1 - 6 of 6 reviews