Thank you to Netgalley for a copy of this booo. In exchange for an honest review.
I truly tried to come into this with good faith, but pretty early on I realised this book just wasn’t for me. I’ll review this in the best light I can, but I’m sorry to say I found very little of this enjoyable. And as someone who’s genuinely a massive fan of epic fantasy and pantheon-centred books, I was really disappointed because in all fronts, this book sounded right up my alley.
This was extremely ambitious and Speers is clearly passionate about the story.
Unfortunately that’s the end of the positive.
To about the sixty page mark I had to fight the urge to DNF this book entirely. I was bored and confused, as other reviewers have pointed out we get a lot of characters from the jump. This accompanied by extremely bare bones prose, plenty of “and then” “and then” and”and then” style writing with no lyricism or imagination, and a very exposition-y style left reading those first five chapters like pulling teeth. I accept after those chapters we get a bit more description and interest, but honestly not much.
We jump point of views within chapter but these are usually marked with a little symbol, but towards the end there are a couple of scenes where we change perspective without warning. As all the characters read with the exact same voice, this made the end of the book a very confusing experience.
From the Ashes of Gods is Odyssian in the sense of a meandering, “epic” Greek story following quests but with little structure. But what books that pay homage to The Odyssey do which this book lacks is have stakes, charm and fleshed out characters. I’m sad to say this book has none of that.
We follow Terena, who as a daughter to an exiled God is about as three dimensional as stick figures I did as a child. As a character she has very little real backbone outside of being what the plot demands of her, and what the surrounding cast revere her as. The world paints her as some infamous, intelligent tracker. What she reads as is an immature fool who refuses to remember the lessons we learn earlier in the book. Though I suppose she is intelligent in the context of one of the dumbest wider casts I think I have ever read.
Even the supposedly millennia old gods - though they never read any different to the twentnyear old cast - revere this woman. Nothing in this book makes her deserving of that reputation. We constantly see Terena have her butt handed to her and then her recovering from injuries caused by those fights.
We spend the first twenty percent of this book lamenting her relationship with one love interest then we forget about him entirely. Somewhere at the fifty percent mark we get a new love interest with major instalove, thereafter she only remembers the first love interest through the lens of “oh well we have Daris now.”
On the topic of Daris we meet him very early on for him to disappear till the fifty percent mark. All we really know about him is he commands a legion of troops and he’s in love with the main character. Intriguing love interest this does not make. There’s a revelation in sort of the last twenty pages that comes out of nowhere, and was honestly just laughable. No build-up aside from an off handed comment, a short amount of book earlier to that of Daris thinking that he’s hiding something, otherwise nada. We have this man as a POV character, and nowhere before this was this even a little bit flagged.
Terena has a brother, Croak, who is extraordinarily immature to follow. His entire crack is sex jokes and loving his star. So much so not once but twice in this book are siblings mistake for lovers because of their conduct. Which is honestly, fair, nowhere do they act as siblings really either. They could have been good friends or even exes and no change to the plot would have happened. Hell their dynamic might have been more fun for it. Instead it came off with the strangest incestous undertones, which admittedly is a bit Greek. Not much else is outside of names.
In the vein of not thought through undertones, Croak is explained to have a thing for snagging women in other people’s rooms. Admittedly there was maybe forty pages where I thought Speers might have been doing something interesting with this and making Croak be with another member of the cast, Orry. Had she I might have given the author more credit. But no, Orry disappears and becomes a literal deus ex machina fifteen pages from the end having, till that point, been completely forgotten.
There’s two very mildly interesting side characters in Rydon and Gabriol who could have had more impact. They’re sold initially as mercenaries and if Speers had kept that line going I’d have enjoyed them massively more. Especially as the reluctant hero trope. Instead it turns out they were essentially plants (by who we never learn) tied to the main character and always intended to help her. Boring.
If you’ve noticed by the names that this was a dick fest, that is no mistake. We have two other notable female main characters in this book aside from Terena. One of whom is a literal snake whose only real point of interest is her love interest, the other is Sonah.
Oh, oh Sonah.
From how she’s written I genuinely believed she was a small child at first, then she’s referenced as being a love interest to another core character. Whiplash. Sonah is, late, revealed to be a relative of Terena. She witnesses people die, then spends the remainder of the book being helped by the rest of the cast. There is one mild point of interest where she sacrifices herself to remain in court as insurance for another character.
That’s it.
A snake, a wet blanket and a plot pawn. That’s the extent of female power this book has to offer.
Very very late on is a line (paraphrased) “Terena doesn’t use her powers, nor does Sonah.” I laughed, loud. This is literally the first instance of Sonah having powers in the book at all, aside from it maybe a little being hinted at because her sister does.
When it comes to conflict this book has the strangest tendency to headhop the second something interesting happens. Early on with one of Terena’s first shows of power, we hop from her head to a bystander. Watching it second hand was uninteresting. Similarly with the pacing, a large plot line comes up within the last fifty pages and I, naively sat wondering how Speers would pull this off. I needn’t have worried, the plot line (the taking of a city) is decided upon, planned and executed in around twenty pages. I had to go back and check because the chapter later refers to it being a success, and my honest reaction was… wait where?
Worldbuilding in terms of setting is super minimal. This is Greece but unless you have an understanding of the country beforehand I fear readers will easily get lost. Regularly references are made like, and Croak will head to Messene or Jason turned back for Agraboda with little timeframe. Worldbuilding in terms of magic is minimal because the only real character (real used generously thereby is Terena and a demigod brought up and abandoned a good chunk in. There are several random mechanisms brought up only when they’re needed i.e. eudaemons and cyphers but no prior mention or establishment.
The plot was just a headache to follow I’m sad to say, and I love quest plotlines like found in the Witcher. But there’s no intelligence in them. Breadcrumbs are fed to the cast every step of the way and more than once they’re just outright told where they need to go. They don’t need to figure anything out for themselves.
This had as many stakes as a vegan restaurant. A handful of people die (one of which is reversed) and the two core love interests are given mechanics wherein they can’t die. One is grievously injured towards the end but the author seems to have forgotten that because twice since he’s referred to as having both his eyes! Buddy you lost one twenty pages ago.
I’m sad to say this just wasn’t for me. In the end, From the Ashes of Gods reads like a draft of a far better story buried somewhere beneath the clutter. There are flashes of ambition — a pantheon in exile, a heroine caught between mortals and divinity — but none of it ever coheres into something worth the journey. Characters act without logic, plots appear and vanish like smoke, and the prose never earns the mythic weight it clearly thinks it carries. What should have been an epic about gods and mortals becomes instead a wandering, bloodless fable about nothing much at all.