Abigail Owen delivers a devastating follow-up to The Games Gods Play with The Things Gods Break, the second installment in The Crucible series that plunges readers into the darkest depths of Tartarus while exploring the complexities of love, time, and divine manipulation. This is mythology romance that refuses to play by conventional rules, weaving together Greek mythology with contemporary fantasy elements in ways that will leave readers breathless and emotionally wrung out.
The Weight of Divine Consequences
The Things Gods Break picks up immediately where the first book left us hanging, with Lyra dragged into Tartarus alongside her friend Boone. What should have been a triumphant ending—winning the Crucible Games, becoming Queen of the Underworld, securing Hades’ heart—quickly transforms into a nightmare scenario that questions everything we thought we understood about the series’ mythology.
Owen’s interpretation of Tartarus is brilliantly conceived, transforming the traditional Greek prison for Titans into a labyrinth of seven divine locks, each crafted by the Olympian gods as safeguards against their parents’ escape. The concept of requiring a formerly human soul to unlock each seal creates compelling stakes while exploring themes of identity, power, and the cost of divine transformation.
The Titans themselves emerge as complex figures rather than the one-dimensional villains mythology often portrays. Cronos, Rhea, Mnemosyne, and the others carry the weight of eons of imprisonment, their radiant beauty matched by depths of pain and determination that make them surprisingly sympathetic. Owen skillfully blurs the lines between villain and victim, particularly through Persephone’s revelations about the true nature of their imprisonment.
Love in the Time of Temporal Manipulation
The romance between Lyra and Hades reaches new depths of complexity as the story reveals the true extent of temporal manipulation affecting their relationship. The revelation that time has been reset multiple times, with Lyra retaining memories of alternate timelines while Hades remains unaware, adds layers of tragedy and moral ambiguity to their love story.
Owen’s handling of the power dynamics in their relationship becomes particularly nuanced here. Hades’ use of his soul-compelling abilities on Lyra creates uncomfortable moments that force both characters and readers to confront questions about consent and trust within relationships involving supernatural power imbalances. The scene where Hades compels Lyra to confess her love, only to have her fight against his control while still speaking her truth, exemplifies Owen’s willingness to explore the darker implications of divine romance.
The temporal aspects of their relationship—Lyra visiting Hades in the past through broken time while dealing with his apparent rejection in the present—create a complex emotional landscape that Owen navigates with surprising sophistication. The pain of loving someone across multiple timelines, while knowing secrets that could change everything, gives their romance a philosophical depth often missing from the genre.
Trials That Test More Than Strength
The seven locks of Tartarus serve as more than just obstacles to overcome; they function as psychological and emotional trials that expose character vulnerabilities while advancing the plot. Each lock—from Hestia’s nightmare realm to Hera’s trials of childbirth—forces Lyra to confront different aspects of her identity and relationships.
Owen’s description of these trials balances visceral action with emotional stakes. The recurring deaths and resets create a Groundhog Day-like atmosphere that could have become tedious but instead builds tension through repetition and variation. Lyra’s growing understanding of the temporal mechanics, combined with her developing relationships with the Titans, creates forward momentum even within the cyclical structure.
The inclusion of Boone as more than just a sidekick adds complexity to the trials. His relationship with Persephone, combined with his thief’s knowledge and survival instincts, provides emotional grounding that prevents the story from becoming too focused on divine politics and romantic angst.
Mythology with Modern Sensibilities
Owen’s approach to Greek mythology demonstrates both respect for classical sources and willingness to reimagine familiar elements for contemporary audiences. The inclusion of death gods from multiple pantheons—Egyptian Anubis, Korean Yeomra, Norse Odin—suggests a cosmopolitan divine community that feels authentically global while maintaining coherent worldbuilding.
The glamour affecting the gods’ perception of the Titans creates an interesting commentary on narrative bias and historical manipulation. The idea that even divine beings can have their memories and perceptions altered speaks to contemporary concerns about truth, manipulation, and the power of storytelling itself.
Owen’s treatment of divine politics, particularly the revelation that the Olympian gods’ victory over the Titans may not have been as clear-cut as traditionally portrayed, adds moral complexity that elevates the material beyond simple good-versus-evil mythology.
Character Development Through Adversity
Lyra’s character arc throughout this second book showcases growth while maintaining the authenticity that made her compelling in the first installment. Her development from confused victim to active participant in temporal manipulation demonstrates agency without losing the vulnerability that grounds her character.
The supporting characters, particularly the Titans, receive development that makes them feel like individuals rather than mythological archetypes. Cronos emerges as more than just a child-eating monster, while Mnemosyne’s control over memory provides both practical plot functions and emotional resonance. Even secondary figures like Iapetus gain distinct personalities through Owen’s careful characterization.
Hades himself becomes more complex as the story reveals the extent of his past actions and future knowledge. The glimpses of their relationship across multiple timelines show different facets of his character while maintaining the core romantic appeal that drives the series.
Technical Craft and Pacing
Owen’s writing style continues to balance accessibility with sophistication, using contemporary voice and humor to make classical mythology approachable without losing dramatic weight. Her chapter titles, many playing with time-related puns and references, provide levity while maintaining thematic coherence.
The pacing successfully balances action sequences with character development and romantic tension. The structure, divided into eight parts with evocative titles like “Puppet Master” and “Burn It All Down,” creates momentum while allowing for emotional processing between major plot developments.
The integration of multiple POVs, particularly the flashbacks to Hades’ perspective, provides crucial context without disrupting narrative flow. Owen’s handling of the temporal complexities—multiple timelines, memory manipulation, time travel—remains coherent despite the inherent challenges of such plot devices.
Critical Considerations
While The Things Gods Break succeeds in many areas, certain elements may challenge readers. The repeated deaths and resets, while thematically appropriate, can create emotional fatigue. Some readers may find the constant raising and lowering of stakes through temporal manipulation somewhat deflating of dramatic tension.
The moral ambiguity, while adding depth, occasionally makes character motivations unclear. The question of whether Hades’ actions stem from genuine love or calculated manipulation remains somewhat unresolved, which may frustrate readers seeking clearer romantic resolution.
The expanded cast of divine characters, while adding richness to the worldbuilding, sometimes threatens to overshadow the central relationship between Lyra and Hades. Balancing ensemble dynamics with romantic focus proves challenging in certain sections.
Series Context and Continuity
The Things Gods Break succeeds as both a continuation of The Games Gods Play and a story that expands the series’ scope and ambitions. The book rewards readers of the first installment while providing sufficient context for the mythology and character relationships.
The revelation of multiple timeline resets recontextualizes events from the first book in ways that enhance rather than diminish the earlier story. Owen’s willingness to complicate her own established narrative demonstrates confidence in both her material and her readers’ investment.
The ending, which maintains the series’ tradition of significant cliffhangers, raises stakes for future installments while providing enough resolution to satisfy immediate character arcs.
Literary Significance Within the Genre
Within the contemporary mythology romance landscape, The Things Gods Break stands out for its willingness to explore darker themes while maintaining romantic appeal. Owen’s approach to consent and power dynamics within divine relationships addresses important contemporary concerns without becoming preachy or abandoning genre conventions.
The book’s treatment of time manipulation and memory as tools of control resonates with current discussions about narrative truth and historical revision. The question of whether love can exist authentically when built on temporal manipulation speaks to broader concerns about agency and authenticity in relationships.
Recommended Reading
Readers who enjoyed The Things Gods Break might appreciate:
From Blood and Ash by Jennifer L. Armentrout – for similar mythology-based romance with complex world-building
Hunt on Dark Waters by Katee Robert – for dark romance with morally complex characters
The Invisible Life of Addie LaRue by V.E. Schwab – for temporal themes and cursed romance
The Song of Achilles by Madeline Miller – for sophisticated mythology retellings
The Cruel Prince by Holly Black – for complex power dynamics in fantasy romance
Final Verdict
The Things Gods Break elevates The Crucible series through increased emotional complexity, sophisticated worldbuilding, and willingness to explore uncomfortable questions about love, power, and agency. While the temporal mechanics and moral ambiguity may challenge some readers, Owen’s skillful character development and compelling romantic tension create a reading experience that rewards investment.
This is mythology romance for readers who appreciate psychological depth alongside their divine drama, offering a story that functions as both escapist fantasy and thoughtful examination of relationships under supernatural pressure. Owen continues to demonstrate why she’s become a significant voice in contemporary fantasy romance, creating work that honors genre conventions while pushing boundaries in meaningful ways.
The book succeeds in advancing the overarching series narrative while providing character growth and romantic development that feels earned rather than convenient. For readers invested in Lyra and Hades’ journey, The Things Gods Break delivers the complex, emotionally satisfying continuation that the first book’s ending promised.
The Crucible series, with its completed first two books, establishes itself as a standout contribution to the mythology romance subgenre, offering readers divine love stories with genuinely mortal stakes.