God of Malice

Content Warning: This section features discussions of sexual violence and harassment, rape, ableism, mental illness, death by suicide, suicidal ideation and self-harm, animal cruelty and death, substance use, addiction, graphic violence, sexual content, cursing, illness and death, physical abuse, and emotional abuse.

In the author’s note of God of Malice, Rina Kent defines Killian as “a true psychopath, not a make-believe, nor a bad boy who’s eventually tamed. He’s a villain with very questionable actions, […] morally black” (8). Though Killian is shown to have a few good or neutral characteristics, he’s never described as anything but a villain. What does the romanticization of his character reveal about the novel’s themes? What does Glyndon’s struggle to accept her love for Killian reveal about the nature of that love?

The idea of consent is often muddled and unclear in God of Malice. How does the blurry definition of consent reflect Glyndon’s character arc and her relationship with Killian? Cite specific examples.

The chapters of God of Malice alternate between the perspectives of Glyndon, Killian, and others, a common narrative approach in contemporary romance novels. How do these differing perspectives affect Glyndon and Killian’s characterization? How does each of the characters portray themselves, and how do they portray each other?