God of Fury

Rina Kent

God of Fury

Rina Kent
58 pages1-hour read
Fiction
Novel
Adult
Published in 2023

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of suicidal ideation, self-harm, and cursing.

Mirrors and Reflections

The motif of mirrors and reflections charts Brandon’s internal journey from deep self-loathing toward a more integrated identity. Throughout the novel, his inability to face his own reflection is a physical manifestation of his shame and the fractured self-perception resulting from his trauma. Early on, he views his reflection not as himself but as a separate, monstrous entity. After a moment of losing control with Nikolai, he confronts a cracked mirror and sees only distorted versions of his face, a visual metaphor for his splintered psyche. This avoidance is central to his character, as he can’t reconcile the polished, controlled man he presents to the world with the “damaged” person he believes himself to be. His reflection represents the truth he works tirelessly to suppress, the version of himself that he sees as weak and irrevocably broken by his past.


Brandon’s struggle with his reflection is deeply connected to the theme of The Danger of Repressing Trauma. When his self-hatred is at its peak, he describes his reflection as a “monster” whose features are obscured by “black ink” (129). This imagery reveals a complete disassociation from his own identity; he can’t see a person, only the physical embodiment of his pain. His path to healing begins when he starts to be honest with Nikolai and his family, and this internal shift is mirrored in his slowly changing relationship with his reflection. By the end of the novel, while his self-perception isn’t perfect, his ability to exist in the same space as a mirror without shattering it signifies his movement away from denial and toward accepting the entirety of his story, scars and all.

Brandon’s Paintings

Brandon’s art becomes a symbol of his divided self, contrasting the public identity he performs with the private trauma he conceals. His landscape paintings are technically proficient, orderly, and emotionally sterile, representing the “golden-boy” facade he maintains for his family and peers. These are the works that are publicly celebrated but that Landon dismisses as “boring” and unoriginal. The landscapes symbolize the rigid control that Brandon exerts over his life and emotions, a form of artistic silence that perpetuates his trauma by refusing to give it a voice. In stark opposition are his secret, chaotic abstract paintings, which are filled with “haphazard strokes” of violent color like red and black. These canvases are the only place where Brandon allows his repressed pain, anger, and turmoil to surface, serving as a raw, unfiltered expression of the self he keeps hidden.


The turning point for this symbol occurs when Landon discovers one of the chaotic pieces and declares it “fucking brilliant.” This moment is key, as it’s the first time the hidden, “monstrous” part of Brandon’s identity is not only seen but also validated as the source of his true artistic genius. It challenges Brandon’s belief that his trauma makes him “defective,” suggesting instead that his turbulent emotions are the source of his best work. This validation, later reinforced by Nikolai’s acceptance of all parts of him, is important to Brandon’s healing. The paintings thus symbolize the core conflict between secrecy and honesty, illustrating that embracing his authentic, chaotic self is the only path toward true connection and creative fulfillment.

The Lotus Flower

The lotus flower is a recurring symbol that defines Nikolai’s unique and healing perception of Brandon. Nikolai introduces the nickname early in their interactions, explaining, “You know, because you managed to bloom so beautifully while surrounded by the muddy swamp that is Landon” (53). In this context, the “muddy swamp” represents not only the pressure from his antagonistic twin but also the entirety of the difficult, traumatic circumstances from which Brandon has emerged. Unlike others who only see Brandon’s polished but fragile exterior, Nikolai immediately identifies a core of resilience and beauty that not just survives its harsh environment but is, in fact, strengthened by it. The symbol signifies Nikolai’s ability to see and value the true self Brandon works so hard to hide.


The symbol’s meaning deepens as their relationship evolves. For Brandon, the nickname is a constant affirmation of his strength, an assertion that beauty doesn’t exist in spite of suffering but can bloom directly from it. The lotus flower doesn’t erase the “muddy swamp” but transforms it into a source of nourishment and growth. This concept is instrumental to Brandon’s healing, as it allows him to begin integrating his past rather than trying to erase it. The name becomes an intimate term of endearment that encapsulates the hope and deep acceptance at the heart of their romance, representing the idea that being truly seen is a powerful catalyst for change.

Blood

Blood is a motif that makes internal, psychological pain physically manifest, connecting the violent world that Nikolai inhabits with the secret, self-destructive suffering that Brandon endures. For Nikolai, a Mafia heir, blood is an external sign of conflict, power, and loyalty; he’s often seen covered in it after a fight, where it represents his dominance and violent nature. For Brandon, however, blood is an internal symbol turned outward. His self-harm is a coping mechanism, a physical manifestation of the emotional agony he can’t otherwise express. After breaking a mirror, he finds relief only when he sees his own blood, thinking, “Blood pours out of my fingers, and with it, the ink rushes out of my bloodstream and dissipates” (130). This moment explicitly links the act of bleeding to a release from the “black ink” of his trauma, showing how his silent suffering finds a physical, and dangerous, outlet.


The motif emphasizes The Danger of Repressing Trauma by illustrating its dire physical consequences. While Nikolai’s violence leaves blood on others, Brandon’s hidden pain results in blood on himself, a stark contrast that highlights his isolation and vulnerability. The motif follows Brandon’s journey from secretly cutting himself to hide his pain to the climax where his suicide attempt makes his internal suffering devastatingly public. His survival and subsequent willingness to seek help mark a turning point, suggesting a shift from managing his pain through self-destruction toward finding healthier paths to healing. Blood, therefore, is a visceral marker of both the destructive nature of trauma and the painful path toward recovery.

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