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Content Warning: This section of the guide includes discussion of child abuse, emotional and physical abuse, graphic violence, and death.
In In the Wake of the Ruined, Kalie Cassidy argues that the pursuit of absolute power—whether magical, political, or divine—is an inherently corrupting process that physically and morally degrades the wielder. To amass and maintain great might, characters must consume the lives and loyalties of others, eventually becoming monstrous shadows of their former selves. This decay signifies a moral failing as well as incurring a physical transformation, as seen in the ruined bodies of the novel’s most powerful figures, Eusia and the Dellen Mage Seer. The narrative consistently portrays unchecked ambition as a devouring sickness that demands a price in blood, flesh, and humanity.
The most extreme example of this corruption is Eusia, the ancient First Mage. Her centuries-long quest for power has left her physically grotesque and emotionally hollowed, entirely dependent on the lives of others for her survival. Once a Siren, she has become a shrunken, monstrous creature with “unblinking round eyes” and “gill-like slits” ringing her throat (387). This physical ruin mirrors her moral decay. Eusia sustains herself by consuming the divinity of her sister Ligea, a process that leaves Ligea’s body a lifeless husk at the bottom of a pool. Eusia’s power requires constant feeding, whether through the life force of victims like Agatha, who is used as a living battery, or through blood offerings from her supplicants. She admits that magic has replaced all other human needs, stating she has no desire for “a home, or a whole body, or a lover when magic has become all of that to me and more” (115). Her existence demonstrates the novel’s core argument that ultimate power cannot be attained as it creates a state of perpetual, insatiable consumption.
This corrupting influence extends to the political leaders who align themselves with dark magic. Empress Nivala and Marshal Aleka Baros both sacrifice their loyalties for a taste of Eusia’s power. A vision reveals that Nivala, in her desperation to secure a divine heir for Eusia, callously sacrificed her husband and was willing to offer her infant daughter, Halla, as sustenance. Similarly, Aleka, who served the Varian crown with integrity for decades, betrays Theodore without hesitation, believing Eusia shows a truer, more earned form of might. Her devotion culminates in her attempt to physically dismember Imogen by carving off her wings to “prepare” her as a vessel for Eusia. For both Nivala and Aleka, proximity to immense power justifies the betrayal of family, country, and all moral principles, transforming them into willing instruments of Eusia’s cruelty.
Even the protagonist, Imogen, is not immune to magic’s corrupting toll. While her use of spells is often necessary for survival, it exacts a severe physical and psychological price, tempting her with a constant need for more that mirrors Eusia’s own. After performing a spell, she feels a “depthless hunger” and the paradoxical sensation of being both drained and dangerously full. This hunger frightens her, particularly because it manifests as a desire to consume Theodore, blurring the line between her love and Eusia’s predatory influence. The Dellen Mage Seer—a withered, insect-infested husk of a person—demonstrates what Imogen could become if she fully embraces magic, particularly as the Mage Seer is literally consumed by the impact of her power when she is eaten alive by her swarm of insects. Through these examples, the novel establishes that the more power a character wields, the more of their emotional and physical humanity they must sacrifice to sustain it.
Throughout In the Wake of the Ruined, characters grapple with the violation of their physical selves, their bodies treated as vessels, weapons, or resources for the ambitions of others. The novel argues that true liberation expands beyond an idea of political freedom or emotional independence and requires the fundamental reclamation of bodily autonomy. The central female characters—Imogen, Agatha, and Halla—are each subjected to a loss of control over their own bodies. Their parallel struggles to regain ownership of their flesh and will form the narrative’s core, suggesting that self-determination begins with the right to command one’s own physical form, free from external control or consumption.
Imogen’s primary conflict is an internal and magical battle to sever her bond with Eusia, a connection that allows the ancient deity to access her powers and influence her desires. This bond shows a violation of her autonomy, making her a potential weapon against those she loves. Imogen lives in constant fear that Eusia will take control of her lure and use it to harm Theodore, a terror so deep that she makes a pact with Lachlan to kill her if she loses control. Her quest for a severing draught and her ultimate, life-threatening decision to take it are acts of self-reclamation, even if they result in her losing everything. By breaking the bond, Imogen asserts that her body, her magic, and her will are hers alone, refusing to be a passive conduit for another’s power.
The most literal depictions of this theme are the physical violations endured by Agatha and Halla. Their bodies are treated as commodities to be exploited for Eusia’s sustenance. Agatha is discovered in a ritual pool with “ghostly veins” from Eusia’s animate entrails burrowed into her skin, functioning as a living battery to keep Eusia alive. Her rescue is a literal untethering of her body from its abuser. Similarly, Halla’s body is a canvas of scars from a lifetime of offerings her mother forced her to make to Eusia. Her flesh was used as a currency to pay for power and miracles she did not control, reducing her physical self to a tool for her mother’s ambitions. Both characters’ experiences highlight how the bodies of the less powerful characters are treated as expendable resources.
The fight for autonomy often requires violent struggles. Aleka’s betrayal culminates in her physically attempting to dismember Imogen, carving off her wing to “prepare” her as a vessel for Eusia’s power. This act directly reduces a person to an object. Imogen’s defense—using her Siren song to disable Aleka—reverses this, as she wields her own innate abilities to protect her body from mutilation and gain control over Aleka’s. Similarly, when Theodore uses his healing power to banish the spelled wound from Imogen’s stomach, he helps her reclaim her body from Eusia’s magical infection. Autonomy is never easily granted; it must be fought for and physically seized from those who would deny it.
In a world governed by tactical alliances, political duty, and self-preservation, In the Wake of the Ruined presents genuine love as a revolutionary act of resistance. Characters repeatedly defy law, convention, and their own safety to protect the people they love, suggesting that these deep personal bonds are a more meaningful and world-altering force than crowns or contracts. The narrative pits the impersonal and self-serving logic of power against the choices driven by love—including platonic, romantic, and genuine self-love—and ultimately argues that this vulnerability is the greatest strength one can possess.
Theodore’s actions throughout the novel frame his love for Imogen as a direct rebellion against the cynical expectations of his court and his title. To preserve the possibility of a future with her, he deliberately sabotages his political marriage to Halla, creating a “half marriage” without a true blood bond despite the political risk. Later, he defies his council’s warnings and reroutes his entire warship to the blighted island of Anthemoessa to aid Imogen’s quest, risking his crew and his standing as a “fit” ruler. This matches Imogen’s devotion. Her love manifests as an act of self-control and potential self-sacrifice, as she makes a pact with Lachlan to be killed if she loses control around the king due to Eusia’s influence. This pattern of defiance culminates in their mutual decision at the end of the novel to abdicate their thrones. By giving up the ultimate symbol of political power for a quiet life together, they contribute to the novel’s argument that love is the most fulfilling pursuit, even if comes at the cost of ruling a kingdom.
This theme of resistance extends through Lachlan, the commander of the king’s guard, who commits treason—a “killable offense”—out of his unwavering devotion to Agatha. Despite his professional duty to the Varian crown and his initial distrust of Imogen, he risks everything to help the “proscribed criminal” escape the palace and get to Anthemoessa. He explicitly states he does it for Agatha, placing his personal bond with her above his sworn duty to the king and kingdom. However, in his quest to rescue her, he also deepens his bond with Imogen, who only partakes in the novel’s events because of her parallel need to protect her oldest friend. Together, the group defends both their lovers and friends, creating a supportive, loving collective that becomes capable of defeating their power-hungry enemies.
The distinction between selfish pursuits of power and genuine self-love is distinguished through Halla’s journey. Rejected by Eusia at birth and utilized by her mother only as a source of blood sacrifices, Halla lives only to please and be useful to the individuals responsible for her insecurities. She partakes in the marriage to Theodore—who she know doesn’t love her—and attempts to become pregnant by him to suit her mother’s political goals. Both Imogen and Theodore implore her to speak and act for herself, which helps her overcome her shame and feelings of inadequacy and ally with them at the novel’s climax. Her ending remains more morally ambiguous, as she assumes her mother’s throne after rightfully killing her; however, her character arc asserts that the only way to actualize her true power was to perceive herself as valuable in a way others don’t. Through her and the other central characters, the novel asserts that there are many pursuits to fulfillment; however, all must satisfy a need for love for oneself and others.



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