A review by talonsontypewriters
Daughter of the Moon Goddess by Sue Lynn Tan

adventurous emotional hopeful inspiring mysterious medium-paced
  • Plot- or character-driven? A mix
  • Strong character development? Yes
  • Loveable characters? Yes
  • Diverse cast of characters? Yes
  • Flaws of characters a main focus? Yes

4.0

A free ARC of this title was provided by NetGalley in exchange for an honest review.

The first word that comes to mind to describe Daughter of the Moon Goddess is “beautiful.” In a lot of ways, it’s true—from the very writing to the vast, captivating world presented to the inherent love and loyalty that drives the plot, a lot of aspects of the novel are objectively so. The prospect of not being able to put a book down is a cliche one, but an apt one here, if not in the wholly literal sense. 

My first and foremost compliments must go to the very writing. I’m a substance over style person in general, but I can’t deny that I have a soft spot for gorgeous styles, and Sue Lynn Tan’s certainly qualifies as such. It’s very lyrical, but in a way that’s easy and comfortable to read. No matter whether a scene consists of court intrigue or fast-paced, brutal action (or, as in several cases, both), Tan handles it with grace, making things engaging and smooth-flowing. There are some instances of awkward repetition, as well as some grammatical and spelling mistakes along the lines of what I would expect from an early copy, but overall the technical writing is nothing short of stellar. 

Xingyin’s narrative voice is very compelling, and in general she’s an interesting and very likable protagonist. She’s prideful, brave, cunning, and at times rash, a skilled strategist and fighter alike (I anticipate “overpowered” comments, but I think her abilities are interesting and keeping in with her training, upbringing, and heritage) with a tendency for impulsive behavior. There’s no shortage of interesting character work—some minor characters are left fairly flat, but a lot of the cast is given intriguing motivations that explain but don’t justify their actions—but since she’s the main and perspective character, how sympathetic and well-written she generally is is worth especial note. 

Where Tan’s writing becomes most lush and evocative, I would say, is when locations are described. It follows, then, that the worldbuilding also completely drew me in. Chinese culture and legend infuse almost every bit of the setting, and the result is breathtaking and inspiring. I was a bit surprised by the choice to base the magic system around the classical Greek elements rather than wuxing, but that’s not really something I have actual complaints about in this context, just something I would want to ask the author about her reasoning behind. Something that particularly caught my attention here is the handling of immortality, different fantastical kingdoms, the limitations of magic, and dragons. I’m also a fan of this retelling and reworking of the Chang’e and Houyi legends, which are some of my favorite Chinese tales to begin with. 

The dynamics between characters are what inevitably push the plot forward, so I’d be remiss to gloss over them. Chang’e and Xingyin’s relationship is super touching, and I’m endlessly endeared by how it always remains the central point of the plot and themes. One perhaps understated dynamic is that of Xingyin and her friend Shuxiao, which was super sweet and a nice contrast in its consistent, easy loyalty. 

I also ended up more compelled by the romance than I was honestly initially expecting. A love triangle is present, which I started to brace myself for when it became clear (especially because on paper it’s the trite “girl who considers herself plain in appearance is vied after by two powerful attractive men,” though appearance actually is barely noted when it comes to attraction and the focus is absolutely on personality/intellect, something else super nice to see), but it’s pretty all right as far as these things go. Though it’s reasonably clear romance will develop from certain interactions, the characters are given room to develop as friends first without jumping right to that stage. Dedication, respect, and trust are palpable in all major romantic relationships… which makes it all the more heartwrenching when conflict strikes. I do wish jealousy was less prominent throughout, however much it’s kept at bay and addressed. 

That said, I do have to note that overall, miscommunication plays a refreshingly limited role in the conflict present throughout the book. Whenever it is present (mostly in regards to secret identities), it tends to be for understandable and relatable reasons, not just for drama’s sake. I especially appreciate the open discussions between Chang’e and Xingyin early on, though later interactions between Xingyin and other characters are just as nice in this regard. 

My most glaring critique is with regards to the pacing, which is at times fairly shaky. There are several large jumps in time—the most egregious being a two-year skip pretty early on—that, while understandable enough for how unimportant the interim is in the grand scheme of things (and further evoking the feeling of epics and folk tales), I feel hurt some moments of character and relationship development. For instance, though the romance is technically given room to breathe, we don’t really get to see the parties developing the trust and friendship that eventually drives their interactions. The buildup is also a bit rushed, leading to a couple of deus ex machina moments startlingly early on. Something I would have liked to see more of, for example, is Xingyin’s time working in the Golden Lotus Mansion, as well as the motivations and dynamics of the characters who are present in that segment of the story. It’s not drawn out very long, and later on it isn’t touched upon much, so presumably it’s just there to bridge the inciting incident and rising action, but it feels all the more jarring for that. 

That aside, I was ultimately pleased with the plot and resolution. Just enough is settled to lean into a satisfying ending, but just enough threads are still left hanging to justify—and drive interest in—a sequel. One twist in particular really got to me, and made me want to immediately comb back through for a few things I, like Xingyin, overlooked the first time around. There are also a couple of very satisfying Chekhov’s gun moments that had me (mentally) cheering. 

A couple of minor complaints with regards to language: Phrasing like “he or she” is used on a few occasions, “crippling” is used more than once when “debilitating” or something similar would have worked just as well or even better, and “deaf and blind” is used as a synonym for “ignorant.” There’s nothing glaringly offputting beyond this, but these did still pull a brief grimace from me. 

As magical as the world it presents but at its core human and real, Daughter of the Moon Goddess is not a perfect book, but it is one that kept me captivated until the very last word. I’ll definitely be keeping an eye out for Tan’s writing in the future, especially what’s to follow in this duology. 
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