I am, I confess, of two minds about Bride of the Water God. As a romance it’s only middling, but as a visual spectacle, as a slice of Koreana (so to speak), it’s lovely and lush. The beauty and poetry of the presentation — and the poetry’s both visual and verbal — do make up in great part for the shortcomings in the story.
The premise, as set up in the first volume, lends itself to any number of romantic complications. The “bride” of the title is Soah, a young girl who has been sacrificed by her village to the water god Habaek. Much to her surprise, instead of ending up dead, she finds herself in Habaek’s domain surrounded by a whole pantheon of other gods. Among them is Habaek himself, who manifests in two forms — a snooty young boy, and a handsome adult who calls himself “Mui.” And to make matters worse, there are ongoing behind-the-scenes feuds and bits of internecine politics that Soah is now a party to.
Article originally written for AMN. Click here to read full text.
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