68 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of emotional abuse.
Raven Kennedy’s Gleam is the third installment in the five-book Plated Prisoner series, which takes place in a fantasy setting of the Six Kingdoms. The Seventh was supposedly destroyed when the realm of the fae destroyed a bridge between their land and the rest of the world, with the fae disappearing for centuries afterward. The story follows the journey of Auren, a woman ensnared by the greedy King Midas of Sixth Kingdom. In the first book, Gild, Auren is introduced as Midas’s “favored,” a prized courtesan kept in a gilded cage in the castle of Highbell. Midas pretends to be able to turn things to gold with his touch, when Auren is the one who secretly has this power.
Manipulated by Midas, she believes him her savior for rescuing her from poverty on the streets of his kingdom; however, her romantic view of him crumbles when he sexually barters her to a political ally. Her life of insulated captivity is shattered when the army of Fourth Kingdom captures her during her travels. The second book, Glint, chronicles her time as a prisoner of the commander of Fourth’s army, Rip. During this period of forced proximity, Auren begins to question the nature of her relationship with Midas and learns to control her own latent fae abilities, which manifest as powerful golden ribbons protruding from her spine.
Her complex dynamic with Rip, who is also secretly fae, evolves from one of captor and captive to a tentative alliance, as he pushes her to acknowledge her own strength and confront the abuse she has endured. When Midas meets with Fourth’s army to negotiate his control over Fifth Kingdom, which he took through deception, Auren is returned to him. However, she rejects his attempts to cage her again. Rip comes to her rescue only to reveal he is Fourth’s ruler, King Slade Ravinger, commanding his own army in secret as a tactical advantage. This betrayal of trust devastates Auren and disrupts their budding romantic bond.
The Plated Prisoner series is presented as “THE MYTH OF KING MIDAS REIMAGINED” (vii), fundamentally altering the classical Greek tale to explore themes of exploitation and objectification. Original tales of Midas, as well as other mythical figures that likely had similar origins, come from Greek and Roman culture. There are many iterations, which can often contradict, including a variety of mythological and historical details from the classical era. The famously recorded version of the myth is in Ovid’s Metamorphoses, wherein the god Dionysus grants King Midas the power to turn everything he touches into gold. The gift quickly becomes a curse when Midas is unable to eat or drink. In a later iteration, A Wonder-Book for Girls and Boys (1852) by Nathaniel Hawthorne, he also accidentally turns his beloved daughter into a golden statue. The myth serves as a cautionary tale about the dangers of unchecked greed and valuing wealth over human connection.
Kennedy’s series subverts this premise: King Midas does not possess the golden touch himself but instead exploits Auren, a fae woman whose magic allows her to gild objects and people. By externalizing the source of Midas’s power, the narrative shifts from a story of personal consequence to one of systemic abuse. Auren becomes the living embodiment of Midas’s “gift,” a resource to be controlled, commodified, and locked away in a cage. This reimagining transforms the myth into a dark fantasy allegory for human trafficking and domestic abuse, where a person’s intrinsic worth is violently reduced to their economic value, and the “curse” of gold is borne not by the greedy king but by the woman he imprisons to maintain his power.
Gleam is a prominent example of “romantasy,” a popular subgenre that blends high-concept fantasy world-building with a central romantic plot. Propelled by social media platforms like TikTok, romantasy series such as Sarah J. Maas’s A Court of Thorns and Roses and Rebecca Yarros’s Fourth Wing have achieved massive commercial success, combining epic stakes with intimate character relationships. The Plated Prisoner series fits squarely within this genre, featuring fae, magic, and warring kingdoms. Additionally, a common trope utilized in romantasy is the “enemies-to-lovers” dynamic, and the narrative in Glint is propelled by the antagonistic yet sexually charged relationship between Auren and her captor, Commander Rip. By reaffirming him as a potential villain through the twist ending, Kennedy sets up continuing friction between the characters to explore in Gleam.
However, the series also aligns with the niche subcategory of dark romance. The Author’s Note explicitly warns readers that the series contains “explicit content and dark elements that may be triggering to some,” including “nonconsensual sex, emotional manipulation and abuse, sex trafficking and on-page sexual assault” (vii). Unlike traditional romance, dark romance deliberately explores taboo subjects and morally ambiguous relationships. The genre often centers on a protagonist’s journey of surviving and overcoming significant trauma, with the romantic arc intertwined with their path to empowerment. Auren’s story is a key example; her arc is not simply about falling in love but about reclaiming her agency after years of profound abuse at the hands of King Midas. Her relationship with Slade is complicated by themes of power, coercion, and trust, reflecting dark romance’s focus on intense, high-stakes emotional and psychological journeys.



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