The infernal cosmology of Kingdom of the Feared is built upon a framework rooted in Western Christian demonology, specifically the classification of demons according to the seven deadly sins. Although the Christian Bible doesn’t contain a list of the deadly sins or prominent demons, theologians and scholars have proposed many different models of hell’s hierarchies and lists of cardinal sins over the centuries. In his Treatise on Confessions by Evildoers and Witches (1589), German bishop and witch hunter Peter Binsfeld associated the seven deadly sins with “seven Princes of Hell,” linking pride to Lucifer, greed to Mammon, lust to Asmodeus, wrath to Satan, gluttony to Beelzebub, envy to Leviathan, and sloth to Belphegor. Binsfeld’s classification remains highly influential, appearing in novels, TV shows, and other works.

Maniscalco adapts this structure to build her fantasy underworld, where seven immortal princes each embody and rule a domain, or “House of Sin,” corresponding to one of the seven deadly sins. This hierarchical system provides a clear framework for the political conflicts and character archetypes within the novel. Emilia’s journey through the underworld requires her to navigate these distinct circles, from House Greed’s opulent gambling dens to the sensual court of House Lust. The narrative notes that “[s]in and vice overlap[] often, though the way they [a]re expressed in each circle [i]s slightly different” (44), shaping the culture and magic of each realm. For example, Wrath’s power is fueled by anger, allowing him to demolish an entire room in a fit of rage, while Greed’s influence compels others to indulge their desires. By drawing on this established demonological tradition, Maniscalco creates an immediately recognizable fantasy hierarchy that explores the nature of vice as both personal flaw and political power.