Kingdom of the Feared

Kerri Maniscalco

59 pages 1-hour read

Kerri Maniscalco

Kingdom of the Feared

Fiction | Novel | YA | Published in 2022

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Character Analysis

Content Warning: This section of the guide includes discussion of graphic violence, death, and child abuse.

Emilia di Carlo

As the protagonist of the novel, Emilia is a complex figure capable of both immense fury and deep love. Her rage, when unleashed, is a destructive force that annihilates her enemies, as seen when she single-handedly defeats the attacking coven at House Greed. However, this destructive potential is tempered by the empathy she retains from her mortal life. When she confronts her past self and the schemes she participated in, she feels remorse and a desire for redemption. A dynamic and round character, Emilia’s journey is central to Maniscalco’s exploration of identity, love, and power. Initially, her actions are fueled by the perceived murder of her twin, Vittoria. This single-minded quest for retribution forces her to confront the brutal realities of the Seven Circles and her own suppressed nature. Her primary motivation is a fierce, almost self-destructive loyalty, first to her sister’s memory and later to her burgeoning relationship with Wrath. This loyalty compels her to navigate treacherous political landscapes and question everything she has ever known about her family and herself.


Emilia undergoes a profound transformation, evolving from a witch driven by vengeance to a goddess defining her own destiny. Her character arc pivots on the central theme of The Conflict Between Destiny and Self-Determination. The revelation that she is the goddess Fury, not merely a witch, forces her to reconcile her mortal upbringing with her divine heritage. This tension impacts her relationships with Vittoria, who urges her to embrace their shared destiny of power and vengeance, and Wrath, who supports her as she forges a new identity. Her decision to break her spell-lock by allowing Vittoria to remove her mortal heart is a pivotal moment, symbolizing her acceptance of her full self, yet she does not simply revert to her ancient persona. Instead, she integrates the compassion and love that she developed as a mortal with the immense power of a goddess. This synthesis is demonstrated when she ultimately sacrifices her newly reclaimed divine power to break Wrath’s curse, an act of love that cements her self-determined path: “When I considered the paths open to me, I could live without magic, but I couldn't imagine giving up everything else I loved to hold on to it. I chose the path that offered me the life I want to live” (391). Her journey culminates in her choice to rule alongside Wrath not as the vengeful goddess she once was but as a queen who values justice and love over retribution. She tells her sister, “I chose happiness over fear […] And I’d choose it again without any regrets” (391), articulating her ultimate choice to define her own existence through love rather than by prophecy or a thirst for vengeance.

The Prince of Wrath (Samael)

Wrath, the Prince of Wrath and King of the Seven Circles, serves as the deuteragonist and primary romantic interest. He is a round, dynamic character whose stoic and formidable exterior conceals deep vulnerabilities stemming from a centuries-old curse. As the embodiment of his namesake sin, Wrath wields immense power and is capable of altering the realm’s climate with his temper. However, his defining trait is not his anger but his profound self-control. He consciously leashes his sin, operating with a cold, strategic efficiency that makes him a feared and respected ruler. His philosophy of “Acta non verba” (Deeds, not words) governs his actions (357); he demonstrates his loyalty and love through protection and sacrifice rather than overt declarations, a necessity reinforced by a curse that punishes him for expressing love.


Wrath’s relationship with Emilia is the catalyst for his character development. Initially bound to her by a magical bargain, he evolves from a reluctant guardian to a devoted partner. He consistently places her safety and agency above his own desires, even his longing to reclaim his wings. This is evident when he teaches her to control her emotions rather than letting fury consume her and when he creates a loophole in a royal decree to allow her to investigate a crime without facing consequences. His internal conflict is rooted in the curse cast by the First Witch, which forces him to feel hate for the one he loves. To combat this, he consumes a tonic that dulls his emotions, a key example of the sacrifices he makes to remain by Emilia’s side without the curse tearing them apart. The restoration of his fiery wings upon the breaking of the curse signifies his return to his full power, and his first act after his restoration supports the novel’s romance. By giving half his magic to Emilia, who has sacrificed her own supernatural abilities for his sake, he demonstrates his commitment to their equality and partnership. His declaration, “What’s mine is yours, my love. I told you I had enough magic for both of us” (397), is the culmination of his journey from a cursed, emotionally repressed king to a man who can finally embrace love freely, proving that his actions have always spoken the truth of his heart.

Vittoria di Carlo

Vittoria, Emilia’s twin and the goddess of death, functions as a complex antagonist and foil whose actions set much of the novel’s plot into motion. A round and dynamic character, she embodies the theme of Gaining Power Through Cunning Rather Than Force, as she orchestrated her own “murder” to force Emilia onto a path of discovery and power. Her methods are ruthless and manipulative; she allies with werewolves, challenges demon princes, and murders witches descended from the coven that cursed them. She believes that the ends justify the means and tells Emilia that her goal is “[t]o watch [their] enemies burn” and “to break the final chains that bind [them] once and for all” (27). Her words illustrate how her motivations are a tangled combination of fierce sisterly love, a deep-seated need for vengeance against those who wronged the twins, and a desire to reclaim their divine birthright.


Vittoria’s relationship with Emilia highlights the theme of The Unbreakable and Complicated Bonds of Sisterhood. Despite the pain and trauma that her deception causes, her underlying goal is to liberate Emilia from the spell-lock that suppresses her true goddess nature. She pushes Emilia to embrace her fury and abandon her mortal sentimentality, acting as a foil to the more merciful protagonist. The contrast between the sisters is stark: Where Emilia struggles to reconcile her mortal and divine selves, Vittoria has fully embraced her identity as a feared goddess. However, moments of vulnerability reveal that Vittoria’s coldness is a facade. Her decision not to reveal the truth about Vesta’s disappearance and to take the blame for it suggests a hidden, protective loyalty that extends beyond her sister. Ultimately, Vittoria represents the call of destiny and heritage, a powerful counterpoint to Emilia’s journey of self-determination. While she fails to convince Emilia to join her in a war against their enemies, she succeeds in her primary mission of helping her sister reclaim her power, proving that their bond, however strained, remains a foundational force in their lives.

The Princes of Hell

The six other princes of Hell shape the novel’s shifting political landscape, with some serving as allies and others as antagonists. Pride, a round character, is driven by the loss of his wife, Lucia. His arrogant exterior masks a deep-seated heartache, and his “test” of Emilia’s loyalty is a misguided attempt to prevent his brother Wrath from suffering a similar betrayal. Envy also evolves from a rival into a reluctant, cynical ally. His actions are primarily self-serving, yet he provides Emilia with crucial information and support while imprisoned, demonstrating a complex morality beyond simple jealousy. His witty and often cutting commentary offers a pragmatic perspective on the unfolding events, such as when he advises Emilia that “it doesn’t actually matter one way or another” if Vittoria killed Vesta because the goddess of death is “the catalyst” of irreversible changes in Hell’s power dynamics (143). Maniscalco’s portrayal of Pride and Envy as complex, dynamic figures humanizes the novel’s infernal cast.


Some of the princes play a minor role in the story, appearing in only a few key scenes. Sloth, a flat character, functions as a neutral investigator into Vesta’s disappearance. His detached, academic approach provides key forensic details that help Emilia challenge Greed’s accusations. Gluttony has a smaller role in this book but appears as a more jovial and supportive brother, continuing his friendly relationship with Emilia from the previous installment. Likewise, Lust is a largely flat character who provides conflict and occasional comic relief. His hedonistic nature serves as a foil to Wrath’s more emotionally profound connection with Emilia, highlighting different facets of desire. Emilia and Wrath’s efforts to remain on good terms with these comparatively minor figures reflect the primary characters’ concern with maintaining balance and order, and their presence at Emilia’s coronation underscores her importance as Queen of the Seven Circles.


For much of the novel, Greed serves as a primary antagonist. A flatter character, his motivations are transparent: He values possessions above all else. Greed’s actions give rise to the subplot about Vesta. The memory that Emilia sees in the Well of Memory establishes his cruelty and vindictiveness, as he abducts a werewolf child as payment for her father’s gambling debts: “The pup whined as the monster—demon—reached out and took her. Her whines turned to shrieks as he shoved her into a sack and cinched it closed” (288). In the present, his demand for blood retribution over the loss of his “prized third” ignites the central murder investigation. This demand raises the novel’s suspense by forcing Emilia to undertake a covert investigation to clear her sister’s name. During the novel’s resolution, Emilia rebukes the antagonist by exposing Greed’s deeds and proving the falseness of his accusations in a demonstration of the type of justice she’ll strive to provide in her reign as queen. The six princes function as significant secondary characters who embody their respective sins and drive subplots through their rivalries and alliances.

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