Medea is a bisexual Chicana woman living in a dystopian future where people of Latino and Indigenous descent have been exiled from the former United States. Once a revolutionary hero, she now spends her time in a psychiatric ward, reflecting heavily on her years living in Phoenix, Arizona. She struggles with deep internal tensions regarding her identity and her motherhood. Her primary motivation is protecting her teenage son from the oppressive society of Aztlán, often turning to alcohol to cope with her emotional pain.

Chac-Mool is the adolescent son of Medea and Jasón, raised predominantly by queer women in a marginalized borderland community. Reaching an age where he seeks to understand his identity, he feels caught between the patriarchal legacy of his father in Aztlán and the matriarchal upbringing provided by his mother and Luna. He is curious about his heritage and desires a clear masculine identity, leading him to question the values of the women who raised him.

Jasón is Medea’s ex-husband and a powerful leader in Aztlán, a post-revolutionary society built on traditional patriarchal values. Though he once shared Medea's revolutionary ideals, he has since embraced a power structure that exiles queer individuals. He wishes to secure his legacy by reclaiming his son while simultaneously planning to marry a much younger woman. He represents the corruption of revolutionary ideals and acts as a constant threat to Medea's fragile family unit.

Luna is a sculptor and Medea’s lesbian romantic partner. She has spent seven years helping raise Chac-Mool in their borderland community. Deeply connected to Mesoamerican traditions and agriculture, she tries to provide stability for her makeshift family. She often feels alienated by Medea's unpredictable emotional state and unresolved feelings about her bisexuality, forcing Luna to suppress her own creativity to manage their household.

Mama Sal is Medea's elderly grandmother and a fellow midwife in the exile community. As an older lesbian who remembers the world before the revolutions, she serves as a living connection to past political struggles. She offers a grounded, historical perspective to the younger women and Chac-Mool, guiding them through their personal crises with blunt but caring advice.

Savannah is a queer woman living in the same apartment building as Medea and Luna. She provides a sharp contrast to Medea's volatile nature, offering Luna a more stable and straightforward companionship. She observes the toxic elements of Medea and Luna's relationship and openly encourages Luna to seek a healthier path, demonstrating her direct and protective personality.

The Cihuatateo are a group of divine spirits from Aztec mythology, representing women who died in childbirth. Acting as a chorus throughout the story, they move between the physical and metaphysical worlds. They take on various earthly identities to interact with the mortal characters, bringing ancient mythological weight to the dystopian setting.

The Prison Guard is a worker at the psychiatric hospital where Medea is held, also functioning as one of the earthly manifestations of the Cihuatateo. She oversees Medea's confinement and enforces the institution's rules. She frequently banters with the Nurse and addresses the audience directly to explain the setting.

The Nurse works in the border-town psychiatric hospital, attending to Medea's daily needs. As another embodiment of the Cihuatateo, she represents the bureaucratic, clinical environment of the ward. She occasionally trades sarcastic remarks with Medea while going about her routine duties and playing games during her shifts.

The Tattoo Artist is a working-class figure in the border community who marks Chac-Mool with the image of his mythological namesake. Taking on another face of the Cihuatateo chorus, she challenges Chac-Mool's romantic views of spirituality. She pushes back against his adolescent idealism with grounded skepticism.

The Border Guard patrols the boundary between the exiled borderlands and Aztlán. Acting as an enforcer of both physical borders and political identity, she interrogates travelers. She forces characters like Chac-Mool and Luna to articulate their allegiances and confronts them about their personal identities.