The Raven King

Nora Sakavic

51 pages 1-hour read

Nora Sakavic

The Raven King

Fiction | Novel | YA | Published in 2013

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of death, child sexual abuse, child abuse, physical abuse, emotional abuse, and self-harm.

The Sport of Exy

The violent, high-stakes fictional sport of Exy functions as a central motif, mirroring the characters’ internal trauma and their brutal external conflicts. The court is a sanctioned space where the Foxes can channel their rage, pain, and self-destructive tendencies into a structured, albeit savage, competition. The game itself, with its enclosed court and allowance for aggressive body checks, reflects the feeling of being trapped and the constant threat of violence that defines their lives.


Kevin, who was raised within the tyrannical system of the Edgar Allan Ravens, underscores the sport’s grim reality when he tells Neil, “It isn’t a game where I come from” (71). This statement reveals that, for characters shaped by trauma, Exy is an extension of their fight for survival, where the stakes are identity, autonomy, and life itself. The motif develops the theme of Confrontation Versus Evasion as a Response to Trauma, as the court becomes the primary arena where characters must face their sporting and personal adversaries. For the Foxes, learning to trust each other on the court is the first step toward building a found family capable of withstanding the forces that seek to destroy them.

Scars and Tattoos

Scars and tattoos are recurring visual motifs, expanding on the novel’s exploration of trauma and identity. These physical markers reveal the characters’ subjection to abuse and coercion while also providing evidence of their survival.


Neil’s scars stem from his father’s torture and a childhood on the run. The protagonist’s fastidious concealment of his torso, even in the changing rooms, is driven by the knowledge that his scars make him identifiable to those hunting him. A permanent reminder of the past, they resist his attempts to completely reinvent his identity. Similarly, scars on Kevin’s hand are also the result of familial abuse, inflicted by his adoptive brother Riko. Meanwhile, the scars on Andrew’s arms are markers of the adult world’s failure to protect vulnerable minors. When his uncle failed to take his report of sexual abuse seriously, Andrew’s pain was expressed in self-harm. While these bodily marks are records of others’ attempts to hurt and control them, the characters refuse to be defined by their abusers. Although Riko intended to end Kevin’s Exy career prospects by breaking his hand, Kevin defied these expectations, returning to the sport by playing with his non-dominant hand. In the cases of Neil and Andrew, their scars ultimately become a sign of mutual affiliation and loyalty. By revealing their long-concealed wounds to each other, they establish their shared history of trauma and forge absolute trust.


Like the scars, the numbers tattooed on each Raven’s cheekbone are evidence of the abuse of power. They symbolize dehumanization and the complete erasure of individual identity. The tattoo is a permanent brand that marks the player as the Moriyama family’s property. When Neil first sits opposite Jean Moreau, he observes, “The black three tattooed on his left cheekbone meant he could be no one but Jean Moreau” (89). The phrasing emphasizes that the number defines Jean, reducing him to his rank and function within the Ravens’ hierarchy. This symbolism illuminates the theme of The Interplay Between Lies, Identity, and Survival by presenting the alternative to Neil’s struggle. While Neil fabricates identities to survive and remain free, the Ravens have their true identities forcibly stripped away in exchange for a perverse form of stability.


The tattoos are the ultimate symbol of subjugation, representing a loss of self so profound that the person becomes interchangeable with their number. Throughout the novel, they serve as a visible reminder of the fate that Riko believes is Neil’s birthright. When Neil emerges from Castle Evermore with a number “4” tattooed on his cheek, his initial frantic attempt to cut it away conveys his determination to resist becoming a pawn of the Moriyama family. However, by the novel’s end, the tattoo ultimately reinforces Neil’s resolve to take revenge, redefining its meaning to serve his own motivations.

The Cell Phone

The cell phone that Andrew gives Neil symbolizes a forced transition from a life of evasion to one of reluctant connection and confrontation. For Neil, who has spent eight years on the run, phones are objects of terror, irrevocably linked to his father’s relentless pursuit and his mother’s death. By forcing a phone on him, Andrew directly challenges this deep-seated trauma, demanding that Neil accept a lifeline to the team instead of relying on his instinct to flee. The phone becomes a tangible manifestation of Andrew’s promise of protection and Neil’s place within the group, however tenuous.


Andrew makes the phone’s purpose explicit, insisting that the next time Neil is in danger, “[he’s] not going to run. [He’s] going to think about what [Andrew] promised [him] and [he’s] going to make the call” (78). This instruction reframes the phone from a tool that enemies can use to locate Neil to a weapon he can use to activate his allies. Later, Neil evokes the symbolic significance of the phone when he explains his decision to stand up to Riko at the banquet rather than fleeing, stating, “I made a different call this time” (108). The remark links the cell phone to Confrontation Versus Evasion as a Response to Trauma, suggesting that Neil’s courage derives from the knowledge that he is not alone. His acceptance of the phone is his first step toward trusting someone else with his survival.

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