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Thomas’s novel constructs a rigid social hierarchy that positions the privileged Golds as defenders of the realm and the marginalized Jades as inherently inferior. Teo’s attempts to deface the Golds’ poster in the novel’s opening scene make this division between Golds and Jades explicit from the start: “[T]he kids of Gold golds were stronger and more powerful than Jade demigods […] They went to a fancy academy […] training from the age of seven to be Heroes of Sol” (7) In contrast, Jades like Teo attend a public school “held together with duct tape and glue” alongside mortal students (7). This institutional segregation reinforces a societal belief that Jades are less capable, destined for minor roles, while Golds are trained as heroes. Across the novel, Teo’s arc refutes this premise, allowing Thomas to argue that true worth is defined by character and action rather than race or birthright. Thomas’s novel critiques such systems as flawed constructs designed to suppress the potential of those deemed lesser to reify the power of the ruling class.
Thomas emphasizes the entrenched, inherited nature of prejudice through the dismissive attitudes of Aurelio, Auristela, and Ocelo, which mirror the behavior of their divine parents. From the moment the competitors are selected, the Gold semidioses openly express their disdain for Jades, claiming Teo and Xio are “background noise” and “default sacrifices” chosen to ensure a Gold will not have to die (131). Thomas reflects this same disdain in Auristela and Aurelio’s parent, Diosa Lumbre, who claims that Teo’s selection “is already making a mockery of this sacred tradition" (329), emphasizing the inherited nature of social prejudice. Aurelio connects the abrupt end of his childhood friendship with Teo to the rules and expectations of Diosa Lumbre, who “kept impressing on [him] the importance of being a Gold, and how [he] should only be friends with other Golds” (340). Aurelio’s arc sees him breaking free from the need to earn his mother’s approval by embracing a more inclusive set of values.
The Sunbearer Trials themselves become the very mechanism that dismantles this flawed, hierarchical system. Thomas positions the division between Golds and Jades as a flawed stratification that the novel actively deconstructs. Teo’s and Xio’s selection for the Sunbearer Trials, a competition historically dominated by Golds, serves as the primary catalyst for challenging the injustice of the system. By selecting Teo and Xio, Sol forces the characters into a confrontation with their prejudice. Teo consistently proves his heroic capabilities through compassion and courage. His early scenes suggest he possesses these traits innately, even before he’s selected to compete in the trials. For example, he runs into a burning building to retrieve a young girl’s doll and rescue Veronica from the fire. His surprising success in the trials, culminating in the highest ranking, proves that a Jade can not only compete with but also surpass the most elite Golds, transforming Teo into a symbol of hope for other Jades. When the competitors travel to Laberinto—the first Jade city ever to host a trial—Teo is shocked to see the flags the crowd waves aren’t “the white flags of the Golds, or even Sol. They [are] bright blue-green. Jade. […] Fans [hold] handmade signs with his name” one of which reads: “HERO OF THE JADES” (274). Through Teo’s journey, Thomas positions social stratification as an artificial barrier and heroism as a quality of character, accessible to anyone regardless of their race or station.
The Sunbearer Trials scrutinizes the concept of sacrifice by juxtaposing its public glorification as heroism with the private terror it instills in the competitors. The novel interrogates whether a society that demands the ritualistic death of its youth is truly noble or merely perpetuating a cycle of violence. The ruling dioses present the selfless sacrifice of a semidiose’s life in the Sunbearer Trials as a mark of nobility, establishing the dominant ideology of the novel’s world. In the opening ceremony, Diosa Luna praises the sacrifice as the “greatest honor of all” (54), a sentiment starkly at odds with the fear felt by the potential victims. From the beginning, Teo consistently refutes this framing, insisting the sacrifice is murder. After Teo is crowned Sunbearer, he marvels at the calm way that Huemac instructs him on driving the ceremonial dagger into Auristela’s chest “like he [isn’t] talking [Teo] through the steps of murdering someone” (378).
Thomas’s narrative details and visual imagery emphasize the grim reality behind the celebratory spectacle. The foundation of the sacrificial altar is a pile of golden skulls, the remains of past demigods who lost the trials. This stark imagery serves as a constant reminder that behind the pageantry and media frenzy lies a brutal, state-sanctioned death sentence. While the public consumes the Trials as entertainment, the competitors grapple with the real possibility of their lives ending violently. Teo’s fear is not for himself but for his friends, particularly Niya and Xio, revealing the deep personal cost of a tradition that the public celebrates as a prestigious honor. The system forces a zero-sum game where one demigod’s victory is another’s death, a reality that drives the characters to desperate and violent action.
Through the character’s experiences, Thomas explores the difference between true, voluntary sacrifice exemplified by Sol and the coerced, systemic violence of the Sunbearer Trials. The author opens the novel with a prologue that recounts Sol’s original sacrifice of themself to save humanity. As the contemporary trials unfold through Teo's perspective, he views the loser’s death as a consequence of failure rather than a willing offering. Through Teo’s perspective, Thomas suggests that the system has corrupted the meaning of Sol’s original act, turning a choice motivated by love and a desire to protect those who couldn’t protect themselves into a punishment for weakness. Teo’s final refusal to kill Auristela represents a rejection of this violent tradition. He chooses compassion over duty, challenging the moral foundation of his society and suggesting that no tradition is worth the price of a life.
Across the novel, Teo evolves from an unsure misfit to an empowered champion by confronting the prescribed norms and expectations of his society and learning to reject them as indicators of his worth. At the start of his arc, Teo demonstrates an internalized sense of his own inferiority handed down to him by a flawed socio-cultural infrastructure. When Sol chooses him as a competitor during the opening ceremony, his immediate reaction is: “This is some kind of mistake […] I’m just a Jade […] How am I supposed to compete with the Golds? I’m not a Hero” (60). As Teo’s arc progresses, he learns to push back against society’s prescribed limits on his worth and potential, challenging and surpassing them by becoming Sunbearer.
Thomas uses the motif of Teo’s wings as a tangible example of the power of self-acceptance. Teo’s discomfort with his wings underscores his gender dysphoria—an acute feeling of wrongness. Initially, Teo keeps his wings painfully bound beneath his shirt, a practice that reflects his gender dysphoria and his shame over their appearance. The wings are not the vibrant colors of a male quetzal but “grayish-brown with hints of green like the females’ plumage” (31), a constant, physical reminder of a body that feels misaligned with his identity. This act of binding also symbolizes an implicit devaluing of his Jade heritage, which he perceives as a marker of inferiority in a world that lionizes Golds. His friend Pico’s warning, “You know he’s sensitive about his wings!” (8), underscores this physical trait as a source of deep emotional vulnerability, embodying his feelings of otherness on multiple fronts. The physical pain of the binders is “nothing compared to the cloying dysphoria that choke[s] him whenever he [sees] his wings” (31). Diosa Quetzal’s gentle pleas for him to unbind them represent an external call for self-acceptance, one he consistently rejects because the pain of hiding feels safer than the vulnerability of being seen.
The turning point in Teo’s journey occurs when he embraces his wings not as a flaw, but as a source of strength. During the first trial, he instinctively uses them to rescue Xio from Ocelo’s attack. Only when Teo embraces the power of his wings in an authentically selfless act to save Xio do they molt and reveal their “brilliant ultramarine, iridescent blue, and electric green feathers” (120), the proper colors of a male quetzal. This external change is a manifestation of his internal shift toward self-acceptance. His wings become what they were always meant to be only after he accepts them as a part of his identity. The transformation of his wings emphasizes that Teo’s power and identity are not separate but fully realized through integration and acceptance. His strength does not come from suppressing the parts of himself he dislikes, but from embracing his complete identity—Jade, demigod, and boy. The wings symbolize the novel’s core argument that true power is found not in conforming to societal norms or expectations, but in the radical act of self-acceptance.
Thomas roots the novel’s posture toward gender identity—particularly trans identity—in self-acceptance, communal celebration, and support. In Reino del Sol, there are trans characters at all levels of the social hierarchy, gender confirmation ceremonies are common, and the fluidity of gender identity is an accepted norm among both mortals and dioses. Thomas structures a plot in which Teo and Xio’s transness represents an important, and often vulnerable, part of their identities, but isn’t the primary source of their oppression. Thomas uses a matter-of-fact tone to explain that “when a semidiose discovered that their gender didn’t align with the one they were raised as, their gender confirmation ceremony was celebrated […] because it was such an important acknowledgement and celebration for the community” (219). By normalizing gender fluidity and trans identity within the world of the story, Thomas pushes back against the anti-trans bias inherent in many contemporary cultures and provides a model for a more expansive and inclusive set of social norms.



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