Trial of the Sun Queen

Atlas, the Sun King of Aphelion, is the novel’s deuteragonist and primary love interest. He is a round character who initially presents as charming, powerful, and enigmatic, although his true character is increasingly prefigured as the narrative develops. As a ruler, Atlas is the embodiment of light, wealth, and authority, creating a stark contrast to the darkness and destitution of Lor’s past. His handsomeness and charm is one of his most potent tools; he is described as “dazzling” (116) and capable of making Lor feel as if she is “the only girl in this room” (107). His ability to entice Lor physically is part of his embodiment of Aphelion, where beautiful false appearances hide a corrupt core. As the ambiguous object of Lor’s physical desire, his character role runs in parallel to Lor’s wider navigation of a new and deceptive environment. Atlas presents himself as a benevolent and thoughtful ruler, expressing a (false) desire to improve conditions for the poor in The Umbra after Lor challenges his perspective. This kindness, however, is juxtaposed with his role as the overseer of the deadly Sun Queen Trials, a brutal tradition that functions as entertainment for his court, raising questions about his complicity in a system that perpetuates The Dehumanizing Effects of Power and Privilege.

As Atlas’s character is revealed largely through Lor’s perspective, the reader is obliged to deduce his true intentions and motivations, as she is. Despite his power, Atlas presents himself as constrained by ancient pacts and traditions. He explains to Lor that her inclusion as the Final Tribute is part of a secret political agreement with The Aurora, a pact that has historically resulted in the death of every Tribute from the rival kingdom. He claims his hands are tied regarding the release of Lor’s siblings, citing the risk of war. This positions him as a ruler who, despite his immense authority, must operate within a complex web of political obligations. His intense, almost possessive interest in Lor, combined with the mystery surrounding why he specifically chose her, drives much of the plot’s central conflict and suspense. Atlas’s motivations remain ambiguous throughout the narrative. He orchestrates Lor’s release from Nostraza and secretly provides her with assistance during the trials, suggesting a hidden agenda that extends beyond a simple search for a queen. His specialty in illusion magic serves as a literal symbol of his potentially duplicitous nature, directly tying into the theme of Deception as a Tool for Survival and Control. He manipulates events to favor Lor, yet his ultimate goal is unclear, leaving the reader to question whether his affection is genuine or merely a means to an end.

Nadir, the crown prince of The Aurora, is a primary antagonist and a point-of-view character, offering the only perspective outside of Lor’s narration. This second perspective gives Nadir a status in the novel that may suggest that he is Lor’s eventual romantic partner, following the romantasy fated-love trope. “Nadir” means “the lowest point,” an astronomical term that often has pejorative connotations when used in general diction. This name potentially complicates his character’s future arc and may hint at his role later in the series.

Nadir is a round and dynamic character, characterized as brooding, determined, and rebellious. As the son of the cruel Aurora King, Rion, he is a product of a dark and oppressive court, serving as a direct counterpart to the light-filled world of Atlas. Nadir’s magic, which manifests as colorful ribbons of light reminiscent of the aurora borealis, visually links him to his realm. He is immediately established as a figure of immense power and authority within The Aurora, yet he harbors a deep resentment for his father and the corrupt politics of the High Fae. Nadir’s primary motivation is to uncover the truth his father is hiding, specifically concerning the identity and significance of “prisoner 3452,” who he later learns is Lor. This quest drives him to defy Rion’s orders, investigate Nostraza, and secretly probe into the affairs of other kingdoms. His relationship with his father is defined by mutual disdain and a constant power struggle. Nadir finds the political machinations of the Fae council “pathetic” and longs to dismantle the sycophantic system his father cultivates. This rebellious streak suggests a desire for a different, more just form of rule, complicating his role as a simple antagonist.

Nadir’s investigation into Lor’s disappearance from Nostraza reveals his sharp intellect and cunning nature. He quickly deduces that Warden Kelava was lying and that a High Fae from another court was responsible for her abduction. He is ruthless in his pursuit of information, killing the new warden to cover his tracks without hesitation. His final act of kidnapping Lor from Aphelion solidifies his role as a central and formidable force in the narrative. His parting words, “Welcome back to The Aurora” (386), are laced with menace and suggest that his interest in her is tied to a much larger political game, one that threatens to ensnare her between the rival ambitions of two powerful princes. As Lor’s captor at the end of the novel, Nadir is essential to the cliffhanger and, it is suggested, will be a key player in the second novel.

Gabriel serves as Lor’s warder, functioning as an ambiguous figure who is simultaneously an antagonist, a reluctant mentor, and a foil to Atlas. He is a round, dynamic character whose defining trait is a fierce, albeit conflicted, loyalty to his king. As Captain of the Sun King’s personal guard, he is initially hostile and condescending toward Lor, referring to her as an “Umbra rat” and viewing his assignment as a burden. His duty, however, requires him to train her for the deadly trials, forcing him into the role of a harsh mentor who pushes Lor to develop the strength and skills necessary for survival.

Gabriel’s relationship with Atlas is central to his character. He questions the king’s judgment regarding Lor, warning Atlas, “You’re making a mistake” (316), yet he ultimately obeys every command. This dynamic suggests a deep history between them, one that binds Gabriel to a duty he does not always agree with. His loyalty is not blind, however. In a pivotal moment, he manipulates the third challenge to expose Lor’s identity as a Nostraza prisoner to Prince Nadir, a subtle act of defiance against Atlas’s plans. This demonstrates his willingness to operate in the shadows to protect his king from what he perceives as a threat. He is the voice of brutal honesty, directly telling Lor that her chances of survival are slim and that she is outmatched by the other Tributes, which contrasts with Atlas’s charming reassurances.

Apricia is Lor’s primary rival among the Tributes and serves as a key antagonist. A flat and static character, she is a personification of the arrogance and cruelty of Aphelion’s privileged Fae elite. From her first encounter with Lor, she is openly disdainful, immediately branding her as “Umbra scum” (101) and a “gutter rat” (148) who does not belong in the competition. Her behavior is a direct reflection of The Dehumanizing Effects of Power and Privilege, as her sense of entitlement and superiority fuels her malicious actions. She sees the Trials as a stage to assert her dominance.

Throughout the Trials, Apricia functions as a direct foil to Lor. Where Lor relies on grit, instinct, and resilience forged in hardship, Apricia relies on a lifetime of formal training and the social power her family name affords her. She does not hesitate to use underhanded tactics to eliminate her competition, such as attempting to sabotage Lor during the gauntlet challenge by screaming her name to break her concentration. Her confidence in her own victory is unshakeable, and she views Lor’s continued success as a personal affront. Her ascension to Sun Queen at the end of the novel, a result of Lor’s public rejection of Atlas, places her in a position of immense power, setting her up as a formidable and resentful adversary.

Lor’s older siblings, Tristan and Willow, are flat characters who function as the heart of her motivation. The characters exist only through Lor’s perspective and, after the first few pages, only in her memory. They are the reason she endures the Sun Queen Trials, as her goal is to win the crown and acquire the power necessary to secure their freedom from Nostraza, a sentiment she holds above her own survival: “There is no freedom without them” (5). Tristan is depicted as protective and proud, known as the “Prince of Nostraza” (4), while Willow is gentle and soft-hearted, a “butterfly who needs [Lor’s] protection” (6). Together, they represent the family, love, and loyalty that anchor Lor’s humanity amidst the brutality she faces. Their continued imprisonment is a constant reminder of the stakes of her competition and embodies the theme of Self-Determinism and Justice as Conditions for Freedom.