58 pages • 1 hour read
Tui T. SutherlandA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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The Dragonet Prophecy predicts the end of a war that will have gone on for 20 years. This prophecy is the reason for the dragonets’ entire lives, and the lives of almost everyone they encounter in the novel. Everyone in Pyrrhia is touched by the prophecy, from the warring dragons who don’t want it to come true, to the imprisoned dragons who lean on it as their last and only hope. This conceit anchors the plot: No matter what the characters do or say, the prophecy must be considered. Or intentionally ignored, depending on the character. Characters consider their role in the prophecy, try to manipulate the prophecy, or try to remember the prophecy when times are hard.
The prophecy also supports the novel’s world building. Placing the prophecy at the beginning of the novel provides a hook for the story. The language of the prophecy is poetic and cryptic like a riddle. As new characters are encountered and life in Pyrrhia is constructed, certain elements of the novel make sense based on whether they stem from the prophecy. In the epilogue, it is revealed that Morrowseer didn’t just write the prophecy—he may be manipulating it, or the dragons involved, for his own gain.
The novel’s world building is rooted in natural elements and landscapes. The dragons of Pyrrhia are physically adapted to places where they come from, have abilities to match, and draw strength from the elements naturally found in their homeland. Clay, for instance, has a hard time with clumsiness in the cave. His feet ache at the end of most days there. Once he’s out in the world, he’s able to walk on the earth and romp in the mud, and he’s much more comfortable and agile than he was in the caves. Tsunami teaches Clay to use water to ease his aches and pains, but the mud he encounters in nature is what heals him the way Tsunami always promises water will heal him.
As a SeaWing, Tsunami loves water and is well adapted to the sea. She can see in the dark, glow in the dark, and breathe underwater. The colors of her scales, which Clay compares to “sapphires and emeralds” (98), mimic the blues and greens of the ocean, the way Clay’s scales mimic shades of brown: “gold and amber” (98), as well as mahogany. All dragon names take inspiration from the elements and colors found in their natural habitats. Glory’s name reflects of the wide varieties of colors and species that live in the rain forest, which is reflected in her awe-inspiring ability to change color like a living light show. Clay’s siblings also have names that reflect life in the river delta: Reed, Sora, Pheasant, Marsh, and Umber.
The novel features anthropomorphic dragons and infuses the world building and vocabulary with as much dragon-like reality as possible. The characters pick things up with their talons, not their hands. Anytime Queen Scarlet, Burn, or Kestrel move from place to place without flying, running, or jumping they don’t walk, they “slither.” Instead of a birthday, Queen Scarlet and other dragons celebrate their “hatching day.” Clever usage of body language, naming, and dragon behavior make the world more believable and alive. The dragons might walk, talk, and have feelings like humans, but they are still dragons living in a world run by dragons.
The dragons even have a contentious relationship with scavengers, which is what they call humans. Queen Oasis’s death was at the hand of a scavenger who stole her treasure, and the dragons contend with humans who steal their treasure all the time. Tsunami and Clay meet Queen Scarlet because she was chasing a scavenger who ran off with some of her treasure. Dragons all over Pyrrhia contend with scavengers: eating them, hunting them, fighting them. Clay suspects the scavengers might be smarter than dragons give them credit for especially after he observes them in the arena.
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