55 pages • 1 hour read
Rick RiordanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The Germani shoot guns at Apollo while he shoots arrows in retaliation, injuring many of them. Apollo also blazes divine fire from his fingertips. Apollo gets hit and hears one of the Germani order that the pumps be started, referring to the vats holding the Greek fire. However, the techs tell him the controls are not working. Apollo imagines that either his shooting at the control panels has worked or Nico and the trogs have managed to empty the vats. Just then Nico enters the control room and kills the leader of the Germani. He asks the techs to run away. To Apollo he says the entire building is now a combat zone and their task is far from done.
Considering the damage Apollo has wreaked, Nico suspects his godly powers are growing stronger. Nico tells Apollo that just as Apollo had suspected, the trogs have eaten the Greek fire. Summoned by Rachel, Camp Half-Blood has attacked the Tower of Nero. A battle is raging all around them. Nico takes a concussed Apollo to the building terrace where an enormous fight is underway. Nero’s baristas are imprisoned dryads or tree spirits; they have joined forces with Camp Half-Blood against Nero. As Apollo recovers in a corner, he notes that many of the brave campers fighting Nero’s forces are newbies as young as 11. Kayla, Apollo’s daughter, restocks his arrows, and he resumes his search for Meg. Nico goes off to look for Will.
Apollo spots his son Austin near an elevator. Austin tells Apollo the elevator leads to Nero’s throne room, but they need an access card to get in. The elevator opens and Cassius, the stepson of Nero who cut off Lu’s hands, steps out. He hands Apollo Meg’s rings and his key card.
The elevator emerges into a hallway leading to a large room. The room is packed with guests. A dryad reassures them that the party for which they were invited—the burning of New York—is slightly delayed by a disturbance but will start soon. Austin begins to play “Pop Goes the Weasel” on his saxophone, using his musical gift to rouse the guests into a stampeding mob. The mob departs, leaving the area empty for Apollo to explore. Apollo finds a screen with Nero’s live feed on it. Nero addresses Apollo directly and mocks Apollo for thinking he could outwit the emperor. As Plan B, Nero has stocks of Sassanid gas—an ancient poisonous gas—ready. He will flood the building with the gas, killing all the campers and guests. Meg is with him in his reinforced throne room, safe. Nero will let Meg decide what to do with Apollo. He asks Apollo to head one story up to his throne room. From the corner of his eye, Apollo spots a trog listening to the conversation and asks the trog to stay out of Nero’s sight. As Apollo goes toward the upper story, the trog tells him he was sent here by Rachel, who had a premonition Apollo would soon receive vital information. The trog says he and his team will try to find and disable the Sassanid gas while Apollo stalls Nero.
Nero’s throne room is sealed by blast doors fortified with magic, titanium, and Imperial gold. The doors open for Apollo. Apollo spots seven of Nero’s 11 demigod stepchildren standing next to plotted plants and their attendant dryads. If the dryads rebel, the demigods will burn their respective plants. Nero asks Apollo to surrender his backpack, ukulele, and weapons. Unknown to Nero, Apollo still has Meg’s gold rings with him. Nero calls forth Meg, now dressed in an imperial purple toga like her foster siblings. Nero says Apollo ruined his fireworks display of a burning New York City, but Nero can still have fun with the Sassanid gas. He asks his cronies for a remote that controls the gas. Since the room has many remotes, the Germani and cynocephali—wolf-headed humanoids—fumble to find the right one.
To stall Nero, Apollo screams that Meg must decide Apollo’s fate. Nero asks Meg to choose a terrible death for Apollo since Apollo is selfish and has caused the death of many innocents like the griffin Heloise (Book 2 in the series) and Jason Grace (Book 3). Unlike Apollo, who is a terrible father to his many children, Nero has rescued an army of orphans. Meg replies she cannot order Apollo’s death. Nero bids the dryads to kill Apollo.
Apollo knows the dryads are only attacking him in order to keep their plants safe. The dryads only pretend to fight him till one of Nero’s children notices and torches her plant dead. The dryads are forced to intensify their attack, injuring Apollo. Meg orders them to stop, her powers coating the entire room in green pollen. Commanded by the daughter of Demeter, goddess of plants, the dryads freeze. Their trees begin to sprout new branches and roots. Meg promises to keep the plants safe and the dryads leave. When Meg bows to check on a battered Apollo, he hands her the rings.
Nero cautions Meg that her actions will anger the Beast and cause him to murder, just like they caused him to kill her real father. Meg tells Nero she knows the truth is that Nero alone killed her father and many others. She throws away his rings because she is done fighting with his weapons. Nico di Angelo appears on the scene with the animated skeleton of a taurus silvestre (a son of Hades, Nico can very briefly raise dead creatures). A fight breaks out, with Meg trying to angle a weapon from one of her foster siblings. Nero shouts for the remote. Lucius, Meg’s foster-brother, stabs Apollo. Nero seems to have hold of the right remote. He pushes the button, screaming, “Death to my enemies!” (301).
The remote turns out to only lower the window shades. Nero resumes his search. Apollo shoots arrows at Nero; Nero stays unharmed, suggesting his fasces is intact. Apollo fears Lu has failed to bargain with the guardian. As if to prove him wrong, Lu and Rachel enter the throne room, accompanied by Will Solace. Rachel is holding the fasces—a golden axe protected by golden rods—in her arms. Lu tells Apollo the guardian accepted her offer. She is immortal because of her connection with Nero; however, in giving away her immortality, she has also surrendered Nero’s immortal life. Nero scoffs that he is immortal anyway because no one can break his fasces. However, if the fasces were to break, its power would trickle down to Python in Delphi, making the monster stronger. Apollo understands that Python has been pulling Nero’s strings all along. Meg tells Nero to surrender. Nero asks his guards to kill Apollo.
Apollo knows he has a chance to break the fasces by summoning a burst of divine power, as he did in Indianapolis when battling Commodus (Book 2). He takes the fasces from Rachel. Nero races after him and the two grapple over the axe. The axe begins to pulse with blinding light. Apollo tugs the axe and tells Nero, “I am Apollo. […] God of the sun. And I—revoke—your—divinity” (317). The fasces explodes, releasing Nero and the other emperors’ pent-up power and rage. A terrified Nero tells Apollo that the god does not know what he has done. Nero crumbles to golden dust, which an invisible force drags down the floor of the throne room and further. Apollo collapses into another dream, where his family in Mount Olympus is watching his unconscious form in Nero’s throne room on a screen. Hephaestus (god of metalwork and machines), Aphrodite (goddess of beauty and love), and Apollo’s twin Artemis (goddess of the hunt) bicker over Apollo’s fate. To Apollo’s surprise, his stepmother Hera, whom he thinks hates him, chides the others for treating Apollo’s life on earth as a game. Apollo’s father, Zeus, seems concerned about him as well though Apollo wryly observes that Zeus is as great an actor as Nero. Athena (goddess of wisdom and victory) fears that, failing his last quest, Apollo will meet a destiny worse than death.
The penultimate section of the novel contains two climaxes: The more obvious one may be Apollo’s defeat of Nero, but equally important is Meg’s final break from her stepfather. The question of Meg’s individuality is finally decided. Meg stands up to Nero, demolishes his web of lies, and comes into her own as a strong protagonist. As the novel, and the series, race toward an end, many different threads come together and all the important themes of the text are developed further. Although it is Apollo who breaks Nero’s fasces, he could not have done so without the sacrifices of his friends. The defeat of Nero is a team operation: from the trogs destroying first the Greek fire and then the poisonous gas, to Lu bargaining with the guardians, to the campers risking their lives to fight Nero’s forces. In Chapter 29, Nico informs Apollo that the campers have been told they are at risk from the poisonous gas but have refused to leave till everyone is safe. All these episodes build the theme of Sacrifice and Transformation.
This set of chapters expands Nero’s character. Riordan imagines Nero as an abusive and manipulative sociopath incapable of empathy. In this characterization, Riordan often borrows elements from the lore around Nero, the historical Roman emperor. For instance, it is said that Nero played the fiddle while ancient Rome burned. Here, Apollo spots an abandoned fiddle near Nero’s throne room. Nero had planned to repeat history and play music as a great city burned, but the trogs disrupted his plans. Similarly, Riordan builds on the historical emperor’s famed love for spectacle and drama. To these known elements, the author adds his own flair, a trademark of his writing style. Thus, Nero is imagined as a master manipulator who derives his power by making people relive their worst mistakes and weaknesses. He has used the trick with Meg by making her believe her father’s death was a consequence of her own actions. Now Nero taunts Apollo by reminding him of the death of Jason Grace (Book 3) and Heloise, the griffin (Book 2). Nero tells Apollo he has even caused the destruction of his own Oracles, such as Trophonius in Book 2. Hitting close to home, Nero accuses Apollo of being a terrible father, of not knowing about the existence of his many demigod children. Apollo nearly capsizes under the weight of Nero’s accusations until he realizes the accusations are part of the same strategy Nero has used with Meg and her foster-siblings.
Perhaps it is seeing Nero use his old tactics on Apollo that makes Meg take a final, decisive stand. Meg’s enormous powers—a motif through the series—erupt, coating everything in green pollen and making the plants grow at breakneck speed. The blossoming and sprouting symbolize Meg’s personal growth. She cuts through Nero’s lies and tells him, “I didn’t kill my father […] You did that, Nero” (295). Because Nero has derived his power over her by planting the myth of “the Beast” (311), Meg demolishes that as well, telling Nero, “The Beast is dead. I killed it” (311). Though it is Apollo who physically kills Nero, Meg kills him figuratively by ending his power over her.
Apollo’s dream of Olympus shows the contrast between the world of gods and the human world. While his friends fight for him on earth, the Olympian gods watch the events like a spectacle. Some of them have even placed a bet on Apollo’s victory or defeat. The image of Ares sulking over having bet 20 drachmas (gold coins) on Apollo’s fate symbolizes the gods’ callous disregard of human affairs. While Apollo’s twin sister, Artemis, and his stepmother, Hera, are troubled by his plight and request Zeus to end Apollo’s exile, Zeus refuses. The stark contrast between the cold, perfect world of the gods and warm, fallible world of humanity ties into the important theme of Humanity Versus Divinity and suggests that humanity is worth its flaws because only mortals experience friendship, loyalty, and sacrifice.
By Rick Riordan