Slay

In the novel’s fourth and final section, Kiera completes her character arc moving from a place of disconnection and isolation to one of connection, integration and support as she triumphs over Dred, heals the division between her two identities, and pursues her own vision of Black excellence. In Chapter 14, Kiera reflects on how the story’s inciting incident, Jamal Rice’s murder, exacerbated the Challenges of Balancing Multiple Identities. Her life used to revolve around the game and her relationship with Malcom—two parts of her life that remained completely separate from each other—and rarely saw her family. However, Jamal’s death demanded that she prioritize SLAY and fulfill her “undeniable responsibility—to be un-silent about the real-life consequences” of the virtual world (244). Kiera understands that the terms of her duel with Dred make the world she built frighteningly vulnerable, which makes her Empowerment and Pride in Black Culture and Heritage all the more significant: “Even if it all goes to Dred, even if we lose everything today, he can’t take everything. He can’t have this community” (248). Kiera’s victory over Dred is a triumph not only for her but for everyone who belongs to the globe-spanning community of SLAY.

Morris’s revelation that Malcolm is Dred raises the dramatic stakes of the plot and forces the protagonist to reevaluate her plans for her life. The author foreshadows the plot twist of the climax through Malcom’s antipathy towards video games and his increasingly threatening behavior towards his girlfriend over the course of the story. In Chapter 15, Kiera’s conversations with Steph and Claire help her realize that Malcolm disguised himself as a white supremacist and harassed her in her own game “[b]ecause he doesn’t recognize Black excellence when he sees it” (290). Malcolm’s androcentric, heteronormative views demand that he tears down anyone who doesn’t fall within the narrow parameters he’s drawn around Black identity and culture. Kiera perceives similarly restrictive perspectives in her own parents as well as the work of some of the Black scholars Malcolm reveres, such as W.E.B. Du Bois’s writings about ‘the talented tenth.’ She says: “For all of Du Bois’s education, he couldn’t see our potential—not like I can. If he could have seen the majesty I see in SLAY every day, he might have thought differently” (316). SLAY celebrates the vastness of Black culture and heritage, rejecting elitist views like those held by Malcolm. Before Kiera can envision a new future for herself, she must allow herself to grieve the life she thought she’d have with him: “That future in Atlanta won’t happen. It was never meant to happen. Malcolm—the real Malcolm—is too bitter to allow a future like that to bloom into a forever love. He’s confused. He’s angry. And Steph’s right—he’s dangerous” (297). Once again, Steph proves her importance as a supporting character and demonstrates her protective love for her sister by taking her to the hospital and reporting Malcolm’s death threat to the police.

Morris gives her novel a happy ending that centers healing, love, and community. Kiera experiences the literal healing of her collarbone as well as emotional healing from Malcolm’s animosity and harassment. Likewise, the community of SLAY begins to mend after Anubis’s death and Dred’s attempted coup. In an especially moving example, Jamal’s brother sends Kiera a thank you note: “Jamal was always happiest when he was playing SLAY. I’d never seen him so proud of who he was, as he was in his last few months” (299). The visual art and cosplay that Kiera’s fans share with her demonstrate the ways her virtual world helps countless people express their creativity and experience empowerment in their Black heritage. In addition, the exponential growth in the number of SLAY accounts testifies to the community’s resilience and speaks to Black gamers’ desire for a safe and welcoming online space that is authentically their own.

The novel joyfully resolves the theme of Balancing Multiple Identities when Kiera’s parents watch their daughters duel in the game as well as the moment when Kiera meets Claire in person—a meeting that takes place courtesy of Maurice Belrose, who was first introduced as Spade and whose virtual reality technology company can help SLAY reach even more Black people around the world. The novel ends with Claire, Kiera, and Steph hugging in the Charles de Gaulle airport in Paris. The embrace literally and figuratively erases the divisions between Kiera’s in-person and virtual lives. The protagonist’s decision to focus on developing her game rather than immediately pursuing a college education reinforces the author’s message that Black excellence takes many forms and should be celebrated for its expansiveness rather than held to rigid standards.