Cesar Torres

Author. Multimedia Artist. Creator of worlds within worlds.

Cesar Torres builds mythologies that move across media — from novels and photography to apparel, web design, and the body itself. His universe is queer, cosmic, and unapologetically human: a constellation of books, art, and ritual that challenges what a story can be.

Architect of Mythic Worlds

Cesar’s work spans multiple dimensions — literary, visual, and digital — yet it all begins with myth.

Through novels like 13 Secret Cities, 9 Lords of Night, and Our Lord of the Flowers, they unearth the ancient gods that live outside and and within ourselves.

In Torres’ works, The Aztec underworld of Mictlán becomes a mirror for our own struggles. Every book in the series is a new descent. In Torres’ fiction, photography film and media, queer identity breaks through and becomes free.

“Every story I have ever written is connected to the way the Aztec gods and goddesses make contact with human consciousness.”

An Interconnected Universe

Torres is the founder of LED Queens, a project that began as a queer athletic apparel line and evolved into a vessel for scaling LGBTQ/BIPOC communities and brands. The story of LED Queens also connects to the stories of The Coil.

The literary universes of How to Kill a Superhero and The Coil Series (which begins with 13 Secret Cities) are part of a greater cosmology — linked by recurring archetypes, symbols, and hidden connections. In our modern lexicon we refer to these connected nodes as Easter Eggs. Inside the books and visual worlds that Torres creates, those Easter Eggs are known as portals.

From websites to photography, from book covers to physical performance, Torres blurs the line between artist and artifact, creation and creator. Each medium is a new temple in the same myth.

An Artist Who Wears Many Masks

Cesar Torres builds their work through ancestral ritual and artistic transformation. Across their novels, photography, and digital projects, the mask becomes a symbol of revelation rather than concealment.

In The Power of the Mask—their essay on art, indigenous culture, eroticism, and identity—they write about how the mask bridges the divine and the human, the seen and the unseen. That tension shapes all of their work.

For Torres, writing a new book series, becoming a new incarnation of themselves, individuating and living in the world as an artist are part of the masks they are willing to play with. Play, after all, is one of the most sacred of human activities.

Their photographs and self-portraits blur boundaries between artist and avatar. Their novels summon Aztec deities who wear faces of lovers, monsters, and heroes. And through each transformation, the mask reveals a deeper truth: that identity is never fixed—it is ritual in motion.

“My Aztec, Maya, Olmec, Toltec and Mesoamerican ancestors gave me the power to use the mask as a tool for personal growth and artistic magic.”

Step Through the Portals

Cesar’s universe is interconnected. Each project—literary, visual, or digital—serves as a passage into another dimension of their ongoing mythology.

To enter their world is to move through portals: from the underworld of 13 Secret Cities, to the kink-informed hero saga of How to Kill a Superhero, to the sacred eroticism of Our Lord of the Flowers, to the mythic modernity of LED Queens, where art, strength, and identity merge.

These portals are not just stories—they are invitations to transformation. Visitors who step through them become part of the ritual, part of the myth, part of the ongoing act of creation that defines Torres’s work.

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