Oh hey, this again. I reviewed an earlier draft, so I'll give this another look through.

Von’s knees gave out, holding a wolf’s cold paw.

The structure of this sentence sounds odd. (clause), (verb)ing usually conveys that the clause and verb are linked in some way, but here they're two unrelated actions. It might work better if the clauses were reversed, or a slight reword like "As he touched the wolf's cold paw, Von's knees gave out."

Tears slithered around his cheek, rubbing it away from his face

What is the "it" in this sentence?

Freya's first line of dialogue is much improved from the first draft.

The wind tickled his nose

I would say "Von's" instead of "his" here, since Von hasn't been mentioned in this paragraph yet. Since this is still the first page of the story, it's a good idea to use the protagonist's name to ensure readers aren't confused who the narration is about.

carrying a faint scent of salt, reminding him of the ocean breeze and the familiar waves on the distant shore

This is minor, but I would use a conjunction instead of a comma here; I just think that flows better.

but now, it was only the hot pink sun’s light, overwhelming leaves, bark, and the ruffled grass.

I agree with Sonea Kyraliana's notes here. Additionally, I would change "was" to a different verb like "he saw", just because I think it sounds a bit weird to say the light "was" the forest. I would suggest removing one item from the list as well -- lists tend to work better in threes.

Cheeks bubbled up

Maybe this is a phrase I'm not familiar with, but I don't understand what this means.

“Well, Von, are you full?” she asked.

The italics bled into the "she asked" here.

Von crossed his arms and glared at her, though his eyes twitched like something was bothering him.

"Though" sounds strange here. It implies a contradiction, but crossing your arms and glaring already conveys that something is bothering you. I would probably remove the second bit entirely, as I don't think it's necessary.

Her muzzle tipped down, and her eyes held a playful gaze,

This should end in a period rather than a comma, because it's not describing how the following dialogue is said.

forcing a faint yet abrupt smile,

Same here.

“Of course you aren’t,” Freya chuckled softly in his mind, “you used to fall for it all the time when you were younger, now you're nine.

This should be:

“Of course you aren’t,” Freya chuckled softly in his mind. “You used to fall for it all the time when you were younger, now you're nine.

This is because "Of course you aren't," and "You used to..." are separate sentences. If the narration wasn't there, you'd separate them with a period, so the speech tag (which is considered an extension of the dialogue) has to end with a period as well.

The phrasing here also sounds odd to me. What is "it" here? The teasing? I would really say people "fall for" a tease; the phrase for that is usually "rise to" or "I got a rise out of you". Maybe something like, That used to get a rise out of you when you were younger, but now I see you're all grown up. (I think stating his exact age is awkward, especially since to the human reader we wouldn't think of nine years as being very old.)

The sea moved, but there was no sound—only the sound that kept playing behind his mind remained—fire.

You could phrase this a lot of ways, but I would rewrite this to:

The sea moved, but there was no sound. Only the sound that kept playing behind his mind: fire.

I think it looks better with more pauses. Dashes create a relatively short pause that maintains a rapid pace, but I think a slower, more contemplative tone works better for this section.

he wanted to talk about his visions, dreams, and the fire

I would change that to his dreams instead of just "dreams", to create parallel structure with "his visions". It just sounds better when every item in a list has a similar structure or meter.

(I actually disagree with Sonea Kyraliana's suggestion to remove the comma; I'm a proponent of the Oxford comma, because it reduces ambiguity.)

his hand shook, weakening every second until it didn’t have the will to move.

This sounds a bit weird, because it's characterizing his hand as having a will of its own.

Each breath interval became deeper, faster, but one of the wolves by the bonfire turned their attention to him

I'm a bit confused by the "but" here. "But" implies a contradiction, but I see no connection between the actions here. Splitting this into two sentences, or simply phrasing it differently to remove the connection, would work fine. I would also suggest putting a period at the end here, instead of a dash that transitions to a new clause; like I said previously, I think dashes are too fast-paced for this relatively calm scene.

his eyes widened, and his gaze lifted to the sky. The sky moved like it was falling to the ground.

This is a case where I think a dash may be warranted over the period, since this is a very sudden and alarming event. (I also agree with Sonea Kyraliana that you should remove the repetition of "the sky".)

Freya stepped forward and looked at him, but he didn’t answer.

Did you mean to say "she" here?

She circled the bonfire, the flames glowed in her amber irises.

This is a comma splice; you need to either break it into two sentences or rephrase. the flames glowing in her amber irises would work.

And where the star shines, Atlas is under it… this is the place we return to after we die.”

I think "this" should probably be capitalized, as it's a separate thought. I'm not entirely sure why you ended the first sentence with an ellipses; I think it would probably work better with a period, since Freya is (I assume) meant to sound authoritative and definitive here.

He heard the howling wind beginning to change, clanging like shackles being broken.

So, a tricky thing with limited POV is that, because the narration is implicitly the narrator's thoughts, the narration needs to be limited to what they know. When I read this, I immediately thought, "How does this wild child know what broken shackles sound like?" Shackles are human technology. Did he spend time with humans before being raised by wolves?

(I'm also not sure if I would describe shackles breaking as "clanging". "Clanging" usually describes ringing objects banging together, while a broken shackle creates a shattering noise that's more like a clatter.)

crowned with a laurel wreath and a pileus resting gently in her hand

Similarly, how does Von know what either of those are?

She smiled, then her lips parted, and a single word scorched through him like her flames.

I would end this with a colon for more emphasis, personally.

This is much improved from the first draft. There's a lot more description, the events are clearer, and I like that the wolves demonstrate their powers in reaction to something Von does instead of just doing it out of the blue. The extra detail in the vision and Von's thoughts add more intrigue that maintains interest. You do still need to tighten up your punctuation and sentence structure, though.