#fantasyadventure — Public Fediverse posts

thebacklist #bookchallenge Day 31 Tittle Starts with an L - The Lies of Locke Lamora by Scott Lynch #gentlemanbastards #scottlynch #grimdark #fantasy #urbanfantasy #hiests #fantasyseries #FantasyAdventure #books #booktok #bookstagram #ttrpgpodcast https://www.k-squareproductions.com/gmbc

thebacklist #bookchallenge Day 31 Tittle Starts with an L - The Lies of Locke Lamora by Scott Lynch #gentlemanbastards #scottlynch #grimdark #fantasy #urbanfantasy #hiests #fantasyseries #FantasyAdventure #books #booktok #bookstagram #ttrpgpodcast https://www.k-squareproductions.com/gmbc

thebacklist #bookchallenge Day 31 Tittle Starts with an L - The Lies of Locke Lamora by Scott Lynch #gentlemanbastards #scottlynch #grimdark #fantasy #urbanfantasy #hiests #fantasyseries #FantasyAdventure #books #booktok #bookstagram #ttrpgpodcast https://www.k-squareproductions.com/gmbc

thebacklist #bookchallenge Day 31 Tittle Starts with an L - The Lies of Locke Lamora by Scott Lynch #gentlemanbastards #scottlynch #grimdark #fantasy #urbanfantasy #hiests #fantasyseries #FantasyAdventure #books #booktok #bookstagram #ttrpgpodcast https://www.k-squareproductions.com/gmbc

thebacklist #bookchallenge Day 31 Tittle Starts with an L - The Lies of Locke Lamora by Scott Lynch #gentlemanbastards #scottlynch #grimdark #fantasy #urbanfantasy #hiests #fantasyseries #FantasyAdventure #books #booktok #bookstagram #ttrpgpodcast https://www.k-squareproductions.com/gmbc

ICYMI: Forgotten Island (2026) – To Be Released September 25, 2026 https://popgeeks.com/forgotten-island-2026-to-be-released-september-25-2026/?utm_source=dlvr.it&utm_medium=mastodon #ForgottenIsland #DreamWorks #FilipinoFolklore #FantasyAdventure #AnimatedFilm

ICYMI: Forgotten Island (2026) – To Be Released September 25, 2026 https://popgeeks.com/forgotten-island-2026-to-be-released-september-25-2026/?utm_source=dlvr.it&utm_medium=mastodon #ForgottenIsland #DreamWorks #FilipinoFolklore #FantasyAdventure #AnimatedFilm

ICYMI: Forgotten Island (2026) – To Be Released September 25, 2026 https://popgeeks.com/forgotten-island-2026-to-be-released-september-25-2026/?utm_source=dlvr.it&utm_medium=mastodon #ForgottenIsland #DreamWorks #FilipinoFolklore #FantasyAdventure #AnimatedFilm

ICYMI: Hexed (2026): Disney’s Coming‑of‑Age Witchcraft Adventure https://popgeeks.com/hexed-2026-disneys-coming-of-age-witchcraft-adventure/?utm_source=dlvr.it&utm_medium=mastodon #Hexed2026 #Disney #AnimatedMovies #Witchcraft #FantasyAdventure

ICYMI: Hexed (2026): Disney’s Coming‑of‑Age Witchcraft Adventure https://popgeeks.com/hexed-2026-disneys-coming-of-age-witchcraft-adventure/?utm_source=dlvr.it&utm_medium=mastodon #Hexed2026 #Disney #AnimatedMovies #Witchcraft #FantasyAdventure

ICYMI: Hexed (2026): Disney’s Coming‑of‑Age Witchcraft Adventure https://popgeeks.com/hexed-2026-disneys-coming-of-age-witchcraft-adventure/?utm_source=dlvr.it&utm_medium=mastodon #Hexed2026 #Disney #AnimatedMovies #Witchcraft #FantasyAdventure

Forgotten Island (2026) – To Be Released September 25, 2026 https://popgeeks.com/forgotten-island-2026-to-be-released-september-25-2026/?utm_source=dlvr.it&utm_medium=mastodon #ForgottenIsland #DreamWorks #FilipinoFolklore #Animation #FantasyAdventure

Forgotten Island (2026) – To Be Released September 25, 2026 https://popgeeks.com/forgotten-island-2026-to-be-released-september-25-2026/?utm_source=dlvr.it&utm_medium=mastodon #ForgottenIsland #DreamWorks #FilipinoFolklore #Animation #FantasyAdventure

Forgotten Island (2026) – To Be Released September 25, 2026 https://popgeeks.com/forgotten-island-2026-to-be-released-september-25-2026/?utm_source=dlvr.it&utm_medium=mastodon #ForgottenIsland #DreamWorks #FilipinoFolklore #Animation #FantasyAdventure

Hexed (2026): Disney’s Coming‑of‑Age Witchcraft Adventure https://popgeeks.com/hexed-2026-disneys-coming-of-age-witchcraft-adventure/?utm_source=dlvr.it&utm_medium=mastodon #Hexed2026 #Disney #HaileeSteinfeld #AnimatedMovies #FantasyAdventure

Hexed (2026): Disney’s Coming‑of‑Age Witchcraft Adventure https://popgeeks.com/hexed-2026-disneys-coming-of-age-witchcraft-adventure/?utm_source=dlvr.it&utm_medium=mastodon #Hexed2026 #Disney #HaileeSteinfeld #AnimatedMovies #FantasyAdventure

Hexed (2026): Disney’s Coming‑of‑Age Witchcraft Adventure https://popgeeks.com/hexed-2026-disneys-coming-of-age-witchcraft-adventure/?utm_source=dlvr.it&utm_medium=mastodon #Hexed2026 #Disney #HaileeSteinfeld #AnimatedMovies #FantasyAdventure

Author Spotlight: Fantasy Author Dylan Madeley

Dylan Madeley (he/him) lives in the neighbourhood of Mimico by the Canadian shores of Lake Ontario. He was the copy editor of and a frequent contributor to Auxiliary Magazine, an alternative fashion and music zine, from late 2012 until 2022. He has appeared at The Word on the Street Festival in Toronto, Canada’s largest book fair, and at the Ad Astra literary conference. He has released nine fantasy books, of which six remain available on the market.

AUTHOR LINKS:

Website: dylanmadeley.com

Read a Sample: The Last Gift-Knight (Amazon CA)

Pitch for Readers/Book Clubs:
A troubled wanderer is summoned to serve as the personal guard of a rival family. He follows the route of a heroic ancestor through storied places, the depths of loneliness and suspicion, and a growing question of what he must do.

A bookish princess struggles with grief, responsibilities, and the same conspiracy which accidentally empowered her. Soon she must contend with a troubled wanderer.

Your novel, The Last Gift-Knight, is out now. Where did the idea come from, and can you talk us through your author journey from idea to draft to published novel?

The full journey has taken closer to twenty years. In 2006, close to graduating from York University on a more journalism-oriented Professional Writing degree, I had a couple of ideas. I was unsure of how to bring either of them to a novel’s length without losing personal interest in the work, so I combined them: one of these ideas became Derek’s journey, the other was Chandra’s mystery, and together they formed the main plot of “The Gift-Knight’s Quest” (written 2008, extended and released in 2015).

This was not quite well received, and softer editing attempts around 2018/2019 did little to help. In hindsight, it feels as if I wrote two sequels and four prequels and a novella as a broad learning experience which helped me understand how my first book should always have been.

I have since unpublished it, and its two sequels, and rewritten it entirely. The wider series was restructured, meanwhile, to begin with “Prince Ewald the Brave” so nothing is really a prequel anymore.

“The Last Gift-Knight” has two intended meanings as a title. It refers to a character who could be the last to serve in a particular tradition. It is also about this book being the final version of itself, not to be rewritten again.

What are your main influences in fantasy, and how do they impact your writing?

Early on, I read whatever I could get my hands on, though many classics were abridged.

I liked quest-related fantasy and series like Chronicles of Prydain, and Narnia, and later on some Tolkien, without really appreciating the entirety of what the authors intended; I doubt I had much of a grasp on Frank Herbert which I liked for the similar reason of going away to worlds other than my own in a manner which I believed perfectly safe.

As I grew into an eccentric adult, I went on a big swing of New Wave SFF including Zelazny and Moorcock, with a bit of Angela Carter, and going back a bit to Bradbury and LeGuin.

The complete and extended version of King’s “The Stand” certainly left its mark on my liking for different/disparate points of view and weaving them together into a story. I don’t try to be any of them, but that only means I’m not immediately conscious of the full influence they could have on my work.

Let’s talk about the themes of the book – living up to expectations, imperialism, and dealing with generational wealth & privilege. How do you handle these themes, and did they appear organically or were these topics you set out to write about? 

With the contrast between Derek and Chandra, I wanted to show that legacy could convey burdens as well as privileges, and even those with privileges often feel burdens of their own. And that even the problematic elements to one’s ancestry can be supremely teachable, though it’s critically important which lessons one learns.

These characters are not puppets of fate, nor do they feel free of constraint, but each has choices to make within those parameters. Chandra’s father and stepmother are certainly at odds about the meaning and purpose of having such power.

Revolution/change is certainly a topic. People almost unanimously want something to change, but what and how? Would some of the attempted means spoil the desired ends? This plays itself out more among the minor characters, not all of whom are antagonists.

In “Prince Ewald the Brave”, right from the back cover copy a happy ending is framed as a more compassionate individual wresting the reins from a petty and irresponsible one; now a hundred years have gone by and every problem caused by the underlying system remains unsolved. Sometimes, those who would change the system only agree on doing away with Chandra’s family, and should they succeed they would almost immediately be at war with each other. It’s not wrong to want change but things can go terribly wrong on the way.

Introduce us to your MCs – Derek, a man of action, and Chandra, a bookish princess. Where did the ideas for these characters come from, and can you talk us through your character development process for them both? Were they fully formed before you wrote your draft, or did they evolve on the page, for example?

Derek’s personal woes are inspired by the too-common problem of going through one’s education expecting a particular career, feeling lost at the end of school, and struggling to find regular employment. He still feels drawn to a vaguely defined calling, which is denied him at every turn. This frustration, the disconnect he feels with his community, and the influence of his father, render him highly vulnerable to manipulation even if he tends to have good intentions.

In this last rendition of introducing the character, I felt like I was also creating an analogue to the experience of lost young/new adults today whose insecurity and lack of support render them vulnerable to manipulation from those who would offer them a “quest” – some dubious sense of purpose directed toward malicious ends – but not any genuine healing. It doesn’t take a terrible man to be misled, but Derek always has choices to make and remains entirely responsible for them.

Chandra feels disconnected for a different reason, as if she is not part of a family despite living with its privileges. She is left mostly to her own devices, which is a vast improvement from when a family member in a position of authority treated her with resentment while the other did too little to intervene. Then, unexpectedly, Chandra rules – no one can possibly be more a part of the family than its head. The problematic imperial history of House Kenderley and everything inherited from that is undeniably hers. True, she never chose any of this, but that power is hers regardless. What will she do with it?

Tell us a bit about the world you built for this story. What is your worldbuilding process – are you a world-first or character-first writer, or something else? Which parts of worldbuilding did you really enjoy, and what challenged you?

I build my stories from characters today, through their lives and development. It’s also true that I keep reusing the same world that I built before a single book had been published, and I have so far been unwilling to create any other. What used to challenge me most was names. You can find a couple of names throughout the series that remain from the old days, where I tried to create them. These days, I open baby naming websites and try to keep things culturally consistent, though vaguely at that.

Kensrik is an empire, and empires tend to contain multitudes, though not necessarily for nice reasons. Bayrock, capital of Kensrik, is also the greatest port city and trade destination in its world. In any case, I have owned the fact that aesthetic and cultural aspects of our world have inspired and will continue to inspire this one instead of pretending even for a second that I created it all from nothing.

Of the side characters, which ones do readers connect with or love to hate, and were these the characters you expected? 

I had one friend say they really liked the guard captain, Jan Donde, because he just seemed loyal and steadfast no matter the odds. He is otherwise rough around the edges and seems easily provoked. The question in the long term might be the true object of his loyalty: to Chandra, to her family name, to the empire…?

Can you share some of your favourite reviews and reader comments about the book so far?

“At every level, the author takes common settings and tropes and reworks them in subtle ways that made the story feel particularly rich.” M.C. Burnell, who left a nice review on Goodreads.

Like This? Try These:

Fantasy – Fantasy Books – Fantasy Adventure – Fantasy Authors

Author Spotlight: Queer West Asian Fantasy author Fetin Sardaneh

Meet Fetin Sardaneh, the Palestinian and Kurdish author of queer West Asian fantasy, and find out more about their debut sapphic novel, THE JINN’S BARGAIN.

Author Spotlight: Sci-Fi Author Anna Verner

Meet indie author Anna Verner who sells her work via Itch.io. Find out more about her fantasy novels and consider supporting her.

Author Spotlight: Fantasy Author Alexandra Beaumont

Meet Alexandra Beaumont (she/her) @ABeaumontWriter, and find out more about her fantasy folklore novels!

Author Spotlight: SFF Author Karen Lucia

Meet SFF author Karen Lucia, and check out her gaslamp fantasy and Sci-Fi novels under the spotlight in this post!

Author Spotlight: Dark Fantasy Author Kai Zeal

Meet Kai Zeal (she/her) and her Riyati series,a new adult/adult contemporary, low, dark fantasy series focusing around the reincarnations of a fallen kingdom’s royalty, and how even from thousands of years later, generational legacies and traumas still follow them.

Author Spotlight: Fantasy Author Odessa Silver

Meet UK-based author Odessa Silver (she/her) and her Japanese-inspired fantasy short story collection, Tales of Yamato.

Author Spotlight: Fantasy Author Dylan Madeley

Dylan Madeley (he/him) lives in the neighbourhood of Mimico by the Canadian shores of Lake Ontario. He was the copy editor of and a frequent contributor to Auxiliary Magazine, an alternative fashion and music zine, from late 2012 until 2022. He has appeared at The Word on the Street Festival in Toronto, Canada’s largest book fair, and at the Ad Astra literary conference. He has released nine fantasy books, of which six remain available on the market.

AUTHOR LINKS:

Website: dylanmadeley.com

Read a Sample: The Last Gift-Knight (Amazon CA)

Pitch for Readers/Book Clubs:
A troubled wanderer is summoned to serve as the personal guard of a rival family. He follows the route of a heroic ancestor through storied places, the depths of loneliness and suspicion, and a growing question of what he must do.

A bookish princess struggles with grief, responsibilities, and the same conspiracy which accidentally empowered her. Soon she must contend with a troubled wanderer.

Your novel, The Last Gift-Knight, is out now. Where did the idea come from, and can you talk us through your author journey from idea to draft to published novel?

The full journey has taken closer to twenty years. In 2006, close to graduating from York University on a more journalism-oriented Professional Writing degree, I had a couple of ideas. I was unsure of how to bring either of them to a novel’s length without losing personal interest in the work, so I combined them: one of these ideas became Derek’s journey, the other was Chandra’s mystery, and together they formed the main plot of “The Gift-Knight’s Quest” (written 2008, extended and released in 2015).

This was not quite well received, and softer editing attempts around 2018/2019 did little to help. In hindsight, it feels as if I wrote two sequels and four prequels and a novella as a broad learning experience which helped me understand how my first book should always have been.

I have since unpublished it, and its two sequels, and rewritten it entirely. The wider series was restructured, meanwhile, to begin with “Prince Ewald the Brave” so nothing is really a prequel anymore.

“The Last Gift-Knight” has two intended meanings as a title. It refers to a character who could be the last to serve in a particular tradition. It is also about this book being the final version of itself, not to be rewritten again.

What are your main influences in fantasy, and how do they impact your writing?

Early on, I read whatever I could get my hands on, though many classics were abridged.

I liked quest-related fantasy and series like Chronicles of Prydain, and Narnia, and later on some Tolkien, without really appreciating the entirety of what the authors intended; I doubt I had much of a grasp on Frank Herbert which I liked for the similar reason of going away to worlds other than my own in a manner which I believed perfectly safe.

As I grew into an eccentric adult, I went on a big swing of New Wave SFF including Zelazny and Moorcock, with a bit of Angela Carter, and going back a bit to Bradbury and LeGuin.

The complete and extended version of King’s “The Stand” certainly left its mark on my liking for different/disparate points of view and weaving them together into a story. I don’t try to be any of them, but that only means I’m not immediately conscious of the full influence they could have on my work.

Let’s talk about the themes of the book – living up to expectations, imperialism, and dealing with generational wealth & privilege. How do you handle these themes, and did they appear organically or were these topics you set out to write about? 

With the contrast between Derek and Chandra, I wanted to show that legacy could convey burdens as well as privileges, and even those with privileges often feel burdens of their own. And that even the problematic elements to one’s ancestry can be supremely teachable, though it’s critically important which lessons one learns.

These characters are not puppets of fate, nor do they feel free of constraint, but each has choices to make within those parameters. Chandra’s father and stepmother are certainly at odds about the meaning and purpose of having such power.

Revolution/change is certainly a topic. People almost unanimously want something to change, but what and how? Would some of the attempted means spoil the desired ends? This plays itself out more among the minor characters, not all of whom are antagonists.

In “Prince Ewald the Brave”, right from the back cover copy a happy ending is framed as a more compassionate individual wresting the reins from a petty and irresponsible one; now a hundred years have gone by and every problem caused by the underlying system remains unsolved. Sometimes, those who would change the system only agree on doing away with Chandra’s family, and should they succeed they would almost immediately be at war with each other. It’s not wrong to want change but things can go terribly wrong on the way.

Introduce us to your MCs – Derek, a man of action, and Chandra, a bookish princess. Where did the ideas for these characters come from, and can you talk us through your character development process for them both? Were they fully formed before you wrote your draft, or did they evolve on the page, for example?

Derek’s personal woes are inspired by the too-common problem of going through one’s education expecting a particular career, feeling lost at the end of school, and struggling to find regular employment. He still feels drawn to a vaguely defined calling, which is denied him at every turn. This frustration, the disconnect he feels with his community, and the influence of his father, render him highly vulnerable to manipulation even if he tends to have good intentions.

In this last rendition of introducing the character, I felt like I was also creating an analogue to the experience of lost young/new adults today whose insecurity and lack of support render them vulnerable to manipulation from those who would offer them a “quest” – some dubious sense of purpose directed toward malicious ends – but not any genuine healing. It doesn’t take a terrible man to be misled, but Derek always has choices to make and remains entirely responsible for them.

Chandra feels disconnected for a different reason, as if she is not part of a family despite living with its privileges. She is left mostly to her own devices, which is a vast improvement from when a family member in a position of authority treated her with resentment while the other did too little to intervene. Then, unexpectedly, Chandra rules – no one can possibly be more a part of the family than its head. The problematic imperial history of House Kenderley and everything inherited from that is undeniably hers. True, she never chose any of this, but that power is hers regardless. What will she do with it?

Tell us a bit about the world you built for this story. What is your worldbuilding process – are you a world-first or character-first writer, or something else? Which parts of worldbuilding did you really enjoy, and what challenged you?

I build my stories from characters today, through their lives and development. It’s also true that I keep reusing the same world that I built before a single book had been published, and I have so far been unwilling to create any other. What used to challenge me most was names. You can find a couple of names throughout the series that remain from the old days, where I tried to create them. These days, I open baby naming websites and try to keep things culturally consistent, though vaguely at that.

Kensrik is an empire, and empires tend to contain multitudes, though not necessarily for nice reasons. Bayrock, capital of Kensrik, is also the greatest port city and trade destination in its world. In any case, I have owned the fact that aesthetic and cultural aspects of our world have inspired and will continue to inspire this one instead of pretending even for a second that I created it all from nothing.

Of the side characters, which ones do readers connect with or love to hate, and were these the characters you expected? 

I had one friend say they really liked the guard captain, Jan Donde, because he just seemed loyal and steadfast no matter the odds. He is otherwise rough around the edges and seems easily provoked. The question in the long term might be the true object of his loyalty: to Chandra, to her family name, to the empire…?

Can you share some of your favourite reviews and reader comments about the book so far?

“At every level, the author takes common settings and tropes and reworks them in subtle ways that made the story feel particularly rich.” M.C. Burnell, who left a nice review on Goodreads.

Like This? Try These:

Fantasy – Fantasy Books – Fantasy Adventure – Fantasy Authors

Author Spotlight: Queer West Asian Fantasy author Fetin Sardaneh

Meet Fetin Sardaneh, the Palestinian and Kurdish author of queer West Asian fantasy, and find out more about their debut sapphic novel, THE JINN’S BARGAIN.

Author Spotlight: Sci-Fi Author Anna Verner

Meet indie author Anna Verner who sells her work via Itch.io. Find out more about her fantasy novels and consider supporting her.

Author Spotlight: Fantasy Author Alexandra Beaumont

Meet Alexandra Beaumont (she/her) @ABeaumontWriter, and find out more about her fantasy folklore novels!

Author Spotlight: SFF Author Karen Lucia

Meet SFF author Karen Lucia, and check out her gaslamp fantasy and Sci-Fi novels under the spotlight in this post!

Author Spotlight: Dark Fantasy Author Kai Zeal

Meet Kai Zeal (she/her) and her Riyati series,a new adult/adult contemporary, low, dark fantasy series focusing around the reincarnations of a fallen kingdom’s royalty, and how even from thousands of years later, generational legacies and traumas still follow them.

Author Spotlight: Fantasy Author Odessa Silver

Meet UK-based author Odessa Silver (she/her) and her Japanese-inspired fantasy short story collection, Tales of Yamato.

Author Spotlight: Fantasy Author Dylan Madeley

Dylan Madeley (he/him) lives in the neighbourhood of Mimico by the Canadian shores of Lake Ontario. He was the copy editor of and a frequent contributor to Auxiliary Magazine, an alternative fashion and music zine, from late 2012 until 2022. He has appeared at The Word on the Street Festival in Toronto, Canada’s largest book fair, and at the Ad Astra literary conference. He has released nine fantasy books, of which six remain available on the market.

AUTHOR LINKS:

Website: dylanmadeley.com

Read a Sample: The Last Gift-Knight (Amazon CA)

Pitch for Readers/Book Clubs:
A troubled wanderer is summoned to serve as the personal guard of a rival family. He follows the route of a heroic ancestor through storied places, the depths of loneliness and suspicion, and a growing question of what he must do.

A bookish princess struggles with grief, responsibilities, and the same conspiracy which accidentally empowered her. Soon she must contend with a troubled wanderer.

Your novel, The Last Gift-Knight, is out now. Where did the idea come from, and can you talk us through your author journey from idea to draft to published novel?

The full journey has taken closer to twenty years. In 2006, close to graduating from York University on a more journalism-oriented Professional Writing degree, I had a couple of ideas. I was unsure of how to bring either of them to a novel’s length without losing personal interest in the work, so I combined them: one of these ideas became Derek’s journey, the other was Chandra’s mystery, and together they formed the main plot of “The Gift-Knight’s Quest” (written 2008, extended and released in 2015).

This was not quite well received, and softer editing attempts around 2018/2019 did little to help. In hindsight, it feels as if I wrote two sequels and four prequels and a novella as a broad learning experience which helped me understand how my first book should always have been.

I have since unpublished it, and its two sequels, and rewritten it entirely. The wider series was restructured, meanwhile, to begin with “Prince Ewald the Brave” so nothing is really a prequel anymore.

“The Last Gift-Knight” has two intended meanings as a title. It refers to a character who could be the last to serve in a particular tradition. It is also about this book being the final version of itself, not to be rewritten again.

What are your main influences in fantasy, and how do they impact your writing?

Early on, I read whatever I could get my hands on, though many classics were abridged.

I liked quest-related fantasy and series like Chronicles of Prydain, and Narnia, and later on some Tolkien, without really appreciating the entirety of what the authors intended; I doubt I had much of a grasp on Frank Herbert which I liked for the similar reason of going away to worlds other than my own in a manner which I believed perfectly safe.

As I grew into an eccentric adult, I went on a big swing of New Wave SFF including Zelazny and Moorcock, with a bit of Angela Carter, and going back a bit to Bradbury and LeGuin.

The complete and extended version of King’s “The Stand” certainly left its mark on my liking for different/disparate points of view and weaving them together into a story. I don’t try to be any of them, but that only means I’m not immediately conscious of the full influence they could have on my work.

Let’s talk about the themes of the book – living up to expectations, imperialism, and dealing with generational wealth & privilege. How do you handle these themes, and did they appear organically or were these topics you set out to write about? 

With the contrast between Derek and Chandra, I wanted to show that legacy could convey burdens as well as privileges, and even those with privileges often feel burdens of their own. And that even the problematic elements to one’s ancestry can be supremely teachable, though it’s critically important which lessons one learns.

These characters are not puppets of fate, nor do they feel free of constraint, but each has choices to make within those parameters. Chandra’s father and stepmother are certainly at odds about the meaning and purpose of having such power.

Revolution/change is certainly a topic. People almost unanimously want something to change, but what and how? Would some of the attempted means spoil the desired ends? This plays itself out more among the minor characters, not all of whom are antagonists.

In “Prince Ewald the Brave”, right from the back cover copy a happy ending is framed as a more compassionate individual wresting the reins from a petty and irresponsible one; now a hundred years have gone by and every problem caused by the underlying system remains unsolved. Sometimes, those who would change the system only agree on doing away with Chandra’s family, and should they succeed they would almost immediately be at war with each other. It’s not wrong to want change but things can go terribly wrong on the way.

Introduce us to your MCs – Derek, a man of action, and Chandra, a bookish princess. Where did the ideas for these characters come from, and can you talk us through your character development process for them both? Were they fully formed before you wrote your draft, or did they evolve on the page, for example?

Derek’s personal woes are inspired by the too-common problem of going through one’s education expecting a particular career, feeling lost at the end of school, and struggling to find regular employment. He still feels drawn to a vaguely defined calling, which is denied him at every turn. This frustration, the disconnect he feels with his community, and the influence of his father, render him highly vulnerable to manipulation even if he tends to have good intentions.

In this last rendition of introducing the character, I felt like I was also creating an analogue to the experience of lost young/new adults today whose insecurity and lack of support render them vulnerable to manipulation from those who would offer them a “quest” – some dubious sense of purpose directed toward malicious ends – but not any genuine healing. It doesn’t take a terrible man to be misled, but Derek always has choices to make and remains entirely responsible for them.

Chandra feels disconnected for a different reason, as if she is not part of a family despite living with its privileges. She is left mostly to her own devices, which is a vast improvement from when a family member in a position of authority treated her with resentment while the other did too little to intervene. Then, unexpectedly, Chandra rules – no one can possibly be more a part of the family than its head. The problematic imperial history of House Kenderley and everything inherited from that is undeniably hers. True, she never chose any of this, but that power is hers regardless. What will she do with it?

Tell us a bit about the world you built for this story. What is your worldbuilding process – are you a world-first or character-first writer, or something else? Which parts of worldbuilding did you really enjoy, and what challenged you?

I build my stories from characters today, through their lives and development. It’s also true that I keep reusing the same world that I built before a single book had been published, and I have so far been unwilling to create any other. What used to challenge me most was names. You can find a couple of names throughout the series that remain from the old days, where I tried to create them. These days, I open baby naming websites and try to keep things culturally consistent, though vaguely at that.

Kensrik is an empire, and empires tend to contain multitudes, though not necessarily for nice reasons. Bayrock, capital of Kensrik, is also the greatest port city and trade destination in its world. In any case, I have owned the fact that aesthetic and cultural aspects of our world have inspired and will continue to inspire this one instead of pretending even for a second that I created it all from nothing.

Of the side characters, which ones do readers connect with or love to hate, and were these the characters you expected? 

I had one friend say they really liked the guard captain, Jan Donde, because he just seemed loyal and steadfast no matter the odds. He is otherwise rough around the edges and seems easily provoked. The question in the long term might be the true object of his loyalty: to Chandra, to her family name, to the empire…?

Can you share some of your favourite reviews and reader comments about the book so far?

“At every level, the author takes common settings and tropes and reworks them in subtle ways that made the story feel particularly rich.” M.C. Burnell, who left a nice review on Goodreads.

Like This? Try These:

Fantasy – Fantasy Books – Fantasy Adventure – Fantasy Authors

Author Spotlight: Queer West Asian Fantasy author Fetin Sardaneh

Meet Fetin Sardaneh, the Palestinian and Kurdish author of queer West Asian fantasy, and find out more about their debut sapphic novel, THE JINN’S BARGAIN.

Author Spotlight: Sci-Fi Author Anna Verner

Meet indie author Anna Verner who sells her work via Itch.io. Find out more about her fantasy novels and consider supporting her.

Author Spotlight: Fantasy Author Alexandra Beaumont

Meet Alexandra Beaumont (she/her) @ABeaumontWriter, and find out more about her fantasy folklore novels!

Author Spotlight: SFF Author Karen Lucia

Meet SFF author Karen Lucia, and check out her gaslamp fantasy and Sci-Fi novels under the spotlight in this post!

Author Spotlight: Dark Fantasy Author Kai Zeal

Meet Kai Zeal (she/her) and her Riyati series,a new adult/adult contemporary, low, dark fantasy series focusing around the reincarnations of a fallen kingdom’s royalty, and how even from thousands of years later, generational legacies and traumas still follow them.

Author Spotlight: Fantasy Author Odessa Silver

Meet UK-based author Odessa Silver (she/her) and her Japanese-inspired fantasy short story collection, Tales of Yamato.

Author Spotlight: Fantasy Author Dylan Madeley

Dylan Madeley (he/him) lives in the neighbourhood of Mimico by the Canadian shores of Lake Ontario. He was the copy editor of and a frequent contributor to Auxiliary Magazine, an alternative fashion and music zine, from late 2012 until 2022. He has appeared at The Word on the Street Festival in Toronto, Canada’s largest book fair, and at the Ad Astra literary conference. He has released nine fantasy books, of which six remain available on the market.

AUTHOR LINKS:

Website: dylanmadeley.com

Read a Sample: The Last Gift-Knight (Amazon CA)

Pitch for Readers/Book Clubs:
A troubled wanderer is summoned to serve as the personal guard of a rival family. He follows the route of a heroic ancestor through storied places, the depths of loneliness and suspicion, and a growing question of what he must do.

A bookish princess struggles with grief, responsibilities, and the same conspiracy which accidentally empowered her. Soon she must contend with a troubled wanderer.

Your novel, The Last Gift-Knight, is out now. Where did the idea come from, and can you talk us through your author journey from idea to draft to published novel?

The full journey has taken closer to twenty years. In 2006, close to graduating from York University on a more journalism-oriented Professional Writing degree, I had a couple of ideas. I was unsure of how to bring either of them to a novel’s length without losing personal interest in the work, so I combined them: one of these ideas became Derek’s journey, the other was Chandra’s mystery, and together they formed the main plot of “The Gift-Knight’s Quest” (written 2008, extended and released in 2015).

This was not quite well received, and softer editing attempts around 2018/2019 did little to help. In hindsight, it feels as if I wrote two sequels and four prequels and a novella as a broad learning experience which helped me understand how my first book should always have been.

I have since unpublished it, and its two sequels, and rewritten it entirely. The wider series was restructured, meanwhile, to begin with “Prince Ewald the Brave” so nothing is really a prequel anymore.

“The Last Gift-Knight” has two intended meanings as a title. It refers to a character who could be the last to serve in a particular tradition. It is also about this book being the final version of itself, not to be rewritten again.

What are your main influences in fantasy, and how do they impact your writing?

Early on, I read whatever I could get my hands on, though many classics were abridged.

I liked quest-related fantasy and series like Chronicles of Prydain, and Narnia, and later on some Tolkien, without really appreciating the entirety of what the authors intended; I doubt I had much of a grasp on Frank Herbert which I liked for the similar reason of going away to worlds other than my own in a manner which I believed perfectly safe.

As I grew into an eccentric adult, I went on a big swing of New Wave SFF including Zelazny and Moorcock, with a bit of Angela Carter, and going back a bit to Bradbury and LeGuin.

The complete and extended version of King’s “The Stand” certainly left its mark on my liking for different/disparate points of view and weaving them together into a story. I don’t try to be any of them, but that only means I’m not immediately conscious of the full influence they could have on my work.

Let’s talk about the themes of the book – living up to expectations, imperialism, and dealing with generational wealth & privilege. How do you handle these themes, and did they appear organically or were these topics you set out to write about? 

With the contrast between Derek and Chandra, I wanted to show that legacy could convey burdens as well as privileges, and even those with privileges often feel burdens of their own. And that even the problematic elements to one’s ancestry can be supremely teachable, though it’s critically important which lessons one learns.

These characters are not puppets of fate, nor do they feel free of constraint, but each has choices to make within those parameters. Chandra’s father and stepmother are certainly at odds about the meaning and purpose of having such power.

Revolution/change is certainly a topic. People almost unanimously want something to change, but what and how? Would some of the attempted means spoil the desired ends? This plays itself out more among the minor characters, not all of whom are antagonists.

In “Prince Ewald the Brave”, right from the back cover copy a happy ending is framed as a more compassionate individual wresting the reins from a petty and irresponsible one; now a hundred years have gone by and every problem caused by the underlying system remains unsolved. Sometimes, those who would change the system only agree on doing away with Chandra’s family, and should they succeed they would almost immediately be at war with each other. It’s not wrong to want change but things can go terribly wrong on the way.

Introduce us to your MCs – Derek, a man of action, and Chandra, a bookish princess. Where did the ideas for these characters come from, and can you talk us through your character development process for them both? Were they fully formed before you wrote your draft, or did they evolve on the page, for example?

Derek’s personal woes are inspired by the too-common problem of going through one’s education expecting a particular career, feeling lost at the end of school, and struggling to find regular employment. He still feels drawn to a vaguely defined calling, which is denied him at every turn. This frustration, the disconnect he feels with his community, and the influence of his father, render him highly vulnerable to manipulation even if he tends to have good intentions.

In this last rendition of introducing the character, I felt like I was also creating an analogue to the experience of lost young/new adults today whose insecurity and lack of support render them vulnerable to manipulation from those who would offer them a “quest” – some dubious sense of purpose directed toward malicious ends – but not any genuine healing. It doesn’t take a terrible man to be misled, but Derek always has choices to make and remains entirely responsible for them.

Chandra feels disconnected for a different reason, as if she is not part of a family despite living with its privileges. She is left mostly to her own devices, which is a vast improvement from when a family member in a position of authority treated her with resentment while the other did too little to intervene. Then, unexpectedly, Chandra rules – no one can possibly be more a part of the family than its head. The problematic imperial history of House Kenderley and everything inherited from that is undeniably hers. True, she never chose any of this, but that power is hers regardless. What will she do with it?

Tell us a bit about the world you built for this story. What is your worldbuilding process – are you a world-first or character-first writer, or something else? Which parts of worldbuilding did you really enjoy, and what challenged you?

I build my stories from characters today, through their lives and development. It’s also true that I keep reusing the same world that I built before a single book had been published, and I have so far been unwilling to create any other. What used to challenge me most was names. You can find a couple of names throughout the series that remain from the old days, where I tried to create them. These days, I open baby naming websites and try to keep things culturally consistent, though vaguely at that.

Kensrik is an empire, and empires tend to contain multitudes, though not necessarily for nice reasons. Bayrock, capital of Kensrik, is also the greatest port city and trade destination in its world. In any case, I have owned the fact that aesthetic and cultural aspects of our world have inspired and will continue to inspire this one instead of pretending even for a second that I created it all from nothing.

Of the side characters, which ones do readers connect with or love to hate, and were these the characters you expected? 

I had one friend say they really liked the guard captain, Jan Donde, because he just seemed loyal and steadfast no matter the odds. He is otherwise rough around the edges and seems easily provoked. The question in the long term might be the true object of his loyalty: to Chandra, to her family name, to the empire…?

Can you share some of your favourite reviews and reader comments about the book so far?

“At every level, the author takes common settings and tropes and reworks them in subtle ways that made the story feel particularly rich.” M.C. Burnell, who left a nice review on Goodreads.

Like This? Try These:

Fantasy – Fantasy Books – Fantasy Adventure – Fantasy Authors

Author Spotlight: Queer West Asian Fantasy author Fetin Sardaneh

Meet Fetin Sardaneh, the Palestinian and Kurdish author of queer West Asian fantasy, and find out more about their debut sapphic novel, THE JINN’S BARGAIN.

Author Spotlight: Sci-Fi Author Anna Verner

Meet indie author Anna Verner who sells her work via Itch.io. Find out more about her fantasy novels and consider supporting her.

Author Spotlight: Fantasy Author Alexandra Beaumont

Meet Alexandra Beaumont (she/her) @ABeaumontWriter, and find out more about her fantasy folklore novels!

Author Spotlight: SFF Author Karen Lucia

Meet SFF author Karen Lucia, and check out her gaslamp fantasy and Sci-Fi novels under the spotlight in this post!

Author Spotlight: Dark Fantasy Author Kai Zeal

Meet Kai Zeal (she/her) and her Riyati series,a new adult/adult contemporary, low, dark fantasy series focusing around the reincarnations of a fallen kingdom’s royalty, and how even from thousands of years later, generational legacies and traumas still follow them.

Author Spotlight: Fantasy Author Odessa Silver

Meet UK-based author Odessa Silver (she/her) and her Japanese-inspired fantasy short story collection, Tales of Yamato.

#storygraphchallenge #fantasy #fantasyseries #FantasyAdventure #books
Luck in the Shadows - Lynn Flewelling
So You Want to Be A Wizard - Diane Duane
Sheepfarmer's Daughter - Elizabeth Moon
A Coup of Tea - Casey Blair
A Deadly Education - Naomi Novik
Penric's Demon - Lois McMaster Bujold

#storygraphchallenge #fantasy #fantasyseries #FantasyAdventure #books
Luck in the Shadows - Lynn Flewelling
So You Want to Be A Wizard - Diane Duane
Sheepfarmer's Daughter - Elizabeth Moon
A Coup of Tea - Casey Blair
A Deadly Education - Naomi Novik
Penric's Demon - Lois McMaster Bujold

#storygraphchallenge #fantasy #fantasyseries #FantasyAdventure #books
Luck in the Shadows - Lynn Flewelling
So You Want to Be A Wizard - Diane Duane
Sheepfarmer's Daughter - Elizabeth Moon
A Coup of Tea - Casey Blair
A Deadly Education - Naomi Novik
Penric's Demon - Lois McMaster Bujold

#storygraphchallenge #fantasy #fantasyseries #FantasyAdventure #books
Luck in the Shadows - Lynn Flewelling
So You Want to Be A Wizard - Diane Duane
Sheepfarmer's Daughter - Elizabeth Moon
A Coup of Tea - Casey Blair
A Deadly Education - Naomi Novik
Penric's Demon - Lois McMaster Bujold

#storygraphchallenge #fantasy #fantasyseries #FantasyAdventure #books
Luck in the Shadows - Lynn Flewelling
So You Want to Be A Wizard - Diane Duane
Sheepfarmer's Daughter - Elizabeth Moon
A Coup of Tea - Casey Blair
A Deadly Education - Naomi Novik
Penric's Demon - Lois McMaster Bujold

Salvos Light Novel Vol. 2 Sends the Wild Demon Back Into Battle https://comicbookaddicts.com/2026/07/salvos-light-novel-vol-2/?utm_source=dlvr.it&utm_medium=mastodon #Salvos #LightNovel #FantasyAdventure #Demon #ComicBooks

Guardian of the Depths by Tilly Hornsby

A winning fantasy adventure with affection for pirates, prophecy and heroines who don’t surrender to wonder without a fight
The post Guardian of the Depths by Tilly Hornsby appeared first on Independent Book Review.
https://independentbookreview.com/2026/06/23/guardian-of-the-depths-by-tilly-hornsby/

#bookreview #AtmospherePress #Fantasy #fantasyadventure #GuardianoftheDepths

Guardian of the Depths by Tilly Hornsby

A winning fantasy adventure with affection for pirates, prophecy and heroines who don’t surrender to wonder without a fight
The post Guardian of the Depths by Tilly Hornsby appeared first on Independent Book Review.
https://independentbookreview.com/2026/06/23/guardian-of-the-depths-by-tilly-hornsby/

#bookreview #AtmospherePress #Fantasy #fantasyadventure #GuardianoftheDepths

Guardian of the Depths by Tilly Hornsby

A winning fantasy adventure with affection for pirates, prophecy and heroines who don’t surrender to wonder without a fight
The post Guardian of the Depths by Tilly Hornsby appeared first on Independent Book Review.
https://independentbookreview.com/2026/06/23/guardian-of-the-depths-by-tilly-hornsby/

#bookreview #AtmospherePress #Fantasy #fantasyadventure #GuardianoftheDepths

Guardian of the Depths by Tilly Hornsby

A winning fantasy adventure with affection for pirates, prophecy and heroines who don’t surrender to wonder without a fight
The post Guardian of the Depths by Tilly Hornsby appeared first on Independent Book Review.
https://independentbookreview.com/2026/06/23/guardian-of-the-depths-by-tilly-hornsby/

#bookreview #AtmospherePress #Fantasy #fantasyadventure #GuardianoftheDepths

BRECK: Dead Delivery: Chapter Fifteen: Stronger Than You Knew

BRECK: Dead Delivery — Chapter Fifteen

Stronger Than You Knew

This is Chapter 15 of BRECK: Dead Delivery, a serialized noble dark fantasy story by Chadwick Rye, set in the world of Lumenvale. New chapters post daily at noon Eastern.

The Story So Far

Breck is a veteran courier — 6’5″, 285 pounds, former Crystal Wars special operations — who arrived in Crestfall on a routine delivery and found a town quietly strangled by a corrupt magistrate named Voss. He built the case from the inside: the hidden ledger, the chalk map, the patrol gap. Last night he retrieved the original documents from Voss’s storage room and walked back through a dark corridor where Drav was waiting. Drav stepped aside. This morning, before dawn, Breck built the fire, gave Maret the sealed letter for the Regional Adjudicator in Millhaven, said what needed saying, and walked out into the dark before the second bell. He is on the north road now — the documents against his chest, the bracelet on the satchel strap, Crestfall behind him. But Voss discovered the empty room at the second bell. And Drav received his orders at the third.

← Chapter Fourteen — The Small Thing | Chapter Sixteen — Coming Tomorrow →

Chapter Fifteen: Stronger Than You Knew

This chapter explores the moment when you discover what you are made of — not in triumph, but in the testing.

The ambush was well-planned.

Breck gave it that. In the ten seconds between recognizing it and responding to it, he registered its architecture with the detached professional appreciation of a man who had spent four years designing exactly this kind of thing from the other side — the terrain selected for limited sightlines, the timing calculated for the gray half-light of early morning when eyes were still adjusting, three men positioned to create overlapping fields of engagement so that moving away from one moved you toward another.

Senne had planned it. The quiet one, the watchful one — the most dangerous of Drav’s remaining men after Pelk’s education in the alley behind the granary. Breck had tracked Senne’s movements for four days and had built a picture of a man who thought before he acted and acted without hesitation once the thinking was done. The ambush confirmed the picture. It was the work of someone who understood geometry and patience and the particular advantage of opponents who didn’t know they were being studied.

The problem — for Senne — was that Breck had spent four years being studied by men considerably better resourced than a regional enforcer with three weeks of preparation time, and he was still here.

The north road ran through a cut in the limestone ridge two miles above Crestfall, where the banks rose on both sides and the road narrowed to accommodate a single cart. Senne had positioned himself at the far end of the cut, where the road widened again — the blocking position, intended to halt forward movement. The two others were on the banks above, one to each side, staggered so that their angles of descent didn’t interfere with each other.

Textbook. Clean. Competent.

Breck had identified the cut on his third evening in Crestfall, while walking the approaches to the north road under the guise of checking his horse at the waystation. He had noted it as the single unavoidable piece of terrain between Crestfall and the first junction, which meant it was the single unavoidable decision point for anyone who wanted to intercept someone leaving by the north road. He had filed it under problems that might require attention.

He had entered the cut at a walk, hands loose at his sides, satchel settled across his chest, because changing his pace or his posture in the approach would have communicated the wrong thing and he had no interest in communicating anything useful to people positioned to ambush him.

He had also entered it with his right hand already adjusted on the satchel strap — not reaching for anything, just repositioned, the way a man shifted his grip during a long walk — so that when the moment came, the movement required to do what needed doing was already half-completed.

The moment came at the cut’s midpoint.

Senne stepped out from behind a limestone shelf at the far end. Unhurried. Controlled. His right hand held a short blade — not a sword, practical choice, close quarters and limited swing room — and his expression was the expression Breck had been watching for four days: watchful, assessing, stripped of everything that wasn’t operationally relevant.

“Leave the satchel,” Senne said. His voice was level. “Walk back the way you came. That’s the whole transaction.”

The two on the banks hadn’t moved yet. They were holding their positions, which was correct — movement too early would break the geometry, and Senne was giving the verbal option its fair chance before escalating. Professional. Breck respected that.

He looked at Senne for a long moment. At the blade, the positioning, the gap between them — eighteen feet, enough for Senne to close before Breck could reach him but not enough to be comfortable about it. At the banks, where the two others were still and dark against the gray limestone.

He thought about the documents against his chest. About Aldric Moss’s neat architectural handwriting, preserved through fourteen months of darkness beside a hearthstone, finally in the light.

He thought about a girl in a valley who had given him everything she had to give and had received nothing adequate in return. About the specific weight of a debt that couldn’t be paid backward — only forward, in kind, to other people in other places, carried on the road from one town to the next with the same patient, aching, insufficient faithfulness.

He thought about the fire he had built this morning in a cold room, already burning without him.

He thought — briefly, with the compressed economy of a man who had long practice thinking quickly in narrow spaces — about what he was made of.

Not what he had been made of in the war. Not what the war had required of him, which had sometimes been things he did not choose to revisit in the daylight hours. But what he was made of beneath that — the original material, the grain-farm boy who had learned to read rivers, who had understood at ten years old that water found paths around obstacles by the simple application of patience and consistent pressure, not by force, not by declaration, just by continuing to move.

He had been continuing to move for a very long time.

“No,” he said.

Senne came forward the way Breck had expected — fast, low, direct, no wasted theater. He was good. Considerably better than Pelk, considerably better than the two in the alley, and the blade was an honest tool in his hand rather than a prop. The two on the banks came down simultaneously, which was the correct response to Breck declining the verbal option — both flanks activating together to prevent the obvious counter of engaging one before the other arrived.

The obvious counter was not what Breck had in mind.

He moved toward Senne rather than away — inside the blade’s effective reach, which negated its primary advantage and converted the distance between them from Senne’s asset to his own. His left forearm intercepted the blade arm above the wrist, pinning it, redirecting rather than blocking — he’d learned early that blocking a committed strike was a losing proposition against a man who meant it — and his right hand drove a precise open-palm strike into Senne’s sternum, not the hardest blow he could throw but accurately placed and sharply timed, targeting the body’s central nerve cluster.

Senne folded at the diaphragm. Not out — the man had iron in him — but compromised, the wind gone, the blade still in his hand but the hand no longer receiving reliable instructions from the rest of him.

The first bank man reached Breck’s left side three seconds later and found that Breck had already rotated — using Senne’s compromised body as a partial barrier, forcing the bank man to commit to an angle that took him away from his partner — and the elbow that met his forward momentum was not something he had been adequately prepared for. He went down hard. Stayed there, contributing the specific vocal expressions of someone whose collarbone had received new and unwelcome information.

The second bank man stopped.

He was six feet away, on Breck’s right, and he had seen the previous four seconds with full clarity, and he was performing the mathematics that the situation presented with the rapid, honest attention of a young man who had perhaps not fully modeled all the variables before signing on for this particular assignment.

His name, Pell’s map had noted, was Torven. He was nineteen years old. He had a mother in the lower town who mended sails for the river merchants and a younger brother who helped her on the days her hands ached.

“Torven,” Breck said. His breathing was elevated but controlled. “Put it down.”

The young man looked at him. At Senne on one knee in the road, blade dropped, both hands pressed to his sternum. At his partner on the ground with his collarbone. At Breck — at the size of him, at the quality of stillness that had descended over him in the aftermath of the preceding four seconds, the combat stillness, the particular absolute calm of a man who had found and settled into the thing he was made of and was standing in it without apology or performance.

Torven put the blade down.

It made a small sound on the limestone road. A very small sound, in the quiet of the gray morning, the limestone walls on either side and the sky overhead just beginning to consider the possibility of light.

Breck looked at him for a moment longer. Then at Senne, still on one knee, working his breathing back toward functional with the focused determination of a man who had been hurt before and understood the process.

“Tell Drav,” Breck said to Senne, “that the letter is already on its way. The documents too. It’s done. Whatever he does now — ” he paused, looking at the road that ran ahead between the limestone banks toward the first junction and the north road beyond — “doesn’t change what’s already been set in motion.”

Senne looked up at him. His eyes were steady and old even in their discomfort, the eyes of a man absorbing information and filing it with the professional rigor of someone who would deliver it accurately regardless of how it had been received.

He nodded once.

Breck picked up his satchel — he’d set it against the limestone wall before any of it started, because the job didn’t get damaged — settled the strap across his chest, touched the bracelet once.

Then he walked out of the cut and onto the north road and didn’t look back.

The sky had made its decision about the light by then. It was arriving, gray and thin and honest, the way mornings arrived in Lumenvale in late autumn — without ceremony, without announcement, simply present, simply real.

He walked into it.

This is Chapter 15 of BRECK: Dead Delivery, a serialized noble dark fantasy story by Chadwick Rye, set in the world of Lumenvale. Breck is a veteran courier — a man who can’t walk past certain things — moving through a medieval world one delivery at a time. New chapters post daily at noon Eastern.

← Chapter Fourteen — The Small Thing | Chapter Sixteen — Coming Tomorrow →

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https://youtu.be/QyLR_DB2aYs

Sorry for being late, public transit has had a really off day. Or couple of days. Nevertheless, this is out for you.

Enjoy

#TheHeirsLair #Review #BookReview #Witcher #TheWitcher #WitcherReview #Prequel #Adventure #Fantasy #FantasyAdventure #BookSky #scififantasyspecfic

https://youtu.be/QyLR_DB2aYs

Sorry for being late, public transit has had a really off day. Or couple of days. Nevertheless, this is out for you.

Enjoy

#TheHeirsLair #Review #BookReview #Witcher #TheWitcher #WitcherReview #Prequel #Adventure #Fantasy #FantasyAdventure #BookSky #scififantasyspecfic

https://youtu.be/QyLR_DB2aYs

Sorry for being late, public transit has had a really off day. Or couple of days. Nevertheless, this is out for you.

Enjoy

#TheHeirsLair #Review #BookReview #Witcher #TheWitcher #WitcherReview #Prequel #Adventure #Fantasy #FantasyAdventure #BookSky #scififantasyspecfic

https://youtu.be/QyLR_DB2aYs

Sorry for being late, public transit has had a really off day. Or couple of days. Nevertheless, this is out for you.

Enjoy

#TheHeirsLair #Review #BookReview #Witcher #TheWitcher #WitcherReview #Prequel #Adventure #Fantasy #FantasyAdventure #BookSky #scififantasyspecfic

https://youtu.be/QyLR_DB2aYs

Sorry for being late, public transit has had a really off day. Or couple of days. Nevertheless, this is out for you.

Enjoy

#TheHeirsLair #Review #BookReview #Witcher #TheWitcher #WitcherReview #Prequel #Adventure #Fantasy #FantasyAdventure #BookSky #scififantasyspecfic

1989 Ultima / FCI: Era-Defining Ad Art

Step into the epic world of 1989's Ultima Exodus, where video games truly grew up! This legendary NES RPG promised over 100 hours of adventure with a diverse team of heroes and treacherous foes. Prepare for a quest beyond anything you knew before! 🛡️✨

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1989 FCI Hydlide: Get Fired Up For An Epic Fantasy Quest!

Dive into this classic NES role-playing action-adventure, complete with a password feature and two speed levels for ultimate questing! ⚔️🔥

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‘Whoever Steals This Book’ Stolen Up By Crunchyroll https://popgeeks.com/whoever-steals-this-book-stolen-up-by-crunchyroll/?utm_source=dlvr.it&utm_medium=mastodon #Crunchyroll #Anime #FantasyAdventure #WhoeverStealsThisBook #Books

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‘Whoever Steals This Book’ Stolen Up By Crunchyroll https://popgeeks.com/whoever-steals-this-book-stolen-up-by-crunchyroll/?utm_source=dlvr.it&utm_medium=mastodon #Crunchyroll #Anime #FantasyAdventure #WhoeverStealsThisBook #Books

‘Whoever Steals This Book’ Stolen Up By Crunchyroll https://popgeeks.com/whoever-steals-this-book-stolen-up-by-crunchyroll/?utm_source=dlvr.it&utm_medium=mastodon #Crunchyroll #Anime #FantasyAdventure #WhoeverStealsThisBook #Books

‘Whoever Steals This Book’ Stolen Up By Crunchyroll https://popgeeks.com/whoever-steals-this-book-stolen-up-by-crunchyroll/?utm_source=dlvr.it&utm_medium=mastodon #Crunchyroll #Anime #FantasyAdventure #WhoeverStealsThisBook #Books

52booksin52weeks Title Starts with the Letter "O" - Origins of a D-List Supervillain - Jim Bernheimer #superheroes #supervillain #engineering #IronMan #SciFiAdventure #FantasyAdventure #SuperheroSeries #satire #humor #bookstagram #booktok #booksky #ttrpgpodcast #gamemastersbookclub

52booksin52weeks Title Starts with the Letter "O" - Origins of a D-List Supervillain - Jim Bernheimer #superheroes #supervillain #engineering #IronMan #SciFiAdventure #FantasyAdventure #SuperheroSeries #satire #humor #bookstagram #booktok #booksky #ttrpgpodcast #gamemastersbookclub

52booksin52weeks Title Starts with the Letter "O" - Origins of a D-List Supervillain - Jim Bernheimer #superheroes #supervillain #engineering #IronMan #SciFiAdventure #FantasyAdventure #SuperheroSeries #satire #humor #bookstagram #booktok #booksky #ttrpgpodcast #gamemastersbookclub

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Avatar The Last Airbender Season 2

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Avatar The Last Airbender Season 2

5120 x 2879

#TVShowWallpaper #UndergroundWarriorGirl #TophBeifong #Earthbender #AvatarTheLastAirbender #ATLA #TeamAvatar #WarriorGirl #LiveAction #Aang #Katara #Sokka #Appa #FantasyAdventure #EpicJourney #Bending #Heroic #Cinematic #Silhouette #Sunrise #Fantasy #MonSlay

The Magical Land of Yeld: A Shared Storybook Adventure for All Ages https://popgeeks.com/magical-land-of-yeld-all-ages-ttrpg/?utm_source=dlvr.it&utm_medium=mastodon #TabletopGaming #RPG #TTRPG #FantasyAdventure #CooperativePlay

The Magical Land of Yeld: A Shared Storybook Adventure for All Ages https://popgeeks.com/magical-land-of-yeld-all-ages-ttrpg/?utm_source=dlvr.it&utm_medium=mastodon #TabletopGaming #RPG #TTRPG #FantasyAdventure #CooperativePlay