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(Skull with Cigarette by Vincent Van Gough)
Let's start with the understanding that even the framing of this title is disingenuous and lacks nuance. What is good art? Or, for that matter, a bad person? Are we defined by our worst actions? Can people change?
It all has to do with the way we relate to the person being defined. From the vantage point of someone who has been harmed by another's “bad behavior,” it's easy to see how one might label their perpetrator and similar people as bad. Juxtapose that to a loved one who knows the “bad person” outside of the context of their actions. I assume their view of the bad actor will be more nuanced and leave room for that person to be more than their actions. 
What happens when we consume someone's bad actions from the sidelines? Do we empathize with the victim and label their victimizer a bad person? Do we identify as a person who loves or likes the victimizer and leave room for them to be more?
I think this choice is an individual one. However, just because a choice belongs to an individual doesn't mean it won't come with social consequences. There are many factors at play when deciding how to relate to an artist who has acted badly in a public way: - personal trauma, - political stances, - parasocial relationships.
If you decide to publicly consume and support art produced by a “bad person,” many of the same factors that came into play when people defined their view of the artist will also factor into how they view you. This is not a value statement of whether or not that should be the case. It is instead an observational statement. 
Everyone has trauma, and we use our experiences to evaluate whether the people in our lives are safe. Those who have experienced trauma related to the harm an artist inflicted on their victim(s) often feel obligated to use people's public opinions of bad actors as a factor in judging whether someone is a safe person in their lives.
For example, if you post your Hogwarts house in your social media bio, a trans person or trans ally may take that public support of Harry Potter and by extension, JK Rowling, as a statement of support for her transphobic views and behaviors. Do they know you, your views, and your personhood based on a silly comment about something you related to as a child? No, they don't have a full picture of you as a person. However, they might not have the luxury to give you the benefit of the doubt when there is rampant violence and hostility aimed at trans people. They may feel they have to read the signs of how you present publicly to determine whether you would be a safe person.
Likewise, if you continue to review Neil Giaman’s works in light of the many accusations of sexual assault, survivors of sexual assault might reconsider their relationships with you.
Just because you can compartmentalize a person’s art from their actions doesn’t mean everyone can. Or wants to.
As our online presence grows, the rate at which we form parasocial relationships with public figures has deepened. Celebrities share their diets, their romantic lives, and embarrassing stories of who they were as a child, and we believe we know them. We grow attached because their art has meant so much to us, and we feel an emotional resonance with them as an artist. 
Due to our increasingly parasocial relationships with public figures, many of us struggle when we learn about their bad behavior. Their actions don't comport with the people we built up in our heads. So when someone speaks negatively about them, we respond as if someone is attacking a friend or family member rather than criticizing a stranger. This may lead to us giving an abuser more credit while we discredit their victims. 
(Image credit Joss Whedon Twitter)
So what does this all mean? Does this mean I am telling everyone to stop reading Neil Gaiman, listening to Michael Jackson, and watching Joss Whedon movies?
Not necessarily. I believe that the consumption of art is a nuanced decision. We should consume art created by people we disagree with. I also think we should take into account whether the bad actor is financially benefiting from our consumption and if supporting them might help them continue their bad behavior. 
In the case of J.K. Rowling, she benefits financially with every new Harry Potter project, and uses her money to support anti-trans groups and legislation. In fact, she has publicly announced her intensions to use her profits from the new HBO series to create an anti-trans advocacy organization. As opposed to Michael Jackson, who is no longer alive and can no longer financially benefit or cause harm.
Additionally, we have to consider private vs. public consumption. In what venue are we consuming art, and will there be people that can be negatively affected by our consumption in those spaces? In general, we need to think about our public consumption as an action and consider the consequences of it.
There is a difference between rewatching Annie Hall in the privacy of your home and doing a deep-dive YouTube review on the “brilliance” of Woody Allen’s script. We throw up signs every day of who we are, whether it is the cover of the book we have on the train or the post we make about how much we enjoyed a controversial video game. Just as we are free to choose the art we consume, others are able to make judgments about what that might mean about who we are.
Fair or not, it's true.
It can hurt when someone we felt a kinship with is accused of doing something terrible and the art we loved is subjected to mass critique. However, in most cases, we do not know the accused. So I personally try to think about the choices I make in relation to their art, how I display my choices to the world, the messages I am sending, and negotiate if I am comfortable with the consequences of my choices. 
Some like to reframe all of these discussions as cancel culture. However, I would argue people have been making decisions about what art to consume and how to consume it since the beginning of art. The factors at play are different. The public nature of our consumption is different. But there have always been reasons why people make choices about art and peer pressure surrounding those choices. 
I would argue the framing of things as cancel culture has more to do with who is being critiqued rather than the act of critiquing. Oscar Wilde was jailed for his sexuality, and I have no doubt that became a factor in how or if people read his works. Neil Gaiman has been accused of horrific sexual abuse and violence. However, he is a rich, straight, white man, and we have only recently begun to hold those with the most power accountable in public ways. The act of turning public critique on artists with more power in society is newer.
At the end of the day, I don't think anyone should dictate how others consume art. However, I do think that our choices, especially those we make in public, have consequences.
I read a quote, and I wish I could credit it but have been unable to find it again, that helped me think about my personal approach to art I have loved created by artists who have done great harm. "Don’t put your nostalgia for a piece of art over the reality of other people’s futures."


Official Author WebsiteRead Fantasy book Critic's review of No Heart For A Thief
OFFICIAL AUTHOR INFORMATION: James is a nerd with a head full of stories and limited time to put them on the page. He grew up in Grand Rapids, MI, spending an excessive amount of time at a local community theater where he developed his affinity for storytelling. This affinity grew into a deep admiration for language and spoken word poetry while studying mathematics and education at the University of Michigan. He firmly believes that art—even silly books about magic, or maybe especially silly books about magic—has the ability to tell stories that sink beneath the surface.

 Buy A Forbidden Alchemy

FORMAT/INFO: A Forbidden Alchemy will be published on July 1st, 2025 by Saga Press. It is 480 pages long and available in hardcover, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: One simple test has the chance to change your life forever. In a matter of seconds, you discover if you are a magical Artisan or a non-magical Crafter. Nina and Patrick are just children when they undergo their test - and discover a secret that changes their lives forever. Over a decade later, the two are reunited as the country is embroiled in revolution. Nina is an Artisan trying to hide from both sides of the war, while Patrick is a leader of the Crafter revolution. After all these years, will their bond stand the strain of conflicting loyalties? Or will the sides of the war keep them apart?

A Forbidden Alchemy is a slow-burn fantasy romance that swept me off my feet. It takes its time to build up the dynamic between the two characters, first introducing you to them as children, when a formative event shaped their lives forever. When Nina and Patrick are reunited, you can feel the weight of history each carries. They’ve both done things to survive that they aren’t proud of. They're each living with the consequences of their choices that fateful day as children, and it has shaped them in very different ways.

It's the differences that keep the romance a slow dance between Nina and Patrick. Although they sparked a bond as children, they haven't seen each other in over a decade. Can they trust each other? Where do their respective loyalties lie? Would one of them put the other above their ties to any family or faction? While they figure out their hierarchy of trust and priorities, Nina and Patrick keep each other at arm's length. Watching those walls slowly crumble is what makes the eventual romance (and brief spice) worth it.

Supporting this romance is the moody and desolate world this story is set in. The bulk of the book takes place in an area that resembles a rural England mining town in the early twentieth century. It's the kind of town where the majority of men are involved in the dangerous work of mining, where people live in constant fear of hearing of a devastating tunnel collapse. The landscape is harsh and unforgiving, and full of windswept moors, the perfect backdrop to a romance fraught with tension.

While A Forbidden Alchemy is a fantasy story, it's a fairly low-magic one, largely due to the fact that it is primarily set in a non-magical Crafter town. The magical Artisans exhibit an affinity for manipulating some sort of element, metal, or other singular material. Nina, for instance, is an earth charmer (essentially an earth bender), while rapid communication throughout the country is facilitated by those who have an affinity for ink and can manipulate it across great distances. Their abilities are used infrequently enough that I sometimes found myself forgetting there was magic in this world, even though the clash between Artisans and Crafters drives the heart of the story.

But at the end of the day, the magic doesn't matter as much because the fight between Artisan and Crafter is really one of class warfare. The Crafters do the back-breaking work that keeps the nation functional, while the Artisans live in luxury, making occasionally useful things, but often things that are just pretty. It's the classic recipe for an uprising.

At the center of it all is Patrick, the heart of a workers' uprising. He's the cold leader of the town who will make the impossible choices so that life is better for the families that come after. He's brutal when he has to be and brooding most of the rest of the time, and yes, it's absolutely catnip for me.

Nina, on the other hand, is out for herself. Not in an actively malicious way, but in that passivity of "I don't want to rock the boat if it's going to mean bad things for me." To be fair, the more we see of her backstory as the narrative unfolds, the more we see how much she has lived in constant fear the last several years, despite being an Artisan. Gaining the confidence to work on behalf of others is as much about facing her own fears as it is about growing a conscience.

My only real flaw was the fact that I ended up having to yell at certain characters for naivete towards the end of the book. While I can see the plot reasons certain choices were made, I found myself banging my head against the wall as I foresaw the inevitable fallout from those decisions.

CONCLUSION: That said, A Forbidden Alchemy may be my first Stacey McEwan but it certainly won't be my last. I found myself completely hooked by the writing and was desperate to pick it up at every opportunity. Truly, my biggest gripe with the book? That it had THAT ENDING and now I have to wait many, many months to see where things pick up in the sequel. I'm ready for the next installment of inevitable drama and angst to be injected into my veins NOW.

 

 

Official Author Website
Read Fantasy Book Critic’s review of The Price Of Power
Read Fantasy Book Critic interview with Michael Michel
AUTHOR INFORMATION: Michael Michel lives in Oregon with his wife and their “mini-me” children. When he isn’t obsessively writing, he can be found exercising, exploring nature, enjoying comedy, or playing Warhammer. His favorite shows are Dark, The Wire, and Scavenger’s Reign—clearly, he loves his heart to be abused. 
OFFICIAL BOOK BLURB: Treachery looms across the land.The Scarborn have deposed the once-great Ironlight family. With scores to settle, the lowborn shake rust from their knives and trade allegiances for a promise of blood while the highborn rally their armies.Namarr’s future rests on a blade’s edge, and the heroes who might save it can no longer hide. Meanwhile, across the sea, Scothea has already succumbed to revolution.Fanatics led by the Arrow of Light wrest the throne from an ancient line of kings. Now, their sights are set on a Third Crusade against Namarr. For most, it will be their last.The pieces are set. The gameboard is chosen. For those unwilling to play, there’s only one peaceful place left…The inside of a grave.
OVERVIEW/ANALYSIS: There’s a standout scene early in this story when a character attends a funeral and sings a haunting lament over the deceased. Although we never met the departed, the scene brought me near to tears. Powerful, gut-wrenching emotions were laid bare, breathing depth and weight into this grim saga of an empire teetering on the edge of collapse.
This is but one of many examples throughout Michael Michel’s A Graveyard for Heroes that evokes empathy and compassion with characters of varying moral quality. One of the new POVs is a military general from the invading Scothean empire, and while he has committed atrocities under the rule of his king, Michel crafts him in a way where we can fully grasp his conflicts and motivations. Michel shapes his characters with a subtle, deft touch, building lifelike characters and conversations through realistic dialogue, emotion-fueled actions, and questionable decisions. 
A Graveyard for Heroes further elevates the series in every way. Similar to book one, The Price of Power, the story uses rich detail, strong character and plot development, and shocking scenes of violence and darkness to tell a slow-burn tale of revolution, responsibility, and vengeance. I found the tale to be increasingly unpredictable, which was an exciting and welcome feeling. 
While there is magic to the world, it is limited in its usage, and this helped create a sense of awe when unleashed. This decision pairs well with the methodical nature of the storytelling, but I must stress that at no point did I ever feel the book’s pacing had slowed. Every chapter pushed the plot further, and the characters into more interesting and tighter predicaments. 
I must note two additional elements that caught me off-guard: first, the usage of music led to some of the story’s most powerful scenes, as Michel’s descriptive prose made me feel like I was attending and listening to these performances live. Second, there were some thoughtful philosophical ideas introduced that helped convince people of a stubborn mindset to quickly change their worldviews. Well-written speeches argued for new approaches to thinking and doing, and I was nodding my head along with the characters in the audience. It speaks volumes to Michel’s ability to approach different mediums and evoke strong responses through his storytelling.
A Graveyard for Heroes succeeds in delivering a compelling, entertaining, and satisfying sequel to The Price of Power. It further raises the stakes while getting the reader to care deeply about the fates of its characters and the direction of where this is all headed. 
CONCLUSION: This is a promising and exciting series from a talented and careful author, and I can easily recommend it to fans of dark, thoughtfully crafted, character-driven sagas. I look forward to re-reading both entries before book three arrives in January 2026. Highly recommended.

 

Official Author Website
Read Fantasy Book Critic’s review of The Price Of Power
 
Q] Tell us about your early experience in reading and writing fantasy! What were some of your favorite authors and series that influenced the Dreams of Dust and Steel? Did you always write fantasy or have you explored different genres?
 
MM: Well you see, I started out writing porn scripts in my twenties--err--I mean, TOLKIEN!
 
Okay, serious answer. When I was seven, my older brother and I bought a white dwarf magazine and thought it was the coolest thing we’d ever seen, so I got heavily into Warhammer, which was a massive influence. Also, my dad used to read fantasy, and on long car rides, we listened to audiobooks, the coolest one being a David Eddings book–that’s what kicked off my reading journey.
 
My peak reader experiences have been A Song of Ice and Fire and the Riftwar Saga. The latter made me want to dream up worlds,  and the former inspired me to be an author. Special shout-out to the X-Men cartoon as well. Growing up in the 90s, I recorded every episode on VHS. The psychosocial relationship between characters and their powers is brilliant.
 
I wrote a lot of Sci-Fi when I was a more active member of the Wordos critique group. I had some publications and a few honorable mentions in Writers of the Future druing that stretch, but fantasy has always been my passion.
 
I’ve also done some non-fiction spirituality writing. You might catch that vibe in book two and beyond when the Arrow of Light shows up.
 
Q] Your books tell the tale of two empires struggling for dominance and control, with both sides committing horrid atrocities over the span of decades.  Most of the POVs we engage with in book one are on the side of Namarr, the current ruling class, though I found it difficult to cheer their victory due to their war crimes. Are there any real-world wars or invasions that you had in mind while developing these empires?
 
MM: I pull a ton from history. I love it. The events leading up to the current timeline of The Price of Power were heavily influenced by the American Revolutionary War. Danath is a Washington-esque character, though instead of being part of the upper-crust, he starts as a slave. Kurgs are a mix of samurai and Mesoamerican cultures–I was obsessed with the Mayans for a while. Scothea is a blend of elements taken from Russia and Japan.
For world-building, I tend to start with a bit of real history, and then bounce it off a character to see what works. From there, both evolve and influence each other until they become something unique.


Q] Perspective plays an important role in this story, though in book one the focus was mostly on POVs from the Namarr empire. Will readers get a chance to engage with POV’s from the opposing Scothean empire later in the series? What led to your decision to only focus on one side early on?
 
MM: Short answer: Yes. Readers will be introduced to Ikarai Valka, a Scothean general in book two.
 
And book two and three will take us to a number of new locations.
 
As to my decision to stay grounded in book one, that came down to a matter of strategy. I had to look at what would be best for readers. Originally, I had all nine characters’ POVs in book one. That…didn’t work.
Dreams of Dust and Steel is an intricate story set in a vast world. I didn’t want to overwhelm people, so I had three questions at the top of each chapter as I wrote book one. Something like this:
1 ) What’s the emotional arc?
2 ) What’s the action in this section?
3 ) What is the world-building/plot introduced?

Every chapter had to have some semblance of all three, or it needed to be cut. This allowed me to make sure there’s always a sense of progress for readers, even when the story slowed down. It also allowed me to ensure characters had continuity in their development, some manner of action occurring regularly–be it dialogue, fighting, etc–and it allowed me to “drip” the world-building to readers in a digestible way.
 
I want to stay focused on character journeys in this series, while slowly peeling back the world as we go. Novelty is one thing folk love when they read, so this is my way of manufacturing a sense of “newness/freshness” throughout the series.
 
That keeps the pages turning.
 
Q] You’re writing two series simultaneously: Dreams of Dust and Steel, as well as a series of novellas set years before the events in DoDaS. Was this always the plan, or had you considered integrating both stories into one series?
 
MM: This wasn’t a plan until I wrote War Song as a reward to backers in my first Kickstarter. Then, I caught the bug for something dark but slightly more heroic than TPoP.
 
I’d just read Red Rising as well, and enjoyed Darrow’s story. The way he constantly strategized the next best step, or accomplished incredible feats, alone or with allies, inspired me to write a whole prequel for this legendary character, Danath Ironlight. I realized he shares quite a few qualities with the Reaper and had a similar backstory. In a way, the novella series is an homage to both Red Rising and George Washington.
 
Q] Comparisons to George RR Martin’s “A Song of Ice and Fire” seem to get tossed around frequently these days, but in this case it feels an apt comparison, with a list of POVs and supporting characters thats ever growing. Is there concern that the story might get away from you, or do you have the full saga planned out in advance?
 
MM: The full saga is planned out. I know how it ends for all the characters and have book 4 and 5 roughly outlined. Book 3 is done and in revisions.
 
The advantage GoT has over my series is that all the characters start together. It’s easier to ground into the world, see how characters relate, etc., early on. Easier to lead them into danger and cool scenarios, too, because there’s no worry about bringing them immediately back together.
 
BUT, all those characters who fan outward from the localized starting point, THEN have to meander back. From a strategic perspective, this can make it hard to wrangle in and may cause a lot of “bloat” through the middle of a story as we have to invent new shit to lead characters toward a conclusion that seems pointless.
 
Now, the advantage I have over GoT is that all my characters have been moving toward one another from the start. So while I might lose readers early on who dislike the lack of intersection between characters, my way of always narrowing toward something has made each successive book move faster in the writing process, and readers get to be excited as they see their favorite POVS cross paths, or mysteries click into place.
 
My “bloat” is more toward the front end, but I’d call it necessary character building. At least, no meandering middle bit. Readers who like the series from book one should be in for a treat.
 
Q] If you have any free time, how do you spend it? Can you recommend any books, games, shows, that have recently caught your interest? 
 
MM: You’re right to ask it the way you did, haha. Not a ton of free time since I have two kids and hustle constantly atm. Fingers are crossed there’s more respite on the horizon, though.
 
If I had more free time, I’d play a ton of tabletop and board games and have a regular exercise schedule (yoga, martial arts, weightlifting). I’d also do a lot more hiking and paddleboarding. I truly enjoy nature, comedy, TV/movies. Video games are cool, but not my main thing. I love to dance, too.
 
The top three shows I strongly recommend: Dark, The Wire, Scavenger’s Reign.
 
Favorite games in recent memory: Ghost of Tsushima and Hogwarts Legacy.

 

I like the idea of aging heroes forced to save the world one more time. They’ve already done their time in the spotlight, but the world clearly refuses to stay saved for good. Slayers of Old offers a fun take on this trope; it’s cozy, character-driven, and reads well. 

Jenny (a hunter once devoted to Artemis), Annette (a half-succubus grandma with sass and scars), and Temple Finn (a nearly century-old wizard bound to his half-sentient ancestral home) have settled into their golden years trying to run a bookstore in Salem. They want peace and to enjoy Temple’s excellent meals. Alas, eldritch horrors don’t have a shred of decency - they don’t care that the former Chosen Ones have arthritis and can barely remember to get dressed. 

The house they live in is far more than a backdrop. Thanks to its magical bond with Temple, it creaks and groans with his aches, but it also bends reality. It rearranges its rooms on a whim, creates new ones when needed (say, for unexpected guests), and generally ignores the laws of physics. Between that and the sentient mice who assault neighborhood cats, the setting feels alive in the best way.

The magic here isn’t overly explained, which, honestly, I appreciated. It seeps and lingers and remains unpredictable. The banter between the trio is warm, sharp, and believable. Their friendship comes from decades of shared pain, triumph, and breakfast routines. They’ve all made their mistakes, and lived long enough to understand what matters now. 

That said, the coziness comes at a small cost. You know going in that this isn’t the kind of story where the world will end in darkness. There’s comfort in that, sure-but it also meant the stakes never quite reached the heights I like. Evil won’t win, not really. The tone reassures you of that from the start.

And that’s okay. Sometimes I prefer the assurance that the found family will win, that the bookstore won’t burn, and that a haunted van with a ghost mom can be part of the solution. Slayers of Old delivers exactly what it sets out to: heart, humor, action, and magical mischief. Also, the ending isn’t exactly what some may expect, and it’s better for it.

I’d give it 4 stars. Cozy fantasy done right-with some battle scars, strong tea, physics-defying architecture, and maybe a cursed trinket or two.

 

Preorder Liminal Monster over HERE
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Luke Tarzian has graced us with the cover for this newest story titled LIMINAL MONSTER. Firstly here's the blurb for it


 Plus here's the snazzy cover for it which has been created by the author himself


 For those reviewers who might be interested to review it, the author has set up an e-ARC request form over here. 

Book review: The Price of Power by Michael Michel

Book links: Amazon | Goodreads

About the book: Prince Barodane could not hold back the darkness. Not even in himself. He laid an innocent city in its grave and then died a hero.

In his absence, war whispers across the land.

Power-hungry highborn dispatch spies and assassins to the shadows as they maneuver for the throne, while an even greater threat rises in the South. Monsters and cultists flock to the banners of a mad prophet determined to control reality…and then shatter it.

Destiny stalks three to the brink of oblivion.

A dead prince who isn’t dead. Barodane buried his shameful past in a stupor of drugs, drink, and crime. Now, he’d rather watch the world fall apart than wear the crown again.

An orphan with hero’s blood who's forced to make a harrowing betray her country or sacrifice her first love.

And a powerful seer who has no choice at all–her grandson must die.

If any of them fails to pay the price…

The cost will be the world’s complete annihilation.

Formats: Audiobook, ebook, paperback

REVIEW: The Price of Power is an impressive start to an intricately plotted dark fantasy saga. Michel’s writing shines with his fine attention to detail, a polished prose, and a rich, moral ambiguity where you’re never comfortable rooting for a particular side.

Two empires have been struggling for decades. One side invaded and enslaved the other, but the slaves broke free and overcame their oppressors while unifying disparate territories into a sovereign nation. But as time passed, the oppressed became the oppressors; they enacted a horrifying tradition of permanently scarring the newborns of their old enemies. There are legitimate arguments on both sides for generational hatred, and the current balance of peace vs. rebellion is teetering on the precipice of disaster.

We follow several POVs across the continent: a powerful Grandmother tasked with training a doomed young boy; an isolated princess forced to prove her worth to save the kingdom from shattering into chaos; a disgraced war veteran-turned-drug dealer haunted by madness and regret; an ally of the veteran who traded honor for loyalty; a defeated and abused pig farmer who embarks on a suicide march up a cursed mountain haunted by demons and untold power.

The vast majority of the story has very little crossover between the characters, but the threads start to weave together near the conclusion. While there was some predictably with some of the later reveals, Michel’s strong character development and emotional growth elevated the reading experience.

The pacing was also strong, as I longed to return to each POV to see what would happen next — but was never upset about switching over to the next chapter POV. There was a good balance between action, plot development, and the emotional struggles each character was facing.

This is not a short book, but it still felt like it was all about setup — characters were introduced, stakes were raised, and pieces put in place for a long, complex, and exciting journey ahead.

I wouldn’t classify this as grimdark although it’s easy to see how others might. Just be warned that this is not an uplifting book — many terrible things happen to good people, and justice is fleeting. But for those who like grit and grime and no easy solutions, this is an easy recommendation to make. I already started the prequel novella and eagerly await book two’s release.

 Buy The Incandescent

FORMAT/INFO: The Incandescent was published by Tor Books on May 13th, 2025. It is 432 pages long and is available in hardcover, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: As the Director of Magic at Chetwood Academy, one of the most prestigious boarding schools in England, Dr. Walden's day is full of everything from faculty meetings to demons trying to break through the school's wards. She is constantly torn between keeping up on mundane admin while trying to stop idiot teenagers from messing with magic beyond their capabilities. But what is Dr. Walden to do when the greatest threat to the school might be herself?

The Incandescent is a fresh spin on the magical academia genre, where the overworked, underpaid faculty at an elite boarding school get to shine front and center. Nearly, if not all, magical academia books I have read have been from the POV of the students. I've seen plenty of books where a group of scrappy teenagers discovers a dark conspiracy afoot at their school. They sneak behind teachers' backs, dabble in a bit of forbidden magic or research, and generally defy authority, all in the name of saving the day.

But let's face it, many teenagers aren't noble heroes on a quest - they're idiots. Enter the exasperated staff of Chetwood Academy, trying to help shape students on their quest to discover their path in life, while also making sure they don't fall prey to demonic possession because they cut corners while drawing a summoning diagram. Dr. Walden and her staff are just as often trying to save the students from themselves as much as from outside threats, all while grading papers, offering career counseling, and managing the school's budget.

The Incandescent also takes a moment to examine and critique the whole structure of elitist boarding school culture. It examines the notion that what parents aren't paying for isn't really a top tier education; they're paying for their child to join the network of alumni scattered across the country and use that network for the rest of their lives. It's the social connections that truly matter to most parents, the security of knowing their child will have plenty of contacts who will open doors for them in the future. This in turn perpetuates systemic class disparities, as most often only those who can pay for the connections, get the connections.

I want to take a moment to note that while the marketing for this book makes a point of mentioning this is a sapphic story, you shouldn't expect a sweeping romance. Relationships are just one part of Dr. Walden's life, and certainly not the focus - which is good, because I found those romance dynamics one of the weaker parts of the story. On the one hand, I liked that Dr. Walden is grappling with the complications of juggling potential romance with the demands of her career. But there was just no chemistry between Dr. Walden and her love interest, leaving not particularly interested in what happened on that front.

CONCLUSION: The Incandescent is a worthy addition to the shelves of magical academia, and any fan of the genre should give it a read. It examines school culture from the rare perspective of the teacher, but it doesn't put forth that the teachers have all the answers; one of the best scenes is a student who challenges Dr. Walden's notion of how well their life situation and an elite boarding school education track go together. It gives you food for thought while also being an entertaining blend of school exams and demonic invasions, making The Incandescent a definite recommend.

Book Review: The Everlasting by Alix E. Harrow

Book links: Tor Publishing Group | Goodreads

ABOUT THE AUTHOR: Alix E. Harrow is the Hugo Award winning author of The Ten Thousand Doors of January, The Once and Future Witches, and various short fiction. Her Fractured Fables series, beginning with the novella A Spindle Splintered, has been praised for its refreshing twist on familiar fairy tales. A former academic and adjunct, Harrow lives in Virginia with her husband and their two semi-feral kids.

Publisher: Tor Books (Expected October 2025)

Formats: Audiobook, ebook, paperback

REVIEW: The Everlasting is my favorite of Alix’s stories since the release of The Ten Thousand Doors of January. It is a love story told across a thousand years, again and again. It’s a story of ambition and ruthlessness, of bravery and cowardice, of servitude and freedom. It’s a lovely, emotional, and endearing read, showcasing Harrow’s wit and insightful observations common to her stories.

Told from an alternating second-person narrative (!) that echoes through time (!!), the story brings to mind Ken Grimwood’s classic Replay in all the best ways. Stories of this particular genre seem like they’d be especially difficult to execute, but Harrow does a remarkable job at harvesting all the seeds planted throughout the story.

I’m not going to divulge any further plot details as that would spoil some of the fun. Trust that the book is full of surprises and runs the full gamut of emotions, so prepare yourself for an immersive reading experience.

Sorry for cutting this short, but I have to go. If you need me, I’ll be waiting beneath the yew tree…

 

Official Author Website 
Pre-order God’s Junk Drawer over HERE 
Read Fantasy Book Critic’s review of Ex-Heroes 
Read Fantasy Book Critic's review of Ex-Patriots 
Read Fantasy Book Critic’s review of Ex-Communication 
Read Fantasy Book Critic's review of Ex-Purgatory
Read Fantasy Book Critic's review of Ex-Isle
Read Fantasy Book Critic's review of The Junkie Quatrain 
Read Fantasy Book Critic's review of 14 
Read Fantasy Book Critic's review of The FoldRead Fantasy Book Critic’s review of The Broken Room
Read Fantasy Book Critic Interview with Peter Clines 
Read Fantasy Book Critic’s second interview with Peter Clines  
Read I See Dead People by Peter Clines (Guest Post)  

We are big fans of Peter Clines at Fantasy Book Critic and it's been a while since we have gotten to read some of Pete's fabulously twisted tales. So it is with great pleasure that we got news of the cover for God's Junk Drawer.
 Peter's newest standalone book is being released by Blackstone Publishing on Nov. 11th 2025 and here's the snazzy cover for it featuring the talents of James T. Egan (Bookfly design).


Pre-order God’s Junk Drawer over HERE Add God's Junk Drawer on Goodreads
Official Book Blurb: Welcome to the Valley …
Forty years ago, the Gather family—James, his daughter Beau, and his son Billy—vanished during a whitewater rafting trip and were presumed dead.
Five years later, Billy reappeared on the far side of the world, telling an impossible tale of a primordial valley populated by dinosaurs, aliens, Neanderthals, and androids. Little Billy became the punchline of so very many jokes, until he finally faded from the public eye.
Now, a group of graduate astronomy students follow their professor, Noah Barnes, up a mountain for what they believe is a simple stargazing trip. But they’re about to travel a lot farther than they planned …
Noah—the now grown Billy Gather—has finally figured out how to get back to the Valley. Accidentally bringing his students along with him, he’s confident he can get everyone back home, safe and sound.
But the Valley is a puzzle—one it turns out Noah hasn''t figured out—and they’ll need to solve it together if there’s any chance of making it out alive.
Pulling from Earth’s past, future, and beyond, Peter Clines has created a complex, dangerous world, navigated by a dynamic ensemble cast, and a story that is thrilling as it is funny and heartfelt.

 

Book links: Amazon, Goodreads

ABOUT THE AUTHOR: Adam Oyebanji was born in Coatbridge, in the West of Scotland, and is now in Edinburgh, by way of Birmingham, London, Lagos, Nigeria, Chicago, Pittsburgh and New York. After graduating from Birmingham University and Harvard Law School, he worked as a barrister, before moving to New York to work in counter-terrorist financing in Wall Street, helping to choke off the money supply that builds weapons of mass destruction, narcotics empires and human trafficking networks. His first novel, Braking Day, was a finalist for the Canopus Award.

Publisher: DAW (May 20, 2025) Length: 432 pages (Kindle edition) Formats: Audiobook, ebook, paperback

Esperance hooked me from page one and didn’t let go. I mean, how could it? It opens with an impossible murder - a father and son drown in seawater inside their 20th-floor Chicago apartment (with no water tank around, floors dry, and nail scratches on the ceiling). A dead barracuda is just lying there next to them. For me, that’s the kind of opening that demands attention, and trust me, Oyebanji knows exactly how to keep it. 

All of this somehow ties to a woman in Bristol who dresses and speaks like she walked out of the 1930s Nigeria, has and builds tech that shouldn’t exist, and is on a very specific historical scavenger hunt. Yeah, I’m in.

The pacing is perfect - the short chapters told from two points of view (Detective Ethan Krol and Abi) fly by quickly thanks to the right mix of action, mystery, and those oh-crap moments where everything shifts. The sci-fi elements are there, but Oyebanji doesn’t over-explain them, which somehow makes them even cooler. I found the twists top-tier, but your mileage may vary. Anyway, just when I thought I had things figured out, nope. With that said, it’s possible some readers won’t be crazy about police procedural elements, but since I love them, I had no issues here.

I also loved the dynamic between Hollie and Abi. Hollie is basically most of us. Abidemi, on the other hand, is an enigma - charismatic, dangerous, and inhumanly brilliant. Their relationship had the odd but interesting energy, and I loved how their interactions went from trust and suspicion and back.

Even the antagonist had motivations that actually made sense. There’s logic to their actions, even if their methods are, let’s say, a lot.

By the time I hit the final act, I was all in. The twists come fast, the revelations hit hard, and the ending is equally satisfying and unsettling. I feel it’ll stick with me. If you’re into Blake Crouch-style thrillers, Neal Stephenson-esque tech mysteries, or just a smart, fast-paced story that refuses to be predictable, Esperance is absolutely worth your time.

Buy Level: AscensionRead our review of Book 1, Level: Unknown

FORMAT/INFO: Level: Ascension was published by Orbit Books on May 13th, 2025. It is 400 pages long and available in ebook, audiobook, and paperback formats.

OVERVIEW/ANALYSIS:  In order to save his world, Nick will have to end another. With a large black disc traveling closer and closer to his research station, Nick spends nearly all his time in the fantasy world of Yensere, a digital simulation created by a mysterious alien artifact. In Yensere, the god-king Vaan has frozen a similar looking black sun in the sky; this has prevented an apocalypse in Yensere but disrupted the patterns of time and nature in a way that seems to be destroying the world anyway, if more slowly. If Nick is to understand the doom that approaches his people, he will have to kill the god-king Vaan and unleash disaster on Yensere so that he can gain whatever knowledge he can. But before then, he'll have to defeat the god-king's chosen champions - a task that will come with a devastating cost.

Level:Ascension continues to expand its world in interesting ways, but the plot was overwhelmed by the sheer number of fight sequences. On the plus side we get to learn more about Frost, her origin, and how her sister went missing. It added some much needed personal stakes to the story beyond the also important "save the world." I also appreciated the teases we get indicating that Yensere isn't the only digital world contained within the alien artifact.

But these small nuggets of clues and character insight were overwhelmed by fight after fight after fight. On the one hand, I understand that a LitRPG is going to have a lot of battles in it, especially when it's inspired by a game like Dark Souls. Going from one epic fight to another is literally what that game genre is all about. But the more fights you have with everyone wielding awe-inspiring powers, the less exciting each encounter feels.

Don't get me wrong, in a vacuum the individual fights are impressive. As always, this author delivers a powerhouse finale that is a great set piece with personal stakes. But I could have used one or two fewer fights and a little more time expanding on some of the other characters. Sir Gareth, for instance, was a strong part of book one, but gets a bit left by the wayside in this sequel, a hazard of several new characters entering the playing field.
CONCLUSION: For some of you, hearing that Level: Ascension is chock full of impressive fight scenes is going to be fantastic news, and I encourage you to go give this series a try! For me, while I enjoy the overall concept of this simulated world, I had a bit of trouble finding the momentum in this particular outing. Perhaps with everything coming to a head in upcoming Level: Apocalypse, I'll find that momentum once more.

 

Book links: Amazon, Goodreads
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Someone You Can Build a Nest In is a monster romance. The main character, Shesheshen, is a shapeshifting creature able to build herself out of bones and organs of her victims. Yes, she eats people, but she is also trying to figure out love.

The story starts with Shesheshen getting chased out of her swamp by hunters and falling off a cliff. She’s rescued by Homily, a kind woman who has no idea that her new houseguest is actually the monster she’s been raised to hunt. Shesheshen is smitten with her, so obviously the next step is to kill Homily and lay eggs in her. Except that the more time they spend together, the more Shesheshen falls for her in ways that go beyond instinct of her kind.

Shesheshen’s point of view is funny, sometimes gross, and surprisingly thoughtful. She’s like an alien trying to understand humans, and her observations are hilarious. The tone reminded me The Hitchhiker’s Guide to the Galaxy, just with more body horror.

That said, the book does take some turns that didn’t land quite as well for me. There’s a big focus on Homily’s abusive family, and while I appreciate the book trying to handle serious themes, I wasn’t totally sold on how quickly and deeply Shesheshen understood things like trauma and emotional abuse.

Also, Homily never fully came alive for me as a character. She’s meant to be this warm, steady presence, but I found her kind of flat. Maybe that’s because we’re seeing her entirely through Shesheshen’s eyes, and Shesheshen spends so much time analyzing her rather than just letting us get to know her.

Even with those issues, I had a good time listening to this. It’s clever and has a surprisingly sweet heart under all the goo. It’s not a cozy romance or a full-on horror novel, but something in between. You kind of have to be in the right mood for it-but if the idea of a people-eating blob monster falling in love sounds fun to you, it’s definitely worth checking out.

 

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Preorder Dragon Along over HERE
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Joseph John Lee is an author whom we love at Fantasy Book Critic. He's the author of The Spellbinders & the Gunslingers trilogy. We were so thrilled to be a part of the cover reval for the concluding vlume of the Dragons of Nóra duology.
Dragon Along will be releasing on June 3rd 2025 & here's the cover in all of its glory and do checkout the blurb below

Official Blurb: Sometimes, the promise of a different story doesn’t quite go the way you planned.
After the adventure of a lifetime and hatching a dragon of his own, Camaráin promises his mother that they won’t be forced on the same journey his sister embarked on. That pledge appears to have happened a bit too literally: for as much as Camaráin’s hatchling Brían loves to sit and read with him, they share neither the Bond nor the friendship that Camaráin’s sister had with her dragon.
When his grandparents invite the family to their new home outside the capital city of Mór, Camaráin thinks the extent of his new story is getting rid of the belligerent gnome that has taken up residence in his grandparents’ bathroom. At least, until the gnome forms an instant rapport with Brían that leaves Camaráin flummoxed—and also quite jealous.
If Camaráin is to discover why he cannot form a Bond with his new dragon, he must navigate the strange webs of Mór spun by a secret scholarly society, a band of fae hunters, tourists taking up too much space, and the banned books section at the local library.
Evidently, the days of bonding over books and a cuppa have yet to make their way to the land of Nóra.

 

Book links: Amazon, Goodreads
ABOUT THE AUTHOR: Raymond St. Elmo is a programmer of artificial intelligences and virtual realities, who has no time for literary fabrications of fictitious characters and world-building. And yes, that was meant to be ironic. 
A degree in Spanish Literature gave him a love of Magic Realism. Programming gave him a job. The job introduced him to artifical intelligence and virtual realities; as close to magic as reality is likely to get outside the covers of a book. And yes, that was meant to be cynical.
The author of several first-person comic-accounts of strange quests for mysterious manuscripts, mysterious girls in cloaks whose face appears SUDDENLY IN THE FLASH OF LIGHTNING. And yes, that was meant to be dramatic.
Publisher: St. Elmo Labs (April 14, 2025) Length: 414 pages Formats: ebook, paperback
Dunstan The Wanderer is an oddball fantasy-romance-adventure that opens in the dusty corners of reality and ends somewhere just shy of Hell. Quite literally. It's the story of a lonely, book-obsessed man whose best friend is an imaginary ten-year-old and whose idea of a good time involves cataloging ancient manuscripts. He’s not unhappy, mind. Dunstan’s the kind of person who lives mostly in his head, buried in books and scrolls, happy to spend quality time with himself. He’s got a quiet life he appreciates. And then, everything changes.
He meets a girl. There's a portal. And then there's Hell.
If you like your fantasy whimsical yet sincere, romantic but not saccharine, this book will scratch the itch. The love it depicts is far from cliche - Dunstan and Kath chase each other across worlds while dodging unhinged gods, interdimensional bureaucracy, and their own madness. Sometimes you'll wonder if they need therapy or an exorcist more. Anyway, it's part love story, part fever dream. The world building has a dreamlike feel. Additionally, grown-up versions of characters chime in from time to time to judge their past selves, and I enjoyed their comments. Basically, it's a fairytale for adults who like footnotes, metafiction, and existential dread seasoned with hope. 
There’s a lot going on. Possibly too much at times. St. Elmo’s writing is sharp, strange, and packed with more clever turns of phrase than strictly necessary. Sometimes you simply have to reread a paragraph five times to figure out what’s happening. But when it hits (and it often does), it really hits. 
There were moments that made me smile, sigh, roll my eyes, but also yawn. Dunstan himself is a charming protagonist, the kind of introvert who retreats into books not out of misery but out of contentment. Watching him get dragged - emotionally and literally - out of his comfort zone is part of the book’s appeal.
This is the third installment in the Wanderers series, but it works perfectly well as a standalone. Fans of the previous books will enjoy seeing familiar characters return, though newcomers can jump in here and still catch the full ride to the gates of hell and back. Bonus points for acknowledging that love isn’t just star-crossed passion - it’s arguing over groceries, garden pests, and who gets the last word.
Smart, strange, and romantic in the most chaotic way. A bit wordy, yes, but well worth the detour through the Inferno.

 

Official Author WebsitePre-order Only A Grave Will Do over HEREAdd Only A Grave Will Do on Goodreads
Today we have super thrilled to be part of the cover reveal for the last book of the Malitu trilogy by James Lloyd Dulin, 
Feast your eyes on the gorgeous cover for ONLY A GRAVE WILL DO by artist Martin Mottet, the book released on June 24th 2025 and you can checkout the blurb below:

OFFICIAL BLURB: On the march towards war, blood is both a promise and a gamble.

Newly dubbed the Hero of Anilace, Kaylo is thrust into leading a rebellion against insurmountable odds. His people are dying, if not in labor camps, in occupied cities as everything that makes them Ennean is stripped away. In two generations, the Great Spirits will be legends and Ennea will be yet another conquered territory. People look to Kaylo and the myth growing around him to stem the rising tide.

Sixteen years later, a trivial rebellion, a reclusive nation, and a vast empire march towards a battle to decide the fate of Ennea and her people. The actions of the small folk go unseen. Those who want to serve; those who have given up; those imprisoned; those who will fight at any cost; and those who will protect the people they love with every breath will tip the scales. Ennea is not done fighting.

Isn't it gorgeous?

There will also be a blog tour for the book release and you can check out all the details in the graphic below

(Hyperion Japanese cover art)
Despite the genre’s escapist premise, fantasy literature often hosts cutting commentary on real-world issues. The monsters that terrorize these tales—from mythical beasts like the Kraken to the eerie walkers of today’s The Walking Dead—can symbolize humanity’s deepest fears and our most naked vulnerabilities. Through these creatures, fantasy stories have always held a mirror to the shifting anxieties of their eras. As an avid fantasy reader who worries constantly about our collective future, I’m interested in how fantasy monsters represent universal alarm—and how the stories that harbor these monsters continue to fulfill our ever-increasing need for escapist media.

The earliest mythical monsters in human history stemmed from the need to explain mysterious natural phenomena. The creatures of ancient myths often embody our most basic, physical fears: the violence other species, the destruction wrought by severe weather, humanity’s defenselessness against unthinking and uncontrollable natural forces. In ancient Greece, for instance, all meteorological occurrences—from prosperous harvests to devastating floods—were thought to be the direct result of godly intervention. The Greek gods were alternately merciless monsters and generous benefactors; they both caused and exacerbated humans’ powerlessness.

Some of the beings that populated classical myths were more straightforwardly monstrous, and these too represented fears inherent to human existence: the Minotaur, trapped in a labyrinth alone, represents the violent parts of human nature that emerge with isolation. The serpent-like hydra, with its multiple heads, could be said to embody chaos—the uncontrollable force of natural disasters, perhaps, or the seeming inevitability of war. 
Many of these monsters can also be linked to moral and religious narratives. The Minotaur’s defeat by the hero Theseus could be said to symbolize the triumph of virtue over vice, a theme that appeared in ancient mythology and remains popular in fantasy literature today. The hydra, which is often associated with Ares, the god of war, sometimes represented punishment for moral failings, reminding us that ignoring religious or ethical obligations could trigger disastrous punishments. Thus, these early myths used monsters not only to explain the natural world, but also to prop up a moral framework.
(THESEUS AND THE MINOTAUR by Barret Chapman)
As exploration and colonialism brought unfamiliar cultures into contact with each other for the first time, new fantasy monsters emerged to account for explorers’ fear of the unknown. Fantasy monsters developed during this era often symbolized the threats posed by unfamiliar territories, cultures, and species, embodying anxieties about difference. The Kraken of Nordic folklore offers an excellent example. A colossal, squid-like creature, the Kraken could pull down ships with its powerful tentacles. For European sailors during the Age of Exploration, the mythological Kraken symbolized the very real danger of the open sea.
Other fabled monsters were developed during this era to represent the indigenous peoples of colonized lands Ogres, cannibalistic giants, and other “savage” human-like creatures populated stories like The Travels of Sir John Mandeville, a fictional 14th-century travelogue that describes various monstrous beings believed to inhibit the New World. These "monstrous races”, which include “dog-headed Cynocephales” and “one-legged Sciapods”, mirrored appearance-based prejudices against native peoples. 
Unlike the religious mythology of classical societies, stories that emerged during this era were more explicitly fictional. The fictional form gave writers license to exaggerate stereotypes that portrayed indigenous people as grotesque barbarians, reinforcing the fear and misunderstanding that often accompanied encounters between European explorers and native populations. This fear was not only of physical harm, but also of contamination wrought by cultural difference. Narratives of the time often portrayed European explorers or settlers as the heroic figures who, by defeating these monsters, demonstrated the superiority of their culture and values. 
As we’ve seen, the development of fantastical monsters has always been rooted in real fears. This continues today, with fantastical monsters in literature reflecting the complex existential woes of modern people. As technology has advanced, social structures and global concerns have shifted, and so too have the monsters that embody these concerns. Now, many fantasy monsters represent common fears of environmental degradation, political collapse, and social injustice.



One compelling example of this is Blood Over Bright Haven by M.L. Wang. The story’s villain—who I won’t reveal, since you should read the book yourself—causes the protagonist to wonder whether she can trust anyone. The villain’s conniving manipulation, and the unjust magical system of the setting, both parallel modern distrust in authority and misuse of power. 
In many modern fantasy narratives, the villains represent worst-case scenarios that humanity dreads: unchecked corruption (represented by the Darkling from Shadow and Bone), fear of being forgotten (represented by the veil in The Invisible Life of Addie LaRue) and the devastation wrought by modern warfare (represented by the tyrants in The Poppy War). These creatures mirror real-world fears and anxieties, but the narratives where they appear often provide a kind of hope—usually, despite the worst, the protagonists of these stories emerge victorious and some form of justice is served.

Those happy endings are what allow modern fantasy to maintain its escapist allure, even when it contains allusions to very real social ills. Generally, fantasy books and series end with something of a happy conclusion: the protagonist tends to vanquish the monster; the world tends to return to some semblance of order; the villains tend to end up dead or exiled. In a world where these just endings are so rare, reading fantasy allows us to indulge in satisfying depictions of the justice we don’t see in real life. 

Thus, fantasy’s use of realistic monsters does not betray its escapist properties, but bolsters them. It wouldn’t be interesting to read about a world in which everything is perfect all the time, but it can be exciting and validating to read about a world in which grit and determination can lead to meaningful social change. 

The journey from ancient myth to modern fantasy reflects a shift in our relationship to reality. In early mythologies, monsters were believed to be real, physical embodiment of the unknown and unexplainable forces of nature. They were creatures to be respected and feared, forcing humans to recognize the limits of their knowledge and physical ability. As our understanding of the world expanded, these monsters were gradually relegated to the realm of fiction, appearing in explicitly fictional narratives that allowed us to confront our fears from a safer distance. While most people no longer believe in dragons or sea monster, their symbolic power hasn’t been diminished.

The monsters that populate fantasy literature have always been imaginative and otherworldly, but their significance goes far beyond simple escapism or entertainment. Through these creatures, and the characters’ reactions to their violence, fantasy can often elucidate something insightful about the real world. From the ancient monsters that represented natural threats to the modern creatures that reflect existential dread, fantastical villains can all teach us something about the most profound aspect of the human condition. They give voice to the darkness within and without, reflecting both evolving external threats and timeless internal struggles. 

But, despite the terrifying nature of these creatures, the genre itself remains fundamentally optimistic, offering visions of triumph against every kind of evil. While the real world often feals messy and unjust, these stories offer a reassuring sense of order. Many of us feel powerless to confront the monsters we encounter every day—the dangers of unchecked authority, the collapse of social systems, and the degradation of the environment, to name a few—but fantasy provides a safe space to confront these fears.

At their core, fantasy monsters aren’t just symbols of our fears—they’re also reflections of the human condition. They show us the darkness we often try to ignore, but also offer hope that, despite our vulnerabilities and flaws, we can overcome existential challenges. By confronting these monsters in stories led by fearless protagonists, we learn more about our own fears—and how we can rise above them.


Author bio: Caroline is a writer for Reedsy and NowNovel who covers everything from the nitty-gritty of the writing process to the business of finding ghostwriting jobs. When she isn’t writing, Caroline loves reading indie books and spending time outdoors.

 

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The moon turns into cheese. Not metaphorically. Not in a dream. Like, literally. One day it’s the regular rock-ball we all know and ignore, and the next, it’s dairy. That’s the book. That’s the premise. I rolled my eyes too. But then I started reading, and - well, I ended up liking it more than I thought I would. More than I probably should’ve, honestly.

This is John Scalzi doing what he does best - taking a totally absurd idea and running with it. The moon becomes cheese (type undetermined). People react. Some panic, some scheme, some try to monetize it, some go to church. And through it all, Scalzi’s trademark mix of snark, satire, and sneaky emotional depth holds the whole gooey mess together.

There’s not really a central protagonist here-unless you count humanity in general, or maybe capitalism. Instead, we bounce around between a rotating cast of scientists, astronauts, cheese mongers, billionaire tech bros, diner regulars, and one very cursed Saturday Night Live episode. It's like a disaster movie crossed with a sociology paper, but funnier and with more dairy puns.

The plot meander a a bit and I admit I did I lose track of a few characters. But the short chapters kept things moving, and there’s something irresistible about how this book doesn’t try to be anything other than what it is: a ridiculous thought experiment with a surprising amount of insights into human behavior.

If you’ve read Kaiju Preservation Society or Starter Villain and enjoyed the vibes, you’ll probably enjoy this one too. If you haven’t, but the idea of “slice-of-life apocalypse, but make it cheese” sounds appealing, you might be in for a good time. Just don’t come in expecting hard sci-fi. This is soft cheese fiction. And that’s kind of the point.

Buy The Knight and the Moth

FORMAT/INFO: The Knight and the Moth will be published on May 20th, 2025. It is 400 pages and published by Orbit Books. It is available in hardcover, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: "Swords and armor are nothing to stone." That's the mantra of Aisling Cathedral, home to the six Diviners who dream of Omens and predict the future for those who come before them. Sybil Delling is one such Diviner. Like those who came before her, she and her fellow sisters were foundlings who have given ten years of their lives in service to the Cathedral in return for a place to call home. But with just a few months to go before their tenure ends, Sybil's sisters start to disappear without a trace, until only Sybil is left. Fleeing for her safety, the only person she can turn to is the heretical knight Rodrick, notable for his disdain of everything to do with Omens. Together, then two journey forth in search of the missing Diviners, only to uncover a darker truth than they could have imagined.

The Knight and the Moth by Rachel Gillig is an absolutely beautiful gothic romance full of feminine fury. If the term "romantasy" (which I think is overly applied to any fantasy book that happens to feature a love story) is a turn off to you, I beg you to give this a second look. This isn't a race to get to spicy scenes; this is a slow burn romance of two people falling in love while exploring the dark mystery that surrounds the kingdom. While there is a spicy scene, it feels completely earned and keeps the descriptions fairly PG-13.

If you've read the author's previous Shepherd King duology, you may find some familiar beats in this plot, which is the one slight drawback to the story. Like the other series, there's an ominous kingdom full of dark forests and unforgiving landscapes, a group trying to collect magical items, and a romantic pairing at the center of it. But while I can spot the broad similarities, there's no denying the author executes the story extremely well.

In fact, in many ways The Knight and the Moth improves on the formula that came before (and I say this as someone who enjoyed the Shepherd King duology). I vastly preferred the romance in The Knight and the Moth to One Dark Window, finding Sybil and Rodrick equally matched foils who slowly move past their disdain for each other and find love. I also think the author does a much better job of keeping the main character of Sybil on the same pages as the reader, with her having epiphanies at the same time as me, instead of several chapters after the fact.

I also loved the growing evolution of Sybil of the course of the book. She begins to take strength from her anger at how her life has been controlled and manipulated. One of my favorite arcs of a character is when they go from relatively submissive to a strong individual capable of saying No to those who have taken advantage of them in the past. It was on full display here and it was glorious.

CONCLUSION: The Knight and the Moth earns every bit of its gothic romance label in the best way possible. It is atmospheric, romantic, and mysterious. It had me flying through the pages, and I am counting down the days until the sequel can be in my hands.

 

Book links: Amazon, Goodreads

ABOUT THE AUTHOR: A native of Ames, Iowa, Dave loves writing, reading, boardgames, computer games, improv comedy, pizza, barbarian movies, and the cheaper end of the Taco Bell menu. Also, his wife and kids.

Dave is the author of Snood, Snoodoku, Snood Towers, and other computer games. Dave first published Snood in 1996, and it became one of the most popular shareware games of the early Internet. His most recent game is Scryptix, a word game for cell phones.

Dave taught geology, environmental studies, and computer programming at Guilford College for 24 years before stepping away to write full time. He does improv comedy every week at the Idiot Box in Greensboro, North Carolina. He’s also played the world’s largest tuba in concert. Not that that is relevant, but it’s still kinda cool. 

Publisher: Dave Dobson (May 21, 2024) Length:  395 pages Formats: ebook, paperback

I did not expect to enjoy this one as much as I did. I picked it up thinking I was in for a goofy sword & sorcery romp and I was right. What I didn't expect was how much personality it packed between the quips, one-liners, and brawls. 
The Glorious and Epic Tale of Lady Isovar is a fun mix of sword & sorcery, heroic epic, Monty Pythonesque humor and a buddy-cop tropes. Lady Isovar is a knight in shining armor. She’s brave, bold, big on honor, and low on planning. She's also unstoppable. 
Chevson, her squire and damage control specialist, trails behind with a notebook and a growing sense of dread. He's doing his best to rescue bystanders and stop Izzy from offending people or starting conflicts. The lad deserves a raise.
The plot is quite simple - there’s a wrong that needs righting, and by the gods, Izzy will right it! Possibly twice, just to be safe. The duo faces lots of classic fantasy villains - necromancers, dragons, tyrants, an oversized snake, and more. Lady Isovar dispatches them with a flair, usually in fun and chaotic ways. The plot consists of multiple interconnected (mostly) mini-quests.  
Tonally, it’s a joyful romp with likable characters, laugh out loud moments, and no brooding. The humor worked for me - it's clever, a little absurd, and occasionally so ridiculous I couldn't help but laugh. The sacred vows alone are worth attention. The friendship between Izzy and Chevson glues everything together. The knight has ADHD and the squire is just trying to get through the day without concussion, but despite being so different, they make a wonderful team. 
Dobson pokes fun at genre tropes but in a good-natured way and with respect. Brave deeds and heroic speeches do happen, but they never feel forced or out of place. Instead, they add some nuance, especially that Izzy's past isn't explained for a while. 
Now, the humor is very subjective. so it may not work for everyone. And yet I believe the humor here is good-natured, not very cynical and balanced so cjhances are most readers will find it amusing. Especially that beneath all the hijingks and jokes, there’s a surprising bit of heart. And the leading duo has an excellent chemistry and dynaimicvs. 
It’s silly. It’s heartfelt. It’s occasionally bloody. And I very much enjoyed the ride. I’d follow these two into battle.