Saturday, February 1, 2014

Ken Kelly Cover Art - Spawn of Dyscrasia (3 of 3)

Spawn of Dyscrasia Cover
Spawn of Dyscrasia is due out this year (2014), and this is the last of three posts detailing the evolution of its cover:
  1. Cover Concept (link): The first post covers the goal & concept art
  2. Cover Art (link): The second post chronicles the interactions with master fantasy artist Ken Kelly (from rough sketches to final painting) to yield the key illustration
  3. Cover Design (you are here): This covers the actual design (title placing, masking of the illustration, and overlaid fire).  We have to take the illustration (left) and dress it up for the book (lead design below, on right).

Ken Kelly's portrait reflects a scene from the book and features many important elements that make implicit promises to readers (i.e. expect magic, undead characters); key accessories from the flag to Lysis's sword are accurately presented too.  With that firm foundation in place, we turn to making a cover out of it.  My wife Heidi Lindberg (a trained Interior Designer with a critical eye for all things, and a knack for brutally honest feedback) stepped in to advise on Font & Word placement.  Thanks to her and the folks over in the Sword & Sorcery Group on Goodreads who provided input on some initial compositions (Comp A & B).  Most liked the title being on the bottom (Comp B), and the idea of  the characters standing on a hill of debris resonated with the piece.

Applying some masking layers in Photoshop made (a) the spirit cat easier to see, (b) the edges of the flame more clear, and (c) the rebalancing of the composition (the green flames of the cat tail stretch down into the title to compensate for its "top-heavy" head).  Helen's red-tattoo and the red-blood on Lysis's sword are amplified to match the red in the title and fire.   This is not the final cover design for Spawn of Dyscrasia, but it is fairly close since it covers the below success criteria:
  • Sword & Sorcery:  It promises to deliver "swords/action" and "magic" while revealing a scene from the book
  • Character Focus: The portraiture promises to develop a sorceress and skeletal warrior
  • Internet Appeal: It is easy to recognize as a small icon (as shown via Goodreads or Amazon)
  • Dyscrasia Fiction Look: It continues the look of the first novel, Lords of Dyscrasia (see below side-by-side).  This is important to build the brand of Dyscrasia Fiction.

Small version discernable

Lords and Spawn of Dyscrasia Covers
Consistent with Colors/Composition for Dyscrasia Fiction
Lead Cover Design for Spawn of Dyscrasia (due out in 2014)

Ken Kelly Cover Art - Spawn of Dyscrasia (2 of 3)

Spawn of Dyscrasia Cover
Spawn of Dyscrasia is due out this year, and this is the second in the mini-series describing the cover art, illustrated by master fantasy artist Ken Kelly:
  1. Cover Concept (link)The first post covers the goal & concept art
  2. Cover Art (you are here): This second post chronicles the interactions with master fantasy artist Ken Kelly (from rough sketches to final painting) to yield the key illustration
  3. Cover Design (link) : the last covers the actual design (title placing, masking of the illustration, and overlaid fire)
Ken Kelly - Rogues and Spawn of Dyscrasia

Feedback to First Rough:

The goal was to reapply the composition of Ken Kelly's "Rogues" (that graced the cover of Robert Adam's first Horseclan's novel).  The preceding post (add link) discusses the color selections and design choices.

With this information Ken Kelly set to making some Rough Sketches.  The first featured just Helen, who appeared too zombie-like and her long-nails were accentuated enough but needed to be turned over (to look like she was controlling the fire).  This opportunity allowed me to reinforce that Helen was the living character...and the warrior was the undead one.

Rough Sketches - Spawn of Dyscrasia by Ken Kelly

 Feedback to Second Rough:

I proposed a modified mock-up by placing the Roughs into Powerpoint, and indicated things to tweak (red) and items to keep (blue): 

1.Warrior is undeadà A skeleton…with crown of horns…and fiery aura (cover his biceps, perhaps, since he has no flesh?)
2.He has only 1 sword (his sheath looks like a second)
3.Warriors general stance = cool, no need to change
4.Lady’s stance= cool, no need to change
5.Shadows/lighting = awesome
6.Fire à eventually to be colored with spirits
7.Pennant à I like this shaft… can we add a flag? 

Lastly, Helen needed to be directly connected to the fire, and I wanted to ensure there was one representative Spirit presented within the flames.  Drawing from Ken Kelly's awesome gallery, I lifted one of his great cats (from Feline Warrior), and worked it into another mock-up.  He cautioned that this would throw off the balance of the composition (becoming top heavy).  I agreed, but asked him to work it in anyway; this motivated the "green wisps of ether" special effects to be added later in the Cover Design (post 3 of the series) to compensate.

Ken Kelly - Feline Warrior and Rough Sketch for Spawn

Canvas and Oil Work:

At this point, Ken Kelly began work on a real canvas with his oil paints. I received digital photos periodically:

Ken Kelly - Painting Spawn of Dyscrasia

 The cat turns green and Helen receives a "black-eye."
Ken Kelly - Painting Spawn of Dyscrasia

As the piece approached its end, I had concerns about the bubbles and requested Helen's eye-tattoo to be red, which were easily changed.  Ken Kelly originally titled this "Magic Soldier" but changed it to "Spawn of Dyscrasia" to match the forthcoming book.

Spawn of Dyscrasia - (c) Ken Kelly 2013
Overall, the process consumed a solid nine months. That was partly due to me not specifying a steadfast deadline, taking second-chair to higher priority clients who had real deadlines (i.e. KISS).  Also, given the nature of oil paints, each layer remains wet for some time; so each iteration (paint a layer/get feedback) consumes a few days at best.  Despite this being a commission, our deal was such that he maintained the original.  In addition to the high-resolution photographs created by Ken's photographer, I did order a signed Giclée print (a print on canvas). The last in this blog series captures how the Cover Design incorporated this Cover Art.

Ken Kelly Cover Art - Spawn of Dyscrasia (1 of 3)

Spawn of Dyscrasia Cover
Spawn of Dyscrasia is due out this year (2014), and this three post mini-series describes the cover design process, featuring a custom illustration by master fantasy artist Ken Kelly:
  1. Cover Concept (you are here): This first post covers the goal & concept art
  2. Cover Art (link): The second post chronicles the interactions with master fantasy artist Ken Kelly (from rough sketches to final painting) to yield the key illustration
  3. Cover Design (link) : The last covers the actual design (title placing, masking of the illustration, and overlaid fire)

1) Character Portraits

Whereas its predecessor Lords of Dyscrasia (2011) is a set of narrative tales stressing plot & action with varying points of view, Spawn of Dyscrasia (2014) follows the development of a single character, Seer Helen. The sequel's cover had to embody this new emphasis on characterization, so an appropriate portraiture composition was targeted.  It may seem strange to intentionally pose characters passively on the cover, but there are plenty of precedents. For example, Larry Elmore did this effectively with the original Dragon Lance trilogy (authored by Margaret Weis and Tracy Hickman, including: Dragons of Autumn Twilight, Dragons of Winter Night, and Dragons of Spring Dawning).  Also, Frank Frazetta did this effectively with his Deathdealer character:
Elmore Dragon Lance covers

Frazetta's Death Dealer

These portraits promise books with developed characters...without showing any action.  Ken Kelly has many of these, like his Death's End and Rogue's illustrations (the latter was the cover to the first Horseclan's book by Robert Adams).  In Spawn of Dyscrasia, the character Helen does not develop in isolation; rather she teams with the protagonist from the first book, the skeletal Lord Lysis (who is featured on the cover of Lords of Dyscrasia).  Hence, Ken Kelly's "Rogues" stood out as a good example of what I wanted: a female and male duo portrayed against a fiery scene. 
Ken Kelly Death's End and Rogues

I reached out to Ken Kelly via his website's commission section.  In short, pricing depends on the canvas size and amount of detail; other factors to be arranged are timing and who owns the original.  Here is a snippet from his commission page:
"Fees start at $750. for a single figure, oil painted on 10x14" illustration board with a very simple background.  Fees rise from there depending on what needs to be added and size of original." (copied 2013 from Ken Kelly's commission webpage)
After arranging the commission for two key figures (which prompted a 22"x28" canvas), I sent him the concept art of the two characters to be placed in a similar composition in his Rogues piece.  

Lord Lysis Concept Art

I had drawn Lysis many times already for the illustrated Lords of Dyscrasia, so it was easy to assemble a board to describe his undead state and unique sword, Ferrus Eviscamir.  I also scoured Ken Kelly's vast gallery of oil paintings to identify what Lysis may look like from a painting already made by Ken; Path of Fright worked well for this, since Ken painted some eerie skeletal gargoyles.

Lord Lysis concept board

Ken Kelly's Path of Fright

Helen Concept Art:

Helen had been written about well enough in the draft transcript, but I had never drawn her.  Some internet browsing followed by Photoshopping (namely color inversion) enabled a concept board. Another search of Ken Kelly's library led me to his KISS Girl #5 pencil.  Here Ken's experience painting for the band KISS worked well (he has painted their albums and guitars), since Helen required a tribal tattoo around her left eye.  Helen is not the KISS girl, but referencing her was useful.
 Helen Concept Board

Ken Kelly's KISS Girl

Lighting & Character "Color"

Lastly, a board explained that any fire would simultaneously (a) provide lighting and (b) represent the sorcery that Helen and Lord Lysis command. The magic system in Dyscrasia Fiction motivated the need to have "grayscale" characters: Helen and Lysis can see, feed upon, and cast magic via creative energy (represented by ethereal fire).  Spellcasters are mostly colorless (monochrome); they feed on color, draining it from enemies and sacrificed art, so perform sorcery.
Ether Fire Burning Elder

Wednesday, January 22, 2014

Shedding Light On The Resurrectionist - E.B.Hudspeth Interview by S.E.Lindberg

E.B.Hudspeth: Author & Illustrator of "The Ressurectionist"
E.B.Hudspeth: Author & Illustrator of "The Ressurectionist"

E.B. Hudspeth’s novel/art-book combination “The Resurrectionist: The Lost Work of Dr. Spencer Black” chronicles an artist/scientist as he “revives or brings to light again (aka resurrect)” a dormant beauty inside humanity.  With a horrific tale complementing beautiful anatomical drawings of hybrid creatures, he invites us to reconsider the boundaries (if any) between man & animal…between art & science.  We appreciate E.B.Hudspeth taking the time to “bring to light” the beauty in his art with this interview:

Motivations & Muses: Did a muse similar to Mary Shelly's affect you? Where you terrified by muses?

With The Modern Prometheus (1818), Mary Bryce Shelly grappled with the themes of Science, Art, and Spirit.   Her character Victor Frankenstein, the infamous artist and scientist, pieced together materials from cemeteries to create life via alchemy.  In her prologue, she described how her muse worked though her:
“My imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with a vividness far beyond the usual bounds of reverie. I saw-with shut eyes, but acute mental vision-I saw the pale student of unhallowed arts kneeling beside the thing he had put together.  I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half-vital motion.   Frightful must it be; for supremely frightful would be the effect of any human endeavor to mock the stupendous mechanism of the Creator of the world.  His success would terrify the artist.” - Mary Shelly ~1818

EBH: No, it sounds like Shelly’s muse would have terrified anyone. The whole thing came about as a simple curiosity. I wanted to know how the anatomy of a winged human would work. It was originally a study for a sculpture but then it turned into something more comprehensive. The artwork came first. After I had a pretty clear idea of the art direction, that’s when I worked on the story, focusing on the nineteenth century. I wanted the artist to have believed in this work, not just a piece of fantasy, to me, that’s where the heart of it is. You know immediately that who ever drew this took it seriously and that provokes a pretty interesting question.

The Process of Creation: Did the process of making the book further evolve your own philosophy on art or beauty?  

Spencer Black learned a lot about himself and humanity during his life, especially when he tried to produce new forms.  Did your views of art change as you realized your vision of the book?
EBH: Yes, my views on art are always changing and they change faster than I can improve as an artist. I feel as though the more I learn, the more respect and appreciation I gain and the more I need to improve. One thing I try not to take for granted in art is the history of esthetics. Their origins, the centuries required to refine them and then their tragic disappearance. There are curves and shapes and line weights that can be lost if we don’t pay attention. Looking back into the 19th century to research certain styles was a wonderful thing to do and a little sad. I am proud of my penmanship but it is nothing compared to the ornate flourish and decoration used commonly in letters.

E.B.Hudspeth: Author & Illustrator of "The Ressurectionist"

Art vs. the Artist: How much of E.B. Hudspeth is reflected in the character Dr. Spencer Black?

We know Dr. Black struggled to reveal dormant/recessive beauty to the public.  The below quote from Spencer seems to echo your motivation: 
"I hear them marvel at my work—my indignant science. I hear them call out in fear of what they see. And there are some gentlemen who doubt what I will tell them. They call me a liar and a charlatan or a quack. But in time the methods of science that I now employ to convince people will surely set them free—alas, this I cannot explain to the angry fools."
I assume you see beauty in the horrific drawings you produced (I do); how do you respond to those who need help seeing the beauty?   Can you help “bring to light” awareness. 
EBH: I am not sure how much of myself comes out in a character. There are certainly going to be things that I write that I am relating to personally. I think it’s common to feel like there is something special and powerful within us that we have a difficult time expressing. Dr. Black is giving the world something that he feels is no less valuable than food, but they won’t eat. I think this sense of rejection is something we all feel at some point in life. 
I wonder if beauty is only in the eye of the beholder. I am not trying to convince anyone. We all love different things and it would be terrible if we all agreed on what beauty was. I personally love the shape and form of organic life. Every specimen is a beautiful mystery, visually and intellectually.
I wanted the artwork in the book to play out as a character. You never really sympathize with Spencer Black until you see his drawings. It isn’t the context that makes you understand him, it’s the sincerity. There are things that artwork can do that other mediums cannot. The same is true for the other mediums i.e., music, writing, dance, etc., they all have their special traits.
E.B.Huspeth: Author & Illustrator of "The Resurrectionist"

Bounds of Humanity: Where does man begin and animal end?

There are real life analogues to the fictitious Spencer. Ernst Haeckel (1834–1919) comes to mind. A dedicated, philosophical scientist with outstanding artistic skills, he documented thousands of life forms and published his beautiful plates in “Art Forms in Nature” (translated from German: Kunstforman der Natur). But then his fascination with Art-Nature caused an uproar when he tweaked his drawings of embryos in 1874. 

The setting in “The Resurrectionist” is ideal for redefining the nature of “man.” The turn of the 19th century was rich with advances in evolutionary theory, science, and even speculative fiction. Anatomists, philosophers, and scientists ruminated on how far to extrapolate Darwin’s assertions. Most understood that all vertebrates shared a common skeletal structure; but if animals and man were connected in their development, was it not reasonable to reconsider the existence of creatures termed mythological? Were centaurs real? Harpies? Demons? Spencer Black needed to know. You seemed to use him to lure us on this quest.  So, are there distinctions between man and animal?  

EBH: To get into the real scientific answers to this question you would need to ask someone else, someone far more qualified. I am happy to offer my observations, whatever they are worth. Your question is where a lot of the story was able to breathe. The oceans, so vast and mysterious and still unexplored… what lives in it? Today we entertain the possibility of weird or imagined creatures living somewhere in the world, image what it was like 150 years ago?

Anatomically, it is astounding what similarities occur in animals. The bones following remarkably similar patterns, hands become wings, feet become elongated lower legs etc. Eyes, teeth patterns, and reproductive systems all follow predictable rules. Among all of the animals there are a great deal of similarities. Scientists like Ernst Haeckel were amazing for their times. He did doctor his own work, which isn’t uncommon, especially if you believe in the work and its future— competition was fierce, as I am sure it still is today.

The nineteenth century was a good place to exploit the questions of what is the true origin of man. A question that we still aren’t 100%. It’s that 1% uncertainty where doctors like Spencer Black look for answers.
As far as distinctions, they exist in everything. This is how we quantify our world, we measure and name and make distinctions—there is nothing wrong with this. The danger is when we place values on everything.

More Art: Are there more resurrections in the future (i.e. more horrors to shed light on)? Can we expect more history of the Black family to be revealed?

EBH:  I am working on a sequel. It’s taking longer than I had hoped, but that’s only because I am very excited about it and I want it to be right. There will be more about the Black family. The first book was written and designed with a sequel in mind.
Stay tuned by following this site and checking out the author's website:

Sunday, January 19, 2014

Bloodsong Hel x 3 by Dean Andersson (Asa Drake) - review by S.E.

Bloodsong - Hel X 3Bloodsong - Hel X 3 by C. Dean Andersson
S.E.Lindberg rating: 4 of 5 stars

An entertaining gateway to Hell, and toward darker fiction

History and Style: The three books combined in Bloodsong! — Hel X 3 were written within ~1.5 yrs (1985-86). C. Dean Andersson (aka Asa Drake) was motivated to make a fun horror series on quick timing. The result was easily digestible horror / fantasy, all rooted in Viking lore. The trilogy includes: 1) Warrior Witch of Hell; 2) Death Riders of Hell; and 3) Werebeasts of Hel.

The concepts and setting really carry the story: a reanimated mother is out to save her unborn daughter from the Goddess Hel. This more than compensates for the dialogue which relies heavily on characters broadcasting their intentions. Its simplistic tone and fast pace is appropriate for young-adult novels, but its abundance of mature scenes makes it more suitable for adults (there are many heroines who continually find themselves stripped naked, chained, and tortured). This is highly recommended for epic/high fantasy readers looking for darker fiction. It would work well as a "gateway drug" for those introduced to fantasy via Tolkien, but are now looking for gritty fare.

Bloodsong and Freedom: The conflict centers on the female warrior Bloodsong who is pitted against Hel Queen of Darkness, Death Goddess. It begins with Bloodsong coming back from Hel's domain, resurrected and sworn to serve the Goddess. Hel is holding Bloodsong's daughter, hostage (she had died in Bloodsong's womb, but was raised in Helheim). The conflict over freedom/domination is persistent and explicitly echoed in the protagonist's war cry & call to action "Bloodsong and Freedom!" The subsequent books fill in many details about Bloodsong's husband and her son, who had died during the same raid as she; they are, of course, plagued past their natural deaths.

Fun Horror: The variety and abundance of undead creatures makes this most fun, and their titles speak to their coolness: Flesh Demons (skeletons who steal skin), Skull Slaves (humans possessed by ghosts), Death Riders (undead warriors mounted on skeletal Hel-Horses who ride the wind), Corpse Beasts (humanoids who eat their kill), Hel-Witch (sorceress who draw upon Her powers), etc. There are of course Viking inspired monsters (i.e. Frost Giants, Invisible Dwarves), but the series is really about Hel's incarnations, as the three titles communicate, so expect lots of necromancy.

New vs. Old: The 2013 Helx3 eBook release has a lengthened first book (in the omnibus, the first book "Warrior Witch from Hel" has 24 chapters versus the original 18). The remaining books have the same number of chapters, but their content is altered to accommodate some character development , mostly regarding the secondary character Jalna. The additions are fine, but the paperback originals are just as enjoyable.

Coverart:The illustrations for the paperbacks and eBook are from Boris Vallejo. They are incredible and accurately portray the characters and books' tone:
Warrior Witch of Hell Death Riders of Hell Werebeasts of Hel

More Bloodsong Adventures:

2014...: A new novel, The Valkyries of Hel, is in progress now.

1996: Eternal Champion cross-over: In the Pawn of Chaos: Tales of the Eternal Champion anthology, Bloodsong interacts with Michael Moorcock's eternal champion (the Urlik Skarsol incarnation) in the short story: "The Warskull of Hel" (which was the title for the first book in the trilogy according to the author). This continues the saga in a solid way, even if a short story.

2006: R.E.Howard and Texas: For the World Fantasy Convention in Austin, Texas, there was a R. E. Howard centenary tribute anthology called Cross Plains Universe - Texans Celebrate Robert E. Howard. Therein there is a fun, Bloodsong short "Slim and Swede and the Damned Dead Horse."

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Monday, January 13, 2014

A Road of Blood and Slaughter - Review by S.E.

A Road of Blood and SlaughterA Road of Blood and Slaughter by David Hunter
S.E.Lindberg rating: 4 of 5 stars

With A Road of Blood and Slaughter, author David Hunter delivers what the title promises. Expect brutal military fantasy infused with political intrigue and eldritch sorcery. Highly recommend for Conan fans.

Part 1) Organized Crime Meets Cthulhu:
The book is divided into 4 parts, the first sets the brutal tone for the novel, introducing us to the rogue-royal Artemo and the Viking-esque Horsa in a Sword & Sorcery adventure. Artemo takes center stage and is known as the Killer of Men, so don’t expect him to be a chivalrous tour guide. Immediately, we understand the title is apt, as we are thrown onto a road literally filled with blood and slaughter. Fragile alliances are constantly formed and broken amongst criminals & governors; the occurrence and outcome of betrayals & loyalties are sometimes difficult to predict. Part 1 mixes political intrigue, with vivid battles, and Lovecraftian-inspired magic. With this introduction you should expect more brutality, and you’ll get large doses of it.

Part 2 & 3) A Bloody Tour:
Part 2’s introduction will likely be disorienting (especially if you haven’t read the Author’s Note on Goodreads). Tucked into the chapter headline is a change in year (rewinding ~14yrs). Given the abundance of names, and vast survey of lands, this time-shift further encumbers the reader. On the plus side, Artemo continues as our primary protagonist, though Horsa emerges too. The frequent alliance/betrayal routine continues. At this juncture, you will want to know if it is worth stretching your memory to comprehend it all; it was a risk I took, and I am glad to report that the story does converge pleasantly in the last Part.

For fans of the fantasy genre, it is obviously that the fantasy world is modelled after a European centric continent much like Robert Howard (Conan creator) conceived. Still, a map or index would have been helpful since the books pays homage to every culture and corner of the world (Kush, Amazons, Vikings, Egypt, etc.). Generally this middle section has less sorcery, emphasizing bloody, “realistic” battles. Amongst the warring, there is a compelling, heroic last-stand of a King; and Horsa raids a tomb in splendid, horrific fashion.

Part 4) A Thrilling End:
With plenty of epic adventures and diverging plotlines, readers should be comforted knowing that the author does bring it all back together at a pleasant pace. Also, the amount of monsters and sorcery ramps up, which also makes this more pleasing as a fantasy read.

Quibbles :
• Although most of the sudden betrayals & fragile-alliances are explained/justified, there are several that seemed implausible enough to distract
• A lack of Index & Map
• The Author’s Note found on Goodreads should be in the book (apparently it is included in the Paperback version, just not in the eBook)
• The non-chronological order may alienate readers. Despite it making sense from a design perspective (i.e. it introduces the key characters and sets the tone better than if chronologically arranged), it is not abundantly clear as a first-time reader that time shifts.
• A lead character has a frequent habit of “tongue clicking” which occurs abundantly enough to swamp other traits

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Tuesday, January 7, 2014

Mightier than the Sword - Review by SE

Mightier than the Sword and Other StoriesMightier than the Sword and Other Stories by Bill Ward
S.E. Lindberg rating: 5 of 5 stars

Mighty Legends and Creepy Tales:
Bill Ward is an accomplished author who has recently released a series of anthologies (2013). Mightier than the Sword and Other Stories proves to be as equally entertaining, dark, and varied as The Last of His Kind and Other Stories. Here Ward has eight more tales (two published for the first time; see the content list below.) Again the author uses strong, illusionary narrative to tour the reader through fantastic realms, most featuring a prominent sword. A “ward” in the fantasy genre refers to an iconic symbol that protects against evil magic; Ward the author emerges as the opposite, his books delivering magical, dark adventure.

I was completely enthralled while reading “Shadow on the Edge of the City of Light,” “The Witch Queen’s Tower,” and “The Wolf of Winter.” Others like “Mightier than the Sword,” “Unmaker,” and “The Sea Kings’ Champion” are as entertaining, but are less trippy. The duo of General Boa and Shan “Spirit-Slayer” appeared in Mightier than the Sword and Other Stories too, but I cared for them less in this new episode (“Race to Dragonhead Rock”); the levity they bring to a the series is welcoming, but Ward shines brighter (ironically) when he drags us through darker adventures.

1) “An Imperfect Swordsman,” originally published at Every Day Fiction on April 4, 2008
2) “Shadow on the Edge of the City of Light,” originally published in Shadows & Light: Tales of Lost Kingdoms from Pill Hill Press, September 2009
3) Race to Dragonhead Rock - appears here for the first time, Mightier than the Sword and Other Stories, 2013.
4) “The Witch Queen’s Tower,” originally published in Morpheus Tales Issue 1, July 2008
5) “Mightier than the Sword,” originally published in Flashing Swords Issue 9, Winter 2008
6) “The Sea Kings’ Champion,” originally published in Flashing Swords Issue 10, Spring 2008
7) The Unmaker - appears here for the first time, Mightier than the Sword and Other Stories 2013.
8) “The Wolf of Winter,” originally published in Rage of the Behemoth from Rogue Blades Entertainment, June 2009

More Ward:
The Last of His Kind and Other Stories and Heartless Gao Walks Number Nine Hell and Other Stories
The Last of His Kind and Other Stories Heartless Gao Walks Number Nine Hell and Other Stories

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