When I said you had likely read the plot of Kings of the Wyld before, I meant it. The Heartwyld is what is left of druin power, and thus becomes a focal points for the Kings adventure to both rescue a maiden and stop a rising druin power. Then, like humans do, humans eventually killed most of the druins.
Eames’ world was once ruled by an alien race called the druins, who cleaved their way from another dimension with a special sword and founded what would be the grandest empire that the world had ever seen. The world-building has more depth than is probably needed, but is better off for its scope. Grand parades are thrown and money showered upon these mercs, who all bear the heavy metal names so common to the hair bands of our own 80s. Bands make their fortunes by entering the Heartwyld, slaying or capturing said monsters and then gleaning all the fame and fortune that comes to them upon re-entry into civilization.
The focal point of the world is a place called the Heartwyld, a dense, primordial forest full of snarks and grumpkins and every other nightmare trope of the fantasy genre. Eames proves with this debut that a song can be played over and over but never lose its appeal if sung right.Įames world in Kings of the Wyld is the stuff of great Dungeons and Dragons adventures. You have probably read the plot of Kings a dozen times over if you have any fantasy novels under your belt. What’s intriguing about Kings of the Wyld is that despite its hook, that mercenary bands are the rock stars of Eames’ imaginary world, the story is fairly simple. As if the fantasy genre and heavy metal weren’t connected enough, along comes Nicholas Eames to tighten the leather straps and forever marry two oddly similar forms of entertainment in Kings of the Wyld, the first in a series that thrums like a Jimmy Page riff in a genre full of entry-level chord practice.
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