A couple of years ago, Wizards of the Coast made a gamble by bringing on popular fantasy authors like Brandon Sanderson, Kate Elliott, and Martha Wells to pen tie-in fiction for their mega-popular trading card game Magic: The Gathering. For years before that, Magic’s fiction was handled by in-house writers and the results were dubious at best. While there has been some disappointment among fans for the major novel releases from Gargoyles-creator Greg Weisman, by and large these efforts have produced some of the best tie-in fiction the franchise has ever seen.
Among those brought on board was Django Wexler, whose military fantasy series The Shadow Campaigns earned critical acclaim for its masterful battles, political intrigue, and its genre-defying prominence of nuanced and well-written women. The Shadow Campaigns is “a masterclass on how writing a sexist culture – and sexist men, even – doesn’t have to restrict the significance and range of your female characters,” said reviewer Foz Meadows. For all its faults and hiccups from a storytelling perspective, Magic has made a valiant effort to increase its number of female characters over the years, and in addition to bringing on women like Elliott, Wells, and Cassandra Khaw to handle the story, Wexler is another excellent fit to help Magic transition into a better and more inclusive storytelling style.
The Books of Earthsea, by Ursula K. Le Guin Le Guin’s dragons, which Hugo-nominated author and B&N SFF Blog favorite Max Gladstone once described as “the gold standard,” are next to none. They are complex, beautiful, powerful, and melancholy, and they serve many purposes throughout Le Guin’s work, far beyond the standard “gold-hoarding monster” trope. More recently, legendary artist Charles Vess described how it took him years to get Le Guin’s dragons just right. There’s a deeply rooted sense of wisdom in all of Le Guin’s books, but it is perhaps through her dragons that this element of her writing is best embodied. Le Guin redefined what a dragon could be, and we’re still experiencing the rippling effect of her influence over the genre in series like Robin Hobb’s The Realm of the Elderlings or Naomi Novik’s Temeraire.
It’s no secret at this point that I’m a big Magic: The Gathering fan. I’ve been playing the game since I was a wee one in elementary school (I think my first booster pack was Ice Age), and it still holds a large chunk of my attention. (I’m working on a Selesnya Tokens deck on Arena as we speak.) I’m also a pretty big Brandon Sanderson fan. So, Sanderson’s latest novella, a Magic tie-in called Children of the Nameless, is a huge confluence of my favourites.
As a Magic fan, I loved Children of the Nameless, but the best thing about it is that you don’t have to be familiar with the game or its ongoing story AT ALL to enjoy Sanderson’s work.
An excerpt from my review:
By this point, if you’re familiar with Magic or Brandon Sanderson’s fiction, it’s probably safe to say that you enjoy certain elements of fantasy: lots of magic, big set pieces, huge casts of characters, and epic stories. Children of the Nameless is a great coming together of all the things that make Magic, epic fantasy, and Brandon Sanderson’s fiction so great—all in a concise, energetic, and fun package that will appeal to all sorts of readers.
Let’s get this out of the way: Children of the Nameless is a terrific gothic fantasy story regardless of your familiarity with Magic. In fact, for the first third of the book, you wouldn’t even know it was set in a universe that Sanderson didn’t create himself, and even by the end the connections to the game’s ongoing storyline are light and more portentous than anything. Anybody can read and enjoy Children of the Nameless.