A faint floral decoration under the text. The cover of Ember Warrior. The cover features golden filigree framing remniscent of illuminated manuscript detailing, and a cartoony art style with textured pen strokes. Crislie stands in a blooming forest, resting her ax on her shoulder with a cocky stare. On her left is Daughi, a massive black direwolf bearing her teeth in a terrifying-cute yawn. Daughi is saddled, and Crislie is armored for battle. The cover of Ember Warrior. The cover features golden filigree framing remniscent of illuminated manuscript detailing, and a cartoony art style with textured pen strokes. Crislie stands in a blooming forest, resting her ax on her shoulder with a cocky stare. On her left is Daughi, a massive black direwolf bearing her teeth in a terrifying-cute yawn. Daughi is saddled, and Crislie is armored for battle.

Ember Warrior

Heralds of Rhimn, Book 3

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View Content Notes?

This book includes depictions of blood and wounds, onscreen character death, parental abuse (emotional and (meta?)physical), underage drinking (but they’re eighteen so it’s only by American standards,) animal abuse (the Irongardhe are not kind to wyverns), a situation that is something between divine possession and body theft, sexism (matriarchy flavored), systemic wrongs, a forced labor camp that comes crumbling down, and the drudgery of war. This is a queer book, and it sometimes touches on queer themes. Some minor, incidental misgendering occurs to Ainzel and Tincre, mostly as a result of people not being updated on their gender situations.

If more content warnings are relevant to the book than what we have listed here, feel free to let us know! Proceed thoughtfully.


War has come for Rhimn. The feyrie courts strike back against the knights of the Irongardhe, casting the dark-winged shadow of Lady Death over Gadhi.

And Navaeli, Crislie, and Meparik are in the thick of it.

An unexpected heritage confronts Crislie as she and Gildhe fight on the frontlines. Once, she would have denied the feyrie ties of her father, but she no longer lives under the judgment of her old neighbors. Her courted kin are as inhuman as the fey of Rhimn can get — and she might just fit right in with them.

Meanwhile, her companions navigate the political intrigue of their Heraldry. Navaeli must parley with the courts on behalf of High Priest Morekai. While she has trouble trusting worshippers of Silamir, the tormentor of her childhood, her uncle’s goodwill with the dark goddess might be a blessing in disguise. Is Morekai’s intervention the key to the cage of her Heraldry?

And under the care of Ainzel the Summer Herald, Meparik sets off on a diplomatic mission to convince the Ulluan Matrius to lend her aid to the Ashen Army. His gods have chosen him specifically for the task, but it’s an undertaking that diplomats more courteous than him have attempted and failed, over and over again. And the Romne are not known for the reliability of their predictions . . .

Allies may indeed be more difficult to make than foes. When Ullua is reluctant to make war with its neighbor, and the courtleaders and generals of the army have agendas of their own, the situation might not be as straightforward as putting an ax through an enemy.

As the army advances, the demands of everyone’s roles threaten to devour them. But faltering could cost the lives and freedom of the fey of Rhimn.



A chapter header designed in a floral style reminiscent of illuminated pages from medieval manuscripts. There is a portrait section surrounded by vines; the character within is Navaeli, smiling from among the flowery trees of Camp Veldin.
A chapter header designed in a floral style reminiscent of illuminated pages from medieval manuscripts. There is a portrait section surrounded by vines; the character within is Crislie. She stands somberly outside a modest Irongardhe church entrance, covered in spring vines and greenery.
A chapter header designed in a floral style reminiscent of illuminated pages from medieval manuscripts. There is a portrait section surrounded by vines; the character within is Meparik, a grumpy feyrie child with pale curls braided neatly over his shoulder. His usual green mantle cloak has been swapped out for an elaborately beaded uen and an airy blue poncho. A starry desert stretches on behind him.

A map of Rhimn from the book, set in a floral frame on a page with a gently aged texture.
A chapter header page sample from Ember Warrior. The chapter is chapter ten, and the floral header image frames a picture of Crislie standing in front of a church with spring ivy crawling over its beams.
A glossary page sample from Ember Warrior. It explains the etyomology between several character names as follows; Ainzel (ain-SUL) — A name of mixed origin, often translated as “one hero,” and known best from “Ainzel feyrietales” orally recited by Ulluic courts. An Ainzel tale features an anonymous feyrie protagonist, always dubbed “Ainzel,” who tricks someone unpleasant and lives to tell the tale. Folklorists debate endlessly about which tales are grounded in real events, which tales are morality lessons, and which tales are pure fancy. Airasia (ay-RAH-see-ah) — An Ulluic name which means “divinely favored.” This name is considered gender-neutral and is popular in the Hybirah region. Alevar (al-LEH-var) — A Gadhian name associated with butterflies. Alaezel (al-LAY-zel) — An Ulluic name best translated as “miraculous one.” A common name for children who were not expected to survive birth.



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