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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