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The Bard's Tale #3

The Thief of Fate

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Based on the third game in the classic series. Written in conjunction with the production of The Bard's Tale IV: Barrows Deep.

135 pages, ebook

Published January 1, 2018

6 people want to read

About the author

Nathan Long

80 books162 followers
Nathan Long is a screen and prose writer, with two movies, one Saturday-morning adventure series, and a handful of live-action and animated TV episodes to his name, as well as eleven fantasy novels and several award-winning short stories.

He hails from Pennsylvania, where he grew up, went to school, and played in various punk and rock-a-billy bands, before following his writing dreams to Hollywood - where he now writes novels full time - and still occasionally plays in bands.

His latest novel is Jane Carver of Waar, available March 6th from Night Shade Books. Visit his blog at www.sabrepunk.com.

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Profile Image for Robert Negut.
244 reviews10 followers
January 29, 2022
Again, without having played the game, I'm making assumptions, but if The Destiny Knight struck me as having failed to make proper use of the source material, in this case the impression was that the source material couldn't be put together in book form, and even less so in a novella, offering too much breadth and too little depth to work with. That said, the author didn't even seem to try anymore, appearing to have had enough, rushing through area after area, sometimes barely even mentioning them.
While, unlike Lady Svante, I'd use a term very different from "fascinating" for the fact "that the truth can be lost in so short a time", the beginning seemed pretty good, promising another thrilling fantasy adventure but also having some words of wisdom related to our "reality" to add. However, with the possible exception of a few moments that can be considered exceptions, those expectations were not met, this novella being, at least in my view, by far the weakest of the series. The action offers few thrills, the locations and characters are spared too little attention to generate immersion, not to mention emotional involvement, and while the moments when Gillan breaks the fourth wall make good points about heroic fantasy tropes, and those used in games released in that period in particular, they stop there, and in a way are tropes themselves.
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