It’s a fairly standard setup for a fantasy story – a gang of unruly characters get together to journey across the land in order to fulfill some quest. But what if the gang is a band? I mean, what if a group of fantasy mercenaries was treated like a rock and roll band? That’s the great conceit of Kings of the Wyld.
The band, in this case, is called Saga. When the book begins the band has been broken up for a while and Clay is making ends meet as a city watchman, married with daughter. That all changes with Gabriel shows up in desperate need – his own daughter, now a mercenary herself, is stuck in a city besieged by various beasties and baddies on the other side of the world. He needs to get the band back together to save her.
What follows is a pretty fun read, although it comes off a little shallow. Part of the fun is that is that Nicholas Eames really leans into the “group of mercenaries as a band” idea. A lot of the names are references to music in our world – the wizard named Moog, the axe called Syrinx (a Rush reference, I’m guessing), and even Saga itself, which I think is a reference to the Canadian semi-prog band The characters also play the parts. Moog is the keyboard player stand-in (naturally), weird and aloof and always in flowing robes (not capes? Rick Wakeman weeps somewhere). Gabriel is the nominal front man, the once pretty face up front. Clay plays the bass player roll, holding everything together. The bands also relate to each other like musicians, equal parts jealous of the others’ success and impressed by their prowess. Plus there’s a whole thread about how in Saga’s time bands had to go real feats of heroism, not empty, showy displays in huge stadiums. There’s even sleazy managers! That all works really well.
The actual plot doesn’t fare quite so well. It at times feels like an overgrown Dungeons & Dragons campaign, with the crew moving from one adventure to the next without any real weight to them. Characters change from friend to foe and back again because the plot requires it. At one point a character loses a limb, but then regrows it. There aren’t really any harsh consequences to face. Add to that the fact that the object of the quest – saving Gabriel’s daughter – seems painfully far away for most of the book, until suddenly it isn’t. To be fair, the book wraps up the story and doesn’t leave us hanging, but it comes off as rushed.
But the biggest issue, for me, is that the story sets up as a story of old guys getting back together to relive their former glories, but very few of them act like it. Nobody’s really lost a step when it comes to fighting, everybody heals quickly when needed. It’s a lost opportunity, since aging heroes aren’t often the main course in a fantasy epic.
All that being said, Kings of the Wyld is a fun read. The episodes themselves, while they don’t add up to much, are well done in and of themselves. The dialogue is quick and funny. And Eames manages to work in a staggering array of creatures and beasties for our heroes to interact with. It verges on overload, but it doesn’t cross the line. So if you’re a fantasy fan and want a familiar tale with a twist, this one’s for you. Sometimes it is good to get the band back together.