Ashfaq Ahmad's Blog: Lafztarash
November 27, 2025
Shadows of the Vixen— Part Two
Inside Shadows of the Vixen: The Anatomy of a Perfect Crime Thriller
Crime fiction has always flirted with two powerful forces— the darkness of motive and the brilliance of execution. But once in a while emerges a story where these forces don’t merely coexist; they dance, collide, split, and merge into something far more unnerving. Shadows of the Vixen: The Fox Who Faked Her Fall belongs to this rare category.
It is not simply a thriller.
Not simply a crime novel.
Not even a story of revenge, identity, and deception.
It is the portrait of a woman who refuses to die— literally and metaphorically— and a policeman who learns that justice is not always the opposite of crime. Sometimes, it is the shadow that gives crime its shape.
———————————————
A Thriller Built on Silence, Subtext, and Smoke
At the heart of the novel lies a premise that detonates slowly— a house in Delhi goes up in flames, and a body is found inside. It seems open-and-shut. A woman dead. Tragic. Final.
Except, nothing in this story is final.
What follows is not merely an investigation but a peeling— layer by layer, identity by identity— until the narrative reveals how truth itself becomes a weapon in the right hands.
The woman presumed dead had lived multiple lives under multiple names: Suhana, Saba, Aarzoo Rizvi— each identity more convincing than the one before. She wasn’t just hiding. She was rebuilding. Redesigning. Reshaping her existence with the precision of an architect and the emotional detachment of someone who has burned too many bridges to turn back.
This is where the novel takes its signature leap:
instead of glorifying crime, it studies survival.
Instead of building a hero, it builds a force of nature.
Instead of chasing the murderer, it asks why the murdered were alive for so long.
—————————————————
The Woman Who Will Not Break
In crime fiction, female characters are often written in binaries— victim or femme fatale. But Shadows of the Vixen rejects both. Its protagonist (or antagonist, depending on where one stands) is a woman crafted not from fantasy, but from fire.
Her childhood is carved with abandonment, exploitation, betrayal, and violence— not in an ornamental way, but in the bleak, matter-of-fact texture of reality. She learns very early that the world is not kind to girls like her. That safety does not come from love, police, society, or even luck.
Safety comes from skill.
From strategy.
From the ability to reinvent before the world defines you.
So she weaponizes the only stable thing in her life— her mind.
She outwits criminals, outsmarts law, and outmaneuvers the very system she once served as an undercover operative. And yet, despite the ruthlessness, she never becomes a caricature of evil. Her choices, however brutal, emerge not from malice but from the cold arithmetic of survival.
The beauty and horror— of her character comes from the realisation that she is not extraordinary. She is simply what happens when a woman is denied every ordinary chance at life.
—————————————————
The Cop Who Dares to Look Into the Fire
Inspector Vikas Ahlawat is not the usual literary detective. He does not come carrying trauma like an accessory. He is not flawless, nor is he broken in a glamorous way.
He is simply a man trying to do the right thing— and that is his tragedy.
His investigation begins with the usual texture of police work:
phone records, witness statements, location pings, missing person reports.
But slowly, the trail morphs into something more dangerous— every witness he meets ends up dead, every clue takes him deeper into a world where logic collapses, and every truth bends around one woman he cannot fully see.
He falls, not in love, but in understanding— and that is more dangerous.
Because he recognises something that crime thrillers rarely explore:
evil is not always evil.
Victims are not always innocent.
Justice does not always arrive wearing a uniform.
His moral compass is no match for the maze she builds. And yet, his humanity becomes the only thing in the novel capable of touching hers.
——————————————————
A Plot That Moves Like a Snake— Silent, Precise, Deadly
The structure of Shadows of the Vixen is an intricate weave.
It does not hurry.
It does not shout.
It does not sensationalise.
Instead, it travels— from Delhi to Goa, Mumbai to Sikkim, Uttar Pradesh to Uttarakhand— following money trails, dead memories, undercover missions, drug networks, and the invisible footprints of a woman shedding identities like skin.
Every reveal feels earned.
Every twist is a consequence, not a coincidence.
Every death is a message.
The story offers the reader a rare experience:
the villain and the victim keep changing seats.
The burned body in Delhi could be anyone.
The missing woman could be dead or alive.
The cop could be saviour or pawn.
The criminals could be killers or decoys.
The love interest could be the executioner.
And yet, everything clicks in the end like a perfectly engineered lock.
——————————————————
A Thriller That Understands Crime as Psychology, Not Spectacle
Crime in this novel is not bullets and chases.
It is psychology.
It is negotiation.
It is manipulation wrapped in charm, kindness, helplessness, and vulnerability.
The protagonist uses her mind the way snipers use rifles — with absolute precision.
She plays on people’s desires, fears, egos, wounds, and fantasies.
She does not seduce bodies.
She seduces weaknesses.
This is why the novel feels terrifyingly real.
Crime here is not the act.
Crime is the intent.
Crime is the design.
And the reader sees that design unfold with the slow dread of inevitability.
———————————————
Where Crime Meets Humanity
Despite its ruthless plot, the story repeatedly confronts a tender question:
What does a person become when the world leaves them no choice?
The woman at the center of Shadows of the Vixen is not looking for redemption.
She is looking for survival.
And survival has its own morality— a darker, sharper, unforgiving morality.
The cop is not looking for glory.
He is looking for truth.
And truth has its own price— sometimes higher than justice.
When these two meet, the story doesn’t explode.
It smolders.
It creates a tension rarely found in Indian crime fiction—
not a tension of romance,
not a tension of violence,
but the tension of understanding.
Two people on opposite sides of law,
yet destined to collide in a way that feels more emotional than legal.
——————————————
The “Perfect Crime” Debate
A fascinating layer in the novel is its bold approach to the concept of a perfect crime.
Most thrillers attempt it.
Few achieve it convincingly.
But this story dares to ask a chilling question:
Is a crime truly a crime
if the only victims are criminals themselves?
It doesn’t glorify wrongdoing; it interrogates it.
It doesn’t justify murder; it contextualises survival.
It doesn’t escape morality; it bends it until it shatters.
The final act of the novel is not just a climax—
it is a commentary on justice, loopholes, sacrifice, and the blurred line between guilt and necessity.
The ending does not leave the reader with neat answers.
It leaves them with perspective.
——————————————
Why This Story Stands Apart
There are many crime thrillers.
And then there are crime thrillers written with literary intelligence.
What sets Shadows of the Vixen apart?
1. A female mastermind portrayed with depth, not stereotype.
No femme fatale clichés.
No victim clichés.
Just a brilliant, dangerous woman shaped by her circumstances.
2. A grounded cop instead of a hyper-masculine action hero.
He is real.
He is flawed.
He is relatable.
3. A plot that respects the reader’s intelligence.
Every clue matters.
Every identity switch has logic.
Every twist is earned.
4. A narrative that blends investigation with philosophy.
Who is right?
Who is wrong?
Is survival itself a crime?
The story never tells you what to think.
It only ensures you cannot stop thinking.
————————————————
The Ending: A New Beginning for Crime Fiction
Without spoilers, the ending aligns with the emotional architecture the novel builds from the start— a space where justice and survival collide, merge, and transform into something neither black nor white.
It is rare for a crime novel to conclude not in victory or defeat, but in choice.
A choice made by two people who have seen too much of the world
to believe in simple endings.
————————————
Final Thoughts
Shadows of the Vixen stands as one of the boldest, sharpest, and most psychologically astute crime thrillers to emerge from Indian fiction. It blends cinematic pace with literary depth, creating a hybrid narrative that appeals equally to mainstream and discerning readers.
It is not a story of murder.
It is a story of becoming.
Not a story of deception.
A story of reinvention.
Not a story of villains.
A story of survivors.
And in a world that often mistakes survival for sin, this novel becomes a mirror —
reflecting the dangerous, brilliant, heartbreaking truth
that not all monsters are born.
Some are made.
Some are forced.
And some… choose to rise on their own terms.
Shadows of the Vixen: Part Two
Ashfaq Ahmad
Crime fiction has always flirted with two powerful forces— the darkness of motive and the brilliance of execution. But once in a while emerges a story where these forces don’t merely coexist; they dance, collide, split, and merge into something far more unnerving. Shadows of the Vixen: The Fox Who Faked Her Fall belongs to this rare category.
It is not simply a thriller.
Not simply a crime novel.
Not even a story of revenge, identity, and deception.
It is the portrait of a woman who refuses to die— literally and metaphorically— and a policeman who learns that justice is not always the opposite of crime. Sometimes, it is the shadow that gives crime its shape.
———————————————
A Thriller Built on Silence, Subtext, and Smoke
At the heart of the novel lies a premise that detonates slowly— a house in Delhi goes up in flames, and a body is found inside. It seems open-and-shut. A woman dead. Tragic. Final.
Except, nothing in this story is final.
What follows is not merely an investigation but a peeling— layer by layer, identity by identity— until the narrative reveals how truth itself becomes a weapon in the right hands.
The woman presumed dead had lived multiple lives under multiple names: Suhana, Saba, Aarzoo Rizvi— each identity more convincing than the one before. She wasn’t just hiding. She was rebuilding. Redesigning. Reshaping her existence with the precision of an architect and the emotional detachment of someone who has burned too many bridges to turn back.
This is where the novel takes its signature leap:
instead of glorifying crime, it studies survival.
Instead of building a hero, it builds a force of nature.
Instead of chasing the murderer, it asks why the murdered were alive for so long.
—————————————————
The Woman Who Will Not Break
In crime fiction, female characters are often written in binaries— victim or femme fatale. But Shadows of the Vixen rejects both. Its protagonist (or antagonist, depending on where one stands) is a woman crafted not from fantasy, but from fire.
Her childhood is carved with abandonment, exploitation, betrayal, and violence— not in an ornamental way, but in the bleak, matter-of-fact texture of reality. She learns very early that the world is not kind to girls like her. That safety does not come from love, police, society, or even luck.
Safety comes from skill.
From strategy.
From the ability to reinvent before the world defines you.
So she weaponizes the only stable thing in her life— her mind.
She outwits criminals, outsmarts law, and outmaneuvers the very system she once served as an undercover operative. And yet, despite the ruthlessness, she never becomes a caricature of evil. Her choices, however brutal, emerge not from malice but from the cold arithmetic of survival.
The beauty and horror— of her character comes from the realisation that she is not extraordinary. She is simply what happens when a woman is denied every ordinary chance at life.
—————————————————
The Cop Who Dares to Look Into the Fire
Inspector Vikas Ahlawat is not the usual literary detective. He does not come carrying trauma like an accessory. He is not flawless, nor is he broken in a glamorous way.
He is simply a man trying to do the right thing— and that is his tragedy.
His investigation begins with the usual texture of police work:
phone records, witness statements, location pings, missing person reports.
But slowly, the trail morphs into something more dangerous— every witness he meets ends up dead, every clue takes him deeper into a world where logic collapses, and every truth bends around one woman he cannot fully see.
He falls, not in love, but in understanding— and that is more dangerous.
Because he recognises something that crime thrillers rarely explore:
evil is not always evil.
Victims are not always innocent.
Justice does not always arrive wearing a uniform.
His moral compass is no match for the maze she builds. And yet, his humanity becomes the only thing in the novel capable of touching hers.
——————————————————
A Plot That Moves Like a Snake— Silent, Precise, Deadly
The structure of Shadows of the Vixen is an intricate weave.
It does not hurry.
It does not shout.
It does not sensationalise.
Instead, it travels— from Delhi to Goa, Mumbai to Sikkim, Uttar Pradesh to Uttarakhand— following money trails, dead memories, undercover missions, drug networks, and the invisible footprints of a woman shedding identities like skin.
Every reveal feels earned.
Every twist is a consequence, not a coincidence.
Every death is a message.
The story offers the reader a rare experience:
the villain and the victim keep changing seats.
The burned body in Delhi could be anyone.
The missing woman could be dead or alive.
The cop could be saviour or pawn.
The criminals could be killers or decoys.
The love interest could be the executioner.
And yet, everything clicks in the end like a perfectly engineered lock.
——————————————————
A Thriller That Understands Crime as Psychology, Not Spectacle
Crime in this novel is not bullets and chases.
It is psychology.
It is negotiation.
It is manipulation wrapped in charm, kindness, helplessness, and vulnerability.
The protagonist uses her mind the way snipers use rifles — with absolute precision.
She plays on people’s desires, fears, egos, wounds, and fantasies.
She does not seduce bodies.
She seduces weaknesses.
This is why the novel feels terrifyingly real.
Crime here is not the act.
Crime is the intent.
Crime is the design.
And the reader sees that design unfold with the slow dread of inevitability.
———————————————
Where Crime Meets Humanity
Despite its ruthless plot, the story repeatedly confronts a tender question:
What does a person become when the world leaves them no choice?
The woman at the center of Shadows of the Vixen is not looking for redemption.
She is looking for survival.
And survival has its own morality— a darker, sharper, unforgiving morality.
The cop is not looking for glory.
He is looking for truth.
And truth has its own price— sometimes higher than justice.
When these two meet, the story doesn’t explode.
It smolders.
It creates a tension rarely found in Indian crime fiction—
not a tension of romance,
not a tension of violence,
but the tension of understanding.
Two people on opposite sides of law,
yet destined to collide in a way that feels more emotional than legal.
——————————————
The “Perfect Crime” Debate
A fascinating layer in the novel is its bold approach to the concept of a perfect crime.
Most thrillers attempt it.
Few achieve it convincingly.
But this story dares to ask a chilling question:
Is a crime truly a crime
if the only victims are criminals themselves?
It doesn’t glorify wrongdoing; it interrogates it.
It doesn’t justify murder; it contextualises survival.
It doesn’t escape morality; it bends it until it shatters.
The final act of the novel is not just a climax—
it is a commentary on justice, loopholes, sacrifice, and the blurred line between guilt and necessity.
The ending does not leave the reader with neat answers.
It leaves them with perspective.
——————————————
Why This Story Stands Apart
There are many crime thrillers.
And then there are crime thrillers written with literary intelligence.
What sets Shadows of the Vixen apart?
1. A female mastermind portrayed with depth, not stereotype.
No femme fatale clichés.
No victim clichés.
Just a brilliant, dangerous woman shaped by her circumstances.
2. A grounded cop instead of a hyper-masculine action hero.
He is real.
He is flawed.
He is relatable.
3. A plot that respects the reader’s intelligence.
Every clue matters.
Every identity switch has logic.
Every twist is earned.
4. A narrative that blends investigation with philosophy.
Who is right?
Who is wrong?
Is survival itself a crime?
The story never tells you what to think.
It only ensures you cannot stop thinking.
————————————————
The Ending: A New Beginning for Crime Fiction
Without spoilers, the ending aligns with the emotional architecture the novel builds from the start— a space where justice and survival collide, merge, and transform into something neither black nor white.
It is rare for a crime novel to conclude not in victory or defeat, but in choice.
A choice made by two people who have seen too much of the world
to believe in simple endings.
————————————
Final Thoughts
Shadows of the Vixen stands as one of the boldest, sharpest, and most psychologically astute crime thrillers to emerge from Indian fiction. It blends cinematic pace with literary depth, creating a hybrid narrative that appeals equally to mainstream and discerning readers.
It is not a story of murder.
It is a story of becoming.
Not a story of deception.
A story of reinvention.
Not a story of villains.
A story of survivors.
And in a world that often mistakes survival for sin, this novel becomes a mirror —
reflecting the dangerous, brilliant, heartbreaking truth
that not all monsters are born.
Some are made.
Some are forced.
And some… choose to rise on their own terms.
Shadows of the Vixen: Part Two
Ashfaq Ahmad
Shadows of the Vixen— Part One
Some stories begin with a lie...
Saba’s begins with silence — a silence heavy enough to crush a child, and sharp enough to shape a future no one around her ever imagined.
Growing up in an environment where affection comes with conditions and truth always hides behind half-spoken words, Saba learns early that the world does not reward softness. It punishes it. Her childhood passes like a shadow: quiet, watchful, absorbing every cruelty like a student forced into a school she never asked to join.
But the world has a strange way of training its fighters.
A small betrayal here, an unexpected kindness there, a disappearance that makes no sense, a smile that hides violence — Saba collects each one like a piece of a puzzle she will one day assemble into her identity.
As she grows, the world around her expands too — from narrow rooms to chaotic cities, from ordinary routines to dangerous territories where crime is not a headline but a heartbeat. Goa’s glittering façade turns out to be just another mask hiding a darker economy of control, manipulation, and broken people.
Here, Saba begins understanding the first rule of survival:
Strength is rarely loud. It’s the quiet ones who learn best how to endure.
When her path intersects with criminals who mistake fear for obedience, she realises she can be more than a victim. Every encounter sharpens her instincts. Every deception teaches her the cost of trust. And every moment of helplessness becomes another brick in the foundation of a mind that is learning — slowly, silently — how to fight back.
But her transformation isn’t loud.
It isn’t dramatic.
It happens the way real change happens: one scar at a time.
The turning point arrives inside the Baades forests, where a mission intended to control her spirals into chaos beyond anyone’s plans. Surrounded by predators who believe she is the easiest one to break, Saba makes a choice that will define who she becomes. She stops running. She stops hiding. And in the ashes of the mission, she rises — dangerous not because she wants to be, but because the world taught her no other way to live.
Part One of Shadows of the Vixen is the anatomy of this rise.
It is the story of how a girl becomes a weapon — not through training, but through survival. Not through violence, but through clarity. Not through hate, but through the cold acceptance that she can rely only on herself.
This volume ends where her past finally stops following her… and where her future starts hunting back.
In Part Two, the shadows she has inherited — and the ones she has created — will return with consequences no one could foresee.
But for now, this is Saba’s beginning.
And beginnings are always the most dangerous part of any legend.
Shadows of the Vixen: Part One
Ashfaq Ahmad
Saba’s begins with silence — a silence heavy enough to crush a child, and sharp enough to shape a future no one around her ever imagined.
Growing up in an environment where affection comes with conditions and truth always hides behind half-spoken words, Saba learns early that the world does not reward softness. It punishes it. Her childhood passes like a shadow: quiet, watchful, absorbing every cruelty like a student forced into a school she never asked to join.
But the world has a strange way of training its fighters.
A small betrayal here, an unexpected kindness there, a disappearance that makes no sense, a smile that hides violence — Saba collects each one like a piece of a puzzle she will one day assemble into her identity.
As she grows, the world around her expands too — from narrow rooms to chaotic cities, from ordinary routines to dangerous territories where crime is not a headline but a heartbeat. Goa’s glittering façade turns out to be just another mask hiding a darker economy of control, manipulation, and broken people.
Here, Saba begins understanding the first rule of survival:
Strength is rarely loud. It’s the quiet ones who learn best how to endure.
When her path intersects with criminals who mistake fear for obedience, she realises she can be more than a victim. Every encounter sharpens her instincts. Every deception teaches her the cost of trust. And every moment of helplessness becomes another brick in the foundation of a mind that is learning — slowly, silently — how to fight back.
But her transformation isn’t loud.
It isn’t dramatic.
It happens the way real change happens: one scar at a time.
The turning point arrives inside the Baades forests, where a mission intended to control her spirals into chaos beyond anyone’s plans. Surrounded by predators who believe she is the easiest one to break, Saba makes a choice that will define who she becomes. She stops running. She stops hiding. And in the ashes of the mission, she rises — dangerous not because she wants to be, but because the world taught her no other way to live.
Part One of Shadows of the Vixen is the anatomy of this rise.
It is the story of how a girl becomes a weapon — not through training, but through survival. Not through violence, but through clarity. Not through hate, but through the cold acceptance that she can rely only on herself.
This volume ends where her past finally stops following her… and where her future starts hunting back.
In Part Two, the shadows she has inherited — and the ones she has created — will return with consequences no one could foresee.
But for now, this is Saba’s beginning.
And beginnings are always the most dangerous part of any legend.
Shadows of the Vixen: Part One
Ashfaq Ahmad
The Bloody Castle
Why We Watch People Suffer
Somewhere between scripted entertainment and real human tragedy lies a thin, trembling line.Modern audiences know this line well—and cross it every day.
We watch crime documentaries with popcorn.
We scroll past accidents before breakfast.
We treat trauma as content and fear as evening entertainment.
And one day, someone decides to turn that habit into business. The Bloody Castle was born out of that question: What happens when fear is monetized?
Not metaphorically. Literally.
What happens when a global corporation designs an “experience” so powerful, so immersive, so psychologically manipulative that the audience forgets they are watching people, not characters?
And what happens to the people inside the experience?
This article is a deep dive into the philosophy, psychology, and socio-cultural commentary that shaped the novel. It also reflects the terrifying reality of how entertainment has evolved in the last decade—into something darker, hungrier, and unapologetically voyeuristic.
——————————————
1. The Rise of Pain-Based Entertainment
We like to believe we live in a sanitized world—civilized, progressive, increasingly sensitive. But scratch the surface and you find a truth as old as humanity:
People love watching danger—as long as they aren’t the ones in danger.
Ancient gladiator fights, witch trials, public executions…
Today we call them “shows,” “episodes,” “live streams.”
The content is new. The appetite is old.
In this modern era, danger is packaged into episodes. But the psychology behind it hasn’t changed. We want to feel something—thrill, fear, discomfort—without actually risking anything ourselves.
That is the emotional economy The Bloody Castle operates in.
When eight contestants walk into a supposedly haunted island, they don’t walk into a game.
They walk into a global laboratory of human fear.
And millions watch.
—————————————————
2. Fear as a Business Model
One of the driving forces behind the novel is a disturbing but undeniable reality:
Fear is one of the most profitable emotions in the world.
It sells news.
It sells entertainment.
It sells political narratives.
It sells superstition.
It sells security systems.
It sells conspiracy theories.
So why wouldn’t it sell a game show?
In the novel, the entity behind the show—Ebdor International—functions with perfect, ruthless corporate logic:
• Fear— engagement
• Engagement— viewership
• Viewership— monetization
• Monetization— success
Everything else is optional.
The contestants aren’t participants; they’re content assets.
And Samira, the sole survivor, becomes the most valuable asset of all.
Not because she escaped the castle.
But because escaping makes for excellent marketing.
—————————————————
3. The Illusion of Choice and the Architecture of Control
One of the psychological pillars in the novel is the idea of manufactured illusions.
The contestants believe:
• They can fight their fears
• They can win a prize
• They can leave with dignity
• They can survive
But every path they take is already engineered.
Every reaction is predicted.
Every fear is mapped.
Every weakness is studied.
Every emotional breakdown is the show’s success metric.
This is not supernatural horror.
This is institutional horror.
A horror where human beings are controlled not by ghosts, but by technology, drugs, psychological manipulation, and narrative engineering.
And that is far scarier than any ghost.
———————————————
4. The Human Mind Under Extreme Fear
The novel is as much a psychological study as it is a thriller.
When the contestants experience terror, hallucinations, and the blurring of reality, they aren’t just scared—they are chemically reprogrammed to believe in their own doom.
This mirrors real-life experiments where:
• Sleep deprivation
• Sensory manipulation
• Continuous anxiety
• Isolation
• Trauma loops
• Extreme stress
…can literally distort perception.
Samira’s hallucinations, Gireesh’s rampage, Meenakshi’s panic, Wasif’s suicide—these aren’t supernatural events; they are the human mind collapsing under systematic psychological assault.
The scariest part?
Everything is designed.
Engineered.
Calculated.
Nothing is accidental.
Nothing is random.
And once the audience realizes this, the horror shifts from the castle…
to the people who built it.
—————————————————
5. The Audience as Silent Accomplices
One uncomfortable truth the story exposes is this:
If millions watch someone’s suffering…
Does that make them responsible?
The novel forces this confrontation.
Each episode trends globally.
Memes flood the internet.
People pick sides.
People celebrate breakdowns.
People justify deaths as “part of the show.”
Sound familiar?
Because this is what we already do.
We consume humiliation-based content.
We enjoy breakdown compilations.
We cheer drama on reality shows.
We reward cruelty with attention.
What The Bloody Castle does is simple:
It amplifies this truth until we can no longer pretend it isn’t real.
———————————————————
6. Samira: The Survivor Born from a Lie
Samira’s transformation is central.
She is flawed.
Self-centred.
Morally grey.
And deeply human.
She doesn’t survive because she’s heroic.
She survives because she is adaptable.
Because survival is her instinct—above morality, above guilt, above trauma.
And that makes her terrifying in her own way.
When she accepts the offer at the end—money, protection, silence—she becomes exactly what the show wanted:
A perfect product of trauma.
A walking advertisement.
A survivor with a sponsored narrative.
Her survival isn’t victory.
It’s a transaction. And perhaps that is the darkest ending the story could ever offer.
————————————————
7. The Real Horror: A World That Rewards Cruelty
In the final analysis, the novel is not just horror fiction.
It is a mirror.
A reflection of:
• Corporate greed
• Audience apathy
• Manufactured truth
• Digital cruelty
• Ethical collapse
• Emotional numbness
And beneath all of this lies a single question:
If death becomes entertainment,
what does humanity become?
The story doesn’t answer this.
It doesn’t need to.
The answer is already visible around us.
————————————————
Conclusion: Why This Story Matters Today
The Bloody Castle isn’t meant to scare you with ghosts.
It’s meant to scare you with reality.
With the possibility that human fear can be engineered…
streamed…
monetized…
and consumed.
In a world where our darkest emotions are profitable…
What happens when someone decides to invest in them?
The novel attempts to explore that terrifying possibility.
And the truth is simple:
Fear has always been humanity’s oldest emotion.
But today, it has become the newest industry.
The Bloody Castle
Ashfaq Ahmad
Somewhere between scripted entertainment and real human tragedy lies a thin, trembling line.Modern audiences know this line well—and cross it every day.
We watch crime documentaries with popcorn.
We scroll past accidents before breakfast.
We treat trauma as content and fear as evening entertainment.
And one day, someone decides to turn that habit into business. The Bloody Castle was born out of that question: What happens when fear is monetized?
Not metaphorically. Literally.
What happens when a global corporation designs an “experience” so powerful, so immersive, so psychologically manipulative that the audience forgets they are watching people, not characters?
And what happens to the people inside the experience?
This article is a deep dive into the philosophy, psychology, and socio-cultural commentary that shaped the novel. It also reflects the terrifying reality of how entertainment has evolved in the last decade—into something darker, hungrier, and unapologetically voyeuristic.
——————————————
1. The Rise of Pain-Based Entertainment
We like to believe we live in a sanitized world—civilized, progressive, increasingly sensitive. But scratch the surface and you find a truth as old as humanity:
People love watching danger—as long as they aren’t the ones in danger.
Ancient gladiator fights, witch trials, public executions…
Today we call them “shows,” “episodes,” “live streams.”
The content is new. The appetite is old.
In this modern era, danger is packaged into episodes. But the psychology behind it hasn’t changed. We want to feel something—thrill, fear, discomfort—without actually risking anything ourselves.
That is the emotional economy The Bloody Castle operates in.
When eight contestants walk into a supposedly haunted island, they don’t walk into a game.
They walk into a global laboratory of human fear.
And millions watch.
—————————————————
2. Fear as a Business Model
One of the driving forces behind the novel is a disturbing but undeniable reality:
Fear is one of the most profitable emotions in the world.
It sells news.
It sells entertainment.
It sells political narratives.
It sells superstition.
It sells security systems.
It sells conspiracy theories.
So why wouldn’t it sell a game show?
In the novel, the entity behind the show—Ebdor International—functions with perfect, ruthless corporate logic:
• Fear— engagement
• Engagement— viewership
• Viewership— monetization
• Monetization— success
Everything else is optional.
The contestants aren’t participants; they’re content assets.
And Samira, the sole survivor, becomes the most valuable asset of all.
Not because she escaped the castle.
But because escaping makes for excellent marketing.
—————————————————
3. The Illusion of Choice and the Architecture of Control
One of the psychological pillars in the novel is the idea of manufactured illusions.
The contestants believe:
• They can fight their fears
• They can win a prize
• They can leave with dignity
• They can survive
But every path they take is already engineered.
Every reaction is predicted.
Every fear is mapped.
Every weakness is studied.
Every emotional breakdown is the show’s success metric.
This is not supernatural horror.
This is institutional horror.
A horror where human beings are controlled not by ghosts, but by technology, drugs, psychological manipulation, and narrative engineering.
And that is far scarier than any ghost.
———————————————
4. The Human Mind Under Extreme Fear
The novel is as much a psychological study as it is a thriller.
When the contestants experience terror, hallucinations, and the blurring of reality, they aren’t just scared—they are chemically reprogrammed to believe in their own doom.
This mirrors real-life experiments where:
• Sleep deprivation
• Sensory manipulation
• Continuous anxiety
• Isolation
• Trauma loops
• Extreme stress
…can literally distort perception.
Samira’s hallucinations, Gireesh’s rampage, Meenakshi’s panic, Wasif’s suicide—these aren’t supernatural events; they are the human mind collapsing under systematic psychological assault.
The scariest part?
Everything is designed.
Engineered.
Calculated.
Nothing is accidental.
Nothing is random.
And once the audience realizes this, the horror shifts from the castle…
to the people who built it.
—————————————————
5. The Audience as Silent Accomplices
One uncomfortable truth the story exposes is this:
If millions watch someone’s suffering…
Does that make them responsible?
The novel forces this confrontation.
Each episode trends globally.
Memes flood the internet.
People pick sides.
People celebrate breakdowns.
People justify deaths as “part of the show.”
Sound familiar?
Because this is what we already do.
We consume humiliation-based content.
We enjoy breakdown compilations.
We cheer drama on reality shows.
We reward cruelty with attention.
What The Bloody Castle does is simple:
It amplifies this truth until we can no longer pretend it isn’t real.
———————————————————
6. Samira: The Survivor Born from a Lie
Samira’s transformation is central.
She is flawed.
Self-centred.
Morally grey.
And deeply human.
She doesn’t survive because she’s heroic.
She survives because she is adaptable.
Because survival is her instinct—above morality, above guilt, above trauma.
And that makes her terrifying in her own way.
When she accepts the offer at the end—money, protection, silence—she becomes exactly what the show wanted:
A perfect product of trauma.
A walking advertisement.
A survivor with a sponsored narrative.
Her survival isn’t victory.
It’s a transaction. And perhaps that is the darkest ending the story could ever offer.
————————————————
7. The Real Horror: A World That Rewards Cruelty
In the final analysis, the novel is not just horror fiction.
It is a mirror.
A reflection of:
• Corporate greed
• Audience apathy
• Manufactured truth
• Digital cruelty
• Ethical collapse
• Emotional numbness
And beneath all of this lies a single question:
If death becomes entertainment,
what does humanity become?
The story doesn’t answer this.
It doesn’t need to.
The answer is already visible around us.
————————————————
Conclusion: Why This Story Matters Today
The Bloody Castle isn’t meant to scare you with ghosts.
It’s meant to scare you with reality.
With the possibility that human fear can be engineered…
streamed…
monetized…
and consumed.
In a world where our darkest emotions are profitable…
What happens when someone decides to invest in them?
The novel attempts to explore that terrifying possibility.
And the truth is simple:
Fear has always been humanity’s oldest emotion.
But today, it has become the newest industry.
The Bloody Castle
Ashfaq Ahmad
Saavri: The Mind’s Last Mirror
The Woman Who Lived Inside a Mind
Reflections on Writing “Saavri: The Mind’s Last Mirror”
There are stories that exist outside us— and then there are stories that live within us long before we write them. Saavri belongs to the second kind.
When I began writing Saavri: The Mind’s Last Mirror, I wasn’t creating a ghost story. I was trying to understand what happens when love refuses to die, when emotion becomes so powerful that it transcends both the body and the soul. The Himalayas, with their quiet valleys and unseen legends, were just a backdrop. The real landscape of this story was never the forest— it was the human mind.
In most horror narratives, evil arrives from outside. But I have always believed that the most frightening place in the world is the human consciousness— that fragile intersection of memory, guilt, and desire. When reality begins to blur inside one’s head, who decides what’s real? That single question became the seed from which Saavri grew.
The Mind as a Haunted House
Soumitra’s journey— from the search for his father’s disappearance to his descent into the realm of Saavri— mirrors something deeply psychological. Every haunted house, in truth, is a metaphor for the mind. The creaking doors are unspoken regrets. The dark corners are suppressed desires. And the ghost… the ghost is always someone we once loved and lost.
Saavri, in that sense, isn’t a spirit from folklore. She is the embodiment of unfulfilled love— of obsession that refuses to rest. In her, the sensual and the terrifying merge. She’s not the monster beneath the bed; she’s the memory you cannot bury.
Between Love and Damnation
Indian mythology is filled with women who transcend their mortal bounds— Shakti, Menaka, Mohini, even the Yakshinis who dwell between the divine and the demonic. Saavri borrows from that tradition but takes it inward, into the modern psyche.
When Soumitra meets her, she isn’t a phantom from another realm— she is the reflection of his own longing. The war that follows isn’t between man and spirit, but between love and liberation, between the desire to hold on and the wisdom to let go.
To me, that’s the real horror— not the supernatural, but the inability to free oneself from one’s own emotions. The human heart, once possessed, can become more terrifying than any ancient curse.
A Psychological Descent, Not a Supernatural One
I wrote Saavri as a psychological mirror. Every scene— the forests, the collapsing ruins, the lava pits, even the surreal encounters— is a manifestation of the mind’s decay and transcendence.
Soumitra doesn’t simply fight spirits; he confronts his inherited trauma, his fear of losing love, his guilt as a son and a man. The supernatural exists, but only as a reflection of inner chaos.
That’s why the story doesn’t end with victory. It ends with realization— that freedom is not achieved by defeating the darkness, but by understanding it.
Indian Gothic— The Soul of the Story
While Western gothic fiction has its castles and cemeteries, Indian gothic draws from something older: spiritual anxiety. In our stories, ghosts are rarely random; they’re tied to karma, memory, and unfinished emotion.
Saavri stands at the crossroad of these two traditions. Its tone borrows from modern psychological horror, yet its heart beats with Indian spirituality— where every curse is a lesson, and every haunting is a continuation of love.
The forests of the Himalayas in Saavri aren’t just physical locations. They represent the unconscious— that space where faith and fear coexist. Writing those scenes, I often felt like I was wandering through my own subconscious, translating images that arrived like dreams: slow, vivid, and inexplicably real.
When Love Refuses to Die
At its core, Saavri is about the price of emotional immortality.
We think of eternity as a gift, but what if it’s a curse? What if being remembered forever means never finding peace?
Saavri, trapped within a man’s consciousness, becomes a metaphor for every emotion we refuse to release— every grief, every longing, every “what if” we carry silently for years.
And that’s what makes the ending inevitable: liberation through fire, and rebirth through remembrance. Because sometimes, the only way to free a haunting is to accept that it was once love.
Why I Wrote It
People often ask if Saavri is based on a true story. My answer is: it’s based on a true emotion. Every writer has a ghost— not the kind that appears in the night, but the kind that whispers when you’re alone with your thoughts.
For me, Saavri was that whisper.
I wrote it to confront the idea that horror is not always about monsters. Sometimes, it’s about memory. Sometimes, it’s about how far love can go before it becomes possession.
The Eternal Reflection
In the end, Saavri leaves you with one question—
If the mind is the mirror, what happens when the reflection begins to move on its own?
Maybe that’s why we tell stories— not to escape our ghosts, but to understand them. Because the truth is, they were never outside us. They were always within.
Excerpted Reflection
“When reality is born inside the mind, who decides what’s real?”
— Saavri: The Mind’s Last Mirror
Saavri: The Mind’s Last Mirror
Ashfaq Ahmad
Reflections on Writing “Saavri: The Mind’s Last Mirror”
There are stories that exist outside us— and then there are stories that live within us long before we write them. Saavri belongs to the second kind.
When I began writing Saavri: The Mind’s Last Mirror, I wasn’t creating a ghost story. I was trying to understand what happens when love refuses to die, when emotion becomes so powerful that it transcends both the body and the soul. The Himalayas, with their quiet valleys and unseen legends, were just a backdrop. The real landscape of this story was never the forest— it was the human mind.
In most horror narratives, evil arrives from outside. But I have always believed that the most frightening place in the world is the human consciousness— that fragile intersection of memory, guilt, and desire. When reality begins to blur inside one’s head, who decides what’s real? That single question became the seed from which Saavri grew.
The Mind as a Haunted House
Soumitra’s journey— from the search for his father’s disappearance to his descent into the realm of Saavri— mirrors something deeply psychological. Every haunted house, in truth, is a metaphor for the mind. The creaking doors are unspoken regrets. The dark corners are suppressed desires. And the ghost… the ghost is always someone we once loved and lost.
Saavri, in that sense, isn’t a spirit from folklore. She is the embodiment of unfulfilled love— of obsession that refuses to rest. In her, the sensual and the terrifying merge. She’s not the monster beneath the bed; she’s the memory you cannot bury.
Between Love and Damnation
Indian mythology is filled with women who transcend their mortal bounds— Shakti, Menaka, Mohini, even the Yakshinis who dwell between the divine and the demonic. Saavri borrows from that tradition but takes it inward, into the modern psyche.
When Soumitra meets her, she isn’t a phantom from another realm— she is the reflection of his own longing. The war that follows isn’t between man and spirit, but between love and liberation, between the desire to hold on and the wisdom to let go.
To me, that’s the real horror— not the supernatural, but the inability to free oneself from one’s own emotions. The human heart, once possessed, can become more terrifying than any ancient curse.
A Psychological Descent, Not a Supernatural One
I wrote Saavri as a psychological mirror. Every scene— the forests, the collapsing ruins, the lava pits, even the surreal encounters— is a manifestation of the mind’s decay and transcendence.
Soumitra doesn’t simply fight spirits; he confronts his inherited trauma, his fear of losing love, his guilt as a son and a man. The supernatural exists, but only as a reflection of inner chaos.
That’s why the story doesn’t end with victory. It ends with realization— that freedom is not achieved by defeating the darkness, but by understanding it.
Indian Gothic— The Soul of the Story
While Western gothic fiction has its castles and cemeteries, Indian gothic draws from something older: spiritual anxiety. In our stories, ghosts are rarely random; they’re tied to karma, memory, and unfinished emotion.
Saavri stands at the crossroad of these two traditions. Its tone borrows from modern psychological horror, yet its heart beats with Indian spirituality— where every curse is a lesson, and every haunting is a continuation of love.
The forests of the Himalayas in Saavri aren’t just physical locations. They represent the unconscious— that space where faith and fear coexist. Writing those scenes, I often felt like I was wandering through my own subconscious, translating images that arrived like dreams: slow, vivid, and inexplicably real.
When Love Refuses to Die
At its core, Saavri is about the price of emotional immortality.
We think of eternity as a gift, but what if it’s a curse? What if being remembered forever means never finding peace?
Saavri, trapped within a man’s consciousness, becomes a metaphor for every emotion we refuse to release— every grief, every longing, every “what if” we carry silently for years.
And that’s what makes the ending inevitable: liberation through fire, and rebirth through remembrance. Because sometimes, the only way to free a haunting is to accept that it was once love.
Why I Wrote It
People often ask if Saavri is based on a true story. My answer is: it’s based on a true emotion. Every writer has a ghost— not the kind that appears in the night, but the kind that whispers when you’re alone with your thoughts.
For me, Saavri was that whisper.
I wrote it to confront the idea that horror is not always about monsters. Sometimes, it’s about memory. Sometimes, it’s about how far love can go before it becomes possession.
The Eternal Reflection
In the end, Saavri leaves you with one question—
If the mind is the mirror, what happens when the reflection begins to move on its own?
Maybe that’s why we tell stories— not to escape our ghosts, but to understand them. Because the truth is, they were never outside us. They were always within.
Excerpted Reflection
“When reality is born inside the mind, who decides what’s real?”
— Saavri: The Mind’s Last Mirror
Saavri: The Mind’s Last Mirror
Ashfaq Ahmad
November 17, 2025
Echoes of an Endless Love
There are some loves that refuse to fade—
They live beyond time, beyond death, beyond the fragile borders of reason. They linger in a touch remembered, in a letter left unfinished, in the fragrance of an old winter night.
Echoes of an Endless Love is a tribute to such loves—those that defy endings.
This collection of ten deeply human stories explores love in its most haunting, fragile, and eternal forms. Set across cities and mountains, across lifetimes and fleeting moments, these tales speak of the timeless human yearning to love and be loved—even when the world, fate, and time itself stand in the way.
Each story here is a journey—sometimes soft as snowfall, sometimes raw as truth, and sometimes devastatingly beautiful. Together, they weave a tapestry of emotions that echo across lives, reminding us that love never really dies; it only changes its form.
1. Love Beyond Time
It begins with snow—soft, silent, and eternal.
In the valleys of Manali, two souls meet again after decades, unaware that they have known each other before—in another life, under another name. The story moves between love and loss, between death and return, until love itself becomes a bridge between two lifetimes.
A tale of reincarnation, unfinished promises, and the redemption of an eternal bond, Love Beyond Time sets the emotional tone for the entire collection—where love transcends mortality itself.
2. Vows in the Snow
A broken man. A lonely woman. And a mountain that witnesses it all.
He comes seeking revenge against love itself—determined to play with another’s heart to avenge his own. But when the fragile warmth of genuine affection melts his bitterness, he discovers that love cannot be manipulated; it must be surrendered to.
Vows in the Snow is a story of deception turned devotion, of how even betrayal can lead to salvation when the heart learns to love again.
3. Before the Last Goodbye
Sometimes love doesn’t need forever; it just needs one last journey.
On a bus ride from Lucknow to Delhi, two estranged lovers meet again after years apart. Between small talks and silences, between memories and unspoken apologies, they relive their past—only to realize that goodbyes, too, can be beautiful when said with love.
A tender story of closure, forgiveness, and the quiet dignity of letting go.
4. When Love Returned
At a family wedding, fate brings together two souls separated by time and circumstance. He had never stopped loving her; she had forgotten how to be loved.
Now, middle-aged and weary, they find in each other not the thrill of youth but the comfort of understanding.
When Love Returned celebrates the second chances that life sometimes gifts to those who still dare to believe in love.
5. 7 Days of a Lifetime
In the snow-clad beauty of Sonmarg, a young man mistakes faith for identity—and love for illusion.
He falls for a girl he believes to be like him, only to discover that she belongs to a world divided by religion.
What follows is a journey of awakening, of realizing that love knows no boundaries—except the ones we create.
7 Days of a Lifetime is tender and tragic, a reflection on the invisible walls that separate hearts.
6. When We Paused
Some meetings happen only to ask—“What if?”
He encounters his former lover in the mountains while on a work trip. She, once radiant with ambition, is now the wife of an older man, trapped in a gilded cage.
In the pause between their lives, they rediscover what could have been, what still might be, and what must be left behind.
When We Paused is about unfinished symphonies and the silence between two heartbeats.
7. Chasing Shades of Love
Love, in the digital age, often begins as a username.
A young man helps a runaway girl reach the boy she met online—only to find that virtual affection can hide cruel realities.
In helping her, he confronts the illusions of modern love and the need to protect innocence in a world that’s forgotten sincerity.
Chasing Shades of Love blends urban restlessness with old-fashioned emotion, showing that love’s purity still survives beneath all facades.
8. The Books He Never Read
At an airport, a man becomes obsessed with a girl engrossed in a book.
He builds entire dreams around her imagined intellect, her imagined soul—until he discovers she was never reading at all.
The Books He Never Read is a mirror to every illusion we fall in love with—the fantasy of what we want someone to be, rather than who they truly are.
9. When Dreams Met Reality
She fell in love with a man she had never met—a famous writer whose words promised warmth and depth.
Through her letters, she believed she knew him. But when she entered his life, she met not the man from her dreams, but the truth behind the ink.
When Dreams Met Reality is about idealism shattered by intimacy, and the painful beauty of discovering that love, too, must be real to endure.
10. When the Flute Wept
In a quiet village, a boy’s flute becomes his language of love.
The purity of his heart and the simplicity of his devotion awaken something forgotten in a rebellious girl who returns to him against all odds.
When the Flute Wept closes the collection with a melody of innocence—where love, stripped of all artifice, sings in its purest form.
The Journey Within
Together, these ten stories form a circle—of beginnings and endings, of heartbreak and healing, of lovers meeting across cities, lifetimes, and silences.
From the Himalayan snow to the crowded streets of Kolkata, from airports to ancestral homes, Echoes of an Endless Love speaks a language that every heart understands.
It is not just a book about love—it is about the persistence of love.
How it returns when forgotten, redeems when broken, and survives even when it seems to have died.
Because love, in the end, is not an event—it is an echo.
And echoes never really end.
They live beyond time, beyond death, beyond the fragile borders of reason. They linger in a touch remembered, in a letter left unfinished, in the fragrance of an old winter night.
Echoes of an Endless Love is a tribute to such loves—those that defy endings.
This collection of ten deeply human stories explores love in its most haunting, fragile, and eternal forms. Set across cities and mountains, across lifetimes and fleeting moments, these tales speak of the timeless human yearning to love and be loved—even when the world, fate, and time itself stand in the way.
Each story here is a journey—sometimes soft as snowfall, sometimes raw as truth, and sometimes devastatingly beautiful. Together, they weave a tapestry of emotions that echo across lives, reminding us that love never really dies; it only changes its form.
1. Love Beyond Time
It begins with snow—soft, silent, and eternal.
In the valleys of Manali, two souls meet again after decades, unaware that they have known each other before—in another life, under another name. The story moves between love and loss, between death and return, until love itself becomes a bridge between two lifetimes.
A tale of reincarnation, unfinished promises, and the redemption of an eternal bond, Love Beyond Time sets the emotional tone for the entire collection—where love transcends mortality itself.
2. Vows in the Snow
A broken man. A lonely woman. And a mountain that witnesses it all.
He comes seeking revenge against love itself—determined to play with another’s heart to avenge his own. But when the fragile warmth of genuine affection melts his bitterness, he discovers that love cannot be manipulated; it must be surrendered to.
Vows in the Snow is a story of deception turned devotion, of how even betrayal can lead to salvation when the heart learns to love again.
3. Before the Last Goodbye
Sometimes love doesn’t need forever; it just needs one last journey.
On a bus ride from Lucknow to Delhi, two estranged lovers meet again after years apart. Between small talks and silences, between memories and unspoken apologies, they relive their past—only to realize that goodbyes, too, can be beautiful when said with love.
A tender story of closure, forgiveness, and the quiet dignity of letting go.
4. When Love Returned
At a family wedding, fate brings together two souls separated by time and circumstance. He had never stopped loving her; she had forgotten how to be loved.
Now, middle-aged and weary, they find in each other not the thrill of youth but the comfort of understanding.
When Love Returned celebrates the second chances that life sometimes gifts to those who still dare to believe in love.
5. 7 Days of a Lifetime
In the snow-clad beauty of Sonmarg, a young man mistakes faith for identity—and love for illusion.
He falls for a girl he believes to be like him, only to discover that she belongs to a world divided by religion.
What follows is a journey of awakening, of realizing that love knows no boundaries—except the ones we create.
7 Days of a Lifetime is tender and tragic, a reflection on the invisible walls that separate hearts.
6. When We Paused
Some meetings happen only to ask—“What if?”
He encounters his former lover in the mountains while on a work trip. She, once radiant with ambition, is now the wife of an older man, trapped in a gilded cage.
In the pause between their lives, they rediscover what could have been, what still might be, and what must be left behind.
When We Paused is about unfinished symphonies and the silence between two heartbeats.
7. Chasing Shades of Love
Love, in the digital age, often begins as a username.
A young man helps a runaway girl reach the boy she met online—only to find that virtual affection can hide cruel realities.
In helping her, he confronts the illusions of modern love and the need to protect innocence in a world that’s forgotten sincerity.
Chasing Shades of Love blends urban restlessness with old-fashioned emotion, showing that love’s purity still survives beneath all facades.
8. The Books He Never Read
At an airport, a man becomes obsessed with a girl engrossed in a book.
He builds entire dreams around her imagined intellect, her imagined soul—until he discovers she was never reading at all.
The Books He Never Read is a mirror to every illusion we fall in love with—the fantasy of what we want someone to be, rather than who they truly are.
9. When Dreams Met Reality
She fell in love with a man she had never met—a famous writer whose words promised warmth and depth.
Through her letters, she believed she knew him. But when she entered his life, she met not the man from her dreams, but the truth behind the ink.
When Dreams Met Reality is about idealism shattered by intimacy, and the painful beauty of discovering that love, too, must be real to endure.
10. When the Flute Wept
In a quiet village, a boy’s flute becomes his language of love.
The purity of his heart and the simplicity of his devotion awaken something forgotten in a rebellious girl who returns to him against all odds.
When the Flute Wept closes the collection with a melody of innocence—where love, stripped of all artifice, sings in its purest form.
The Journey Within
Together, these ten stories form a circle—of beginnings and endings, of heartbreak and healing, of lovers meeting across cities, lifetimes, and silences.
From the Himalayan snow to the crowded streets of Kolkata, from airports to ancestral homes, Echoes of an Endless Love speaks a language that every heart understands.
It is not just a book about love—it is about the persistence of love.
How it returns when forgotten, redeems when broken, and survives even when it seems to have died.
Because love, in the end, is not an event—it is an echo.
And echoes never really end.
From Darkness to Dawn
From Darkness to Dawn
There are nights that last a single hour and nights that seem to last a lifetime. Between them sit the small human acts of survival: the quiet resistance, the stubborn defiance, the private bargaining with fate. That is the territory this collection walks — a narrow, sunlit lane that cuts across ordinary streets, simple homes, the market’s ruckus, and the temple bells at dawn. These stories are not great events invented for grandeur; they are the small, stubborn rebellions of women who, in different registers and from different vantage points, refuse to be reduced to the shapes the world prescribes.
This book holds seven short narratives bound by one impulse: to find light when the light is threatened, to insist on living fully when the world expects contraction. The arc of the collection is purposeful — a movement from rupture to reckoning, from escape to repair, and from private exile to an attempt at communal belonging. Each story stands alone; together they form a mosaic of resilience.
From Darkness to Dawn
A riotous, intimate tale of two women who refuse to accept a life handed to them by social prescription. They step beyond the tidy lines of family, religion, and public etiquette, and find in each other a shelter and a revolt. This is not a story of ideology but of intimacy — the practical, earthly work of two people who choose one another in a society that prefers conformity.
Kahani Junction
A small park with numbered benches becomes a larger stage — a junction for stories, secret and loud. Here three women from three generations, three classes, three distinct social worlds meet. Their lives intersect briefly and indelibly; their shared sorrows and fierce hopes seed a plan that promises not only escape but a new public project. This story is about how unlikely solidarities are born — in benches, in gossip, in shared tea — and how they can grow into real alternatives.
Unfinished
A tender and dangerous portrait of identity and acceptance. Born as a boy but living the truth of a woman, the protagonist navigates neighborhoods, taunts, and love. A local, elder tough — the kind the alleyways know by name — becomes the unlikely witness to her truth and, finally, its gentle acceptor. This story asks what it costs to be whole in a place that prizes sameness — and what it yields when a solitary, stubborn kindness chooses to stay.
The Healing Touch
Grief has weight and shape. This tale follows a woman whose small acts of care — of touch, of attention — unseen by a large world, become the very thing that steadies others. Her hands, her patience, the room she makes for a stranger’s pain, produce repair. It is a study of intimacy without theater; healing that arrives not as miracle but as steady labor.
The Light Beyond Twilight
An older man leaves his comforts and reputations behind to live among a village whose needs cannot be measured by the ledger of his earlier life. In the dusk of his years he discovers a new sort of brightness: meaning made by giving, by presence, by the shedding of the self’s brittle pride. The story unfolds with the quiet clarity of someone who has learned to turn toward what endures.
The Silent Connection
Two strangers share an encounter so small it might be overlooked — a bus ride, a look, a pause — and yet the connection that forms between them makes both of their private worlds richer. Silence here is not absence; it is a language — particular, precise, unshowy. The narrative traces the gentle economy of mutual recognition.
Madhurima
A widow’s sudden decision to reclaim the life she postponed becomes a reckoning and a gift. In the coastal light of Goa she seeks what youth left behind: longing, beauty, the right to desire again. There she meets a man who understands absence. His promise is not the rescue-song of melodrama; it is the simple pact of companionship and the possibility of repair.
What binds these stories is the book’s faith in moral imagination— the conviction that ordinary choices, when made courageously, alter the world’s grammar. Each protagonist faces constraints that look immovable: caste and class, custom and code, hunger and humiliation. Yet each also finds a point of leverage— a word, a stubborn ritual, a friendship, a job, a stolen hour— that opens a margin for living differently.
There is another common thread: the refusal to romanticize suffering. These are not allegories in which pain automatically blossoms into wisdom. The books’ characters suffer in ways that are practical and sharp. The relief they win is pragmatic, sometimes partial, sometimes fragile. It is earned, not bestowed. You will find no easy consolations here — only the steadiness of people who, day after day, choose to stand.
Language matters in these pages. Names — Saheb, Amma, Chachi — arrive in transliteration as small flags of belonging. Foods, festivals, and local rhythms are described with a specificity meant to root the reader in place rather than to exoticize it. Dialogue carries the register of the street and the parlor both — the clipped Hindi of a market vendor, the careful English of a woman attempting to claim new vocabulary for her life. The prose aims for a kind of quiet craft: sentences that move forward, voices that remain distinct, and an emotional honesty that never varnishes the truth.
The collection also asks a practical question — what can solidarity look like across difference? In Kahani Junction, the answer is organizational: a business that begins with empathy and ends by remaking livelihood. In From Darkness to Dawn, the answer is intimate and defiant. In Unfinished, it is acceptance; in The Healing Touch and The Light Beyond Twilight, it is the reclamation of purpose; and in Madhurima and The Silent Connection, it is the right to love without apology. Together, these answers suggest that a society’s smallest ethics — how it treats its women, its elderly, its lovers — are the measure of its capacity to renew itself.
If you turn these pages looking for grand spectacle, you may be disoriented by the book’s preference for the low-lit rooms of ordinary courage. But if you are willing to attend to small acts — the steadiness of a hand through pain, the careful bookkeeping of a brave woman’s savings, the decision to speak a prohibited truth aloud — you will find here a narrative of emancipation both intimate and public.
This is a book written out of a city that could be any city, and yet each story is particular. The women here do not wait for salvation; they construct it with whatever is at hand. They trade in the currency of repair — work, empathy, stubbornness, love where it is possible. Each story ends not with a final triumph but with a new arrangement of living that promises more room for breath. That is the smallest sort of revolution, and it is sometimes the only sort that matters.
Welcome to From Darkness to Dawn. Read slowly. Notice the benches, the park, the small businesses and the small violences. Listen for the ways the characters teach each other how to continue — and imagine how your own small choices might reconfigure the day ahead.
There are nights that last a single hour and nights that seem to last a lifetime. Between them sit the small human acts of survival: the quiet resistance, the stubborn defiance, the private bargaining with fate. That is the territory this collection walks — a narrow, sunlit lane that cuts across ordinary streets, simple homes, the market’s ruckus, and the temple bells at dawn. These stories are not great events invented for grandeur; they are the small, stubborn rebellions of women who, in different registers and from different vantage points, refuse to be reduced to the shapes the world prescribes.
This book holds seven short narratives bound by one impulse: to find light when the light is threatened, to insist on living fully when the world expects contraction. The arc of the collection is purposeful — a movement from rupture to reckoning, from escape to repair, and from private exile to an attempt at communal belonging. Each story stands alone; together they form a mosaic of resilience.
From Darkness to Dawn
A riotous, intimate tale of two women who refuse to accept a life handed to them by social prescription. They step beyond the tidy lines of family, religion, and public etiquette, and find in each other a shelter and a revolt. This is not a story of ideology but of intimacy — the practical, earthly work of two people who choose one another in a society that prefers conformity.
Kahani Junction
A small park with numbered benches becomes a larger stage — a junction for stories, secret and loud. Here three women from three generations, three classes, three distinct social worlds meet. Their lives intersect briefly and indelibly; their shared sorrows and fierce hopes seed a plan that promises not only escape but a new public project. This story is about how unlikely solidarities are born — in benches, in gossip, in shared tea — and how they can grow into real alternatives.
Unfinished
A tender and dangerous portrait of identity and acceptance. Born as a boy but living the truth of a woman, the protagonist navigates neighborhoods, taunts, and love. A local, elder tough — the kind the alleyways know by name — becomes the unlikely witness to her truth and, finally, its gentle acceptor. This story asks what it costs to be whole in a place that prizes sameness — and what it yields when a solitary, stubborn kindness chooses to stay.
The Healing Touch
Grief has weight and shape. This tale follows a woman whose small acts of care — of touch, of attention — unseen by a large world, become the very thing that steadies others. Her hands, her patience, the room she makes for a stranger’s pain, produce repair. It is a study of intimacy without theater; healing that arrives not as miracle but as steady labor.
The Light Beyond Twilight
An older man leaves his comforts and reputations behind to live among a village whose needs cannot be measured by the ledger of his earlier life. In the dusk of his years he discovers a new sort of brightness: meaning made by giving, by presence, by the shedding of the self’s brittle pride. The story unfolds with the quiet clarity of someone who has learned to turn toward what endures.
The Silent Connection
Two strangers share an encounter so small it might be overlooked — a bus ride, a look, a pause — and yet the connection that forms between them makes both of their private worlds richer. Silence here is not absence; it is a language — particular, precise, unshowy. The narrative traces the gentle economy of mutual recognition.
Madhurima
A widow’s sudden decision to reclaim the life she postponed becomes a reckoning and a gift. In the coastal light of Goa she seeks what youth left behind: longing, beauty, the right to desire again. There she meets a man who understands absence. His promise is not the rescue-song of melodrama; it is the simple pact of companionship and the possibility of repair.
What binds these stories is the book’s faith in moral imagination— the conviction that ordinary choices, when made courageously, alter the world’s grammar. Each protagonist faces constraints that look immovable: caste and class, custom and code, hunger and humiliation. Yet each also finds a point of leverage— a word, a stubborn ritual, a friendship, a job, a stolen hour— that opens a margin for living differently.
There is another common thread: the refusal to romanticize suffering. These are not allegories in which pain automatically blossoms into wisdom. The books’ characters suffer in ways that are practical and sharp. The relief they win is pragmatic, sometimes partial, sometimes fragile. It is earned, not bestowed. You will find no easy consolations here — only the steadiness of people who, day after day, choose to stand.
Language matters in these pages. Names — Saheb, Amma, Chachi — arrive in transliteration as small flags of belonging. Foods, festivals, and local rhythms are described with a specificity meant to root the reader in place rather than to exoticize it. Dialogue carries the register of the street and the parlor both — the clipped Hindi of a market vendor, the careful English of a woman attempting to claim new vocabulary for her life. The prose aims for a kind of quiet craft: sentences that move forward, voices that remain distinct, and an emotional honesty that never varnishes the truth.
The collection also asks a practical question — what can solidarity look like across difference? In Kahani Junction, the answer is organizational: a business that begins with empathy and ends by remaking livelihood. In From Darkness to Dawn, the answer is intimate and defiant. In Unfinished, it is acceptance; in The Healing Touch and The Light Beyond Twilight, it is the reclamation of purpose; and in Madhurima and The Silent Connection, it is the right to love without apology. Together, these answers suggest that a society’s smallest ethics — how it treats its women, its elderly, its lovers — are the measure of its capacity to renew itself.
If you turn these pages looking for grand spectacle, you may be disoriented by the book’s preference for the low-lit rooms of ordinary courage. But if you are willing to attend to small acts — the steadiness of a hand through pain, the careful bookkeeping of a brave woman’s savings, the decision to speak a prohibited truth aloud — you will find here a narrative of emancipation both intimate and public.
This is a book written out of a city that could be any city, and yet each story is particular. The women here do not wait for salvation; they construct it with whatever is at hand. They trade in the currency of repair — work, empathy, stubbornness, love where it is possible. Each story ends not with a final triumph but with a new arrangement of living that promises more room for breath. That is the smallest sort of revolution, and it is sometimes the only sort that matters.
Welcome to From Darkness to Dawn. Read slowly. Notice the benches, the park, the small businesses and the small violences. Listen for the ways the characters teach each other how to continue — and imagine how your own small choices might reconfigure the day ahead.
The Fire That Wouldn’t Die
The Fire That Wouldn’t Die— Stories of Struggle, Conscience, and Redemption
In a world consumed by greed, silence, and fear, there still burns a spark— a flame that refuses to die. The Fire That Wouldn’t Die is a collection of fifteen English short stories that explore the rawest corners of human existence: hunger, guilt, injustice, courage, and love that outlives death itself.
Each story is a mirror— sometimes gentle, sometimes shattering— reflecting how fragile and yet resilient the human spirit can be when tested by life’s cruelties. From the ruins of moral collapse to the rebirth of selfhood, this collection charts a journey across the full spectrum of human experience: from despair to defiance, from silence to truth.
These aren’t tales of heroes or saints. They are stories of ordinary men and women— torn, flawed, and burning quietly inside. Yet in their pain lies the faint glow of redemption… the fire that would not die.
1. The Vulture Feast
In the wreckage of a train derailment, hunger turns a man into something less than human. Khilaavan, a destitute farmer, faces an unthinkable choice: save a dying stranger or feed his starving family. What unfolds is a grim parable of survival where morality collapses under the weight of desperation.
2. The Threshold of Redemption
A murderer haunted by guilt roams the land seeking forgiveness from the world—but finds it only when he kneels before the doorstep of the man he wronged. This haunting story redefines redemption, showing that grace doesn’t bloom in temples, but in tears.
3. A New Dawn
After a brutal sexual assault, a woman stands against the twin empires of power and patriarchy. When money and manipulation try to silence her, she answers with dignity and defiance—transforming victimhood into a radiant new beginning.
4. Who Was She
A rainy night. A vanished girl. A decades-old mystery that refuses to rest. Through the eyes of a retired police officer, we uncover not a ghost story but something darker—the eternal haunting of human cruelty and forgotten justice.
5. The Unchained
A divorced woman battles not her ex-husband, but the invisible walls built by shame and judgment. In her quiet resilience, she learns that freedom isn’t the absence of pain—it’s the courage to walk alone with grace.
6. The Caged Bird
Born into obedience, Surkhab chooses rebellion over submission on the day of her arranged marriage. Her torn veil becomes a symbol of freedom as she steps into the rain to claim her wings. A powerful hymn to womanhood and the right to choose one’s own life.
7. The Fractured Freedom
Modernity without morality, freedom without empathy—this story lays bare a world where technology amplifies lust and hypocrisy, turning victims into predators. A chilling reflection on how our own moral fractures feed the monsters we fear.
8. Two Drops of Water
In a parched world where greed has dried up the earth itself, a small family waits for rain—and for redemption. When the heavens finally open, the story reminds us that even two drops of grace can heal generations of arrogance.
9. The Lust-Stained Soul
Somesh believes he can buy desire and bury guilt—but lust has a memory sharper than conscience. When his sins return to claim him, he learns that the soul, once stained, cannot escape its own reflection.
10. The Man of the Forest
An innocent tribal youth, pure as the earth he belongs to, becomes collateral in a world that fears simplicity. A tragic allegory of innocence crushed by power—and of how truth dies quietly in the jungle of human ambition.
11. Pagli (The Mad Girl)
Lubna’s love defies faith, society, and the politics of hate—but when her beloved Aman is murdered in the name of honor, her mind breaks, though her love does not. She returns, day after day, to the park of their memories—mad to the world, but faithful to eternity.
12. The Silent Shade
An old man clings to his courtyard’s last jamun tree as his village fades under the march of modernity. His embrace of the tree becomes a wordless prayer—a plea for roots, for memory, for the vanishing tenderness of life once lived in shade, not neon.
13. Beyond the Color of Skin
Adeeba, dark-skinned and self-effacing, finds in her tutor Nadeem not pity but reverence. Their bond transcends color, culture, and prejudice—celebrating a love that looks beyond the surface to the soul’s quiet beauty.
14. The Silent Rebellion
Nandini, a young Dalit woman, dares to question her own people: what happens when a weapon of equality becomes a tool of privilege? Her peaceful revolt exposes how even the noblest ideals can decay into hierarchy—and how truth, when spoken from the margins, burns brighter than fire.
15. The Waiting Veil
Before a traditional panchayat, a divorced woman questions centuries of religious orthodoxy with calm intelligence. Her defiance turns ritual into revelation, exposing how blind faith can cage half the human race. A bold meditation on freedom, intellect, and the courage to question divinity itself.
Closing Reflection
The Fire That Wouldn’t Die is more than a collection— it’s a reckoning. Each story burns with questions we’d rather avoid: What does hunger do to humanity? Can forgiveness cleanse guilt? How far will truth go before silence swallows it?
Together, they form a symphony of struggle and grace— where every spark of conscience, every act of rebellion, every tear of mercy becomes part of a fire that will not, cannot, die.
In a world consumed by greed, silence, and fear, there still burns a spark— a flame that refuses to die. The Fire That Wouldn’t Die is a collection of fifteen English short stories that explore the rawest corners of human existence: hunger, guilt, injustice, courage, and love that outlives death itself.
Each story is a mirror— sometimes gentle, sometimes shattering— reflecting how fragile and yet resilient the human spirit can be when tested by life’s cruelties. From the ruins of moral collapse to the rebirth of selfhood, this collection charts a journey across the full spectrum of human experience: from despair to defiance, from silence to truth.
These aren’t tales of heroes or saints. They are stories of ordinary men and women— torn, flawed, and burning quietly inside. Yet in their pain lies the faint glow of redemption… the fire that would not die.
1. The Vulture Feast
In the wreckage of a train derailment, hunger turns a man into something less than human. Khilaavan, a destitute farmer, faces an unthinkable choice: save a dying stranger or feed his starving family. What unfolds is a grim parable of survival where morality collapses under the weight of desperation.
2. The Threshold of Redemption
A murderer haunted by guilt roams the land seeking forgiveness from the world—but finds it only when he kneels before the doorstep of the man he wronged. This haunting story redefines redemption, showing that grace doesn’t bloom in temples, but in tears.
3. A New Dawn
After a brutal sexual assault, a woman stands against the twin empires of power and patriarchy. When money and manipulation try to silence her, she answers with dignity and defiance—transforming victimhood into a radiant new beginning.
4. Who Was She
A rainy night. A vanished girl. A decades-old mystery that refuses to rest. Through the eyes of a retired police officer, we uncover not a ghost story but something darker—the eternal haunting of human cruelty and forgotten justice.
5. The Unchained
A divorced woman battles not her ex-husband, but the invisible walls built by shame and judgment. In her quiet resilience, she learns that freedom isn’t the absence of pain—it’s the courage to walk alone with grace.
6. The Caged Bird
Born into obedience, Surkhab chooses rebellion over submission on the day of her arranged marriage. Her torn veil becomes a symbol of freedom as she steps into the rain to claim her wings. A powerful hymn to womanhood and the right to choose one’s own life.
7. The Fractured Freedom
Modernity without morality, freedom without empathy—this story lays bare a world where technology amplifies lust and hypocrisy, turning victims into predators. A chilling reflection on how our own moral fractures feed the monsters we fear.
8. Two Drops of Water
In a parched world where greed has dried up the earth itself, a small family waits for rain—and for redemption. When the heavens finally open, the story reminds us that even two drops of grace can heal generations of arrogance.
9. The Lust-Stained Soul
Somesh believes he can buy desire and bury guilt—but lust has a memory sharper than conscience. When his sins return to claim him, he learns that the soul, once stained, cannot escape its own reflection.
10. The Man of the Forest
An innocent tribal youth, pure as the earth he belongs to, becomes collateral in a world that fears simplicity. A tragic allegory of innocence crushed by power—and of how truth dies quietly in the jungle of human ambition.
11. Pagli (The Mad Girl)
Lubna’s love defies faith, society, and the politics of hate—but when her beloved Aman is murdered in the name of honor, her mind breaks, though her love does not. She returns, day after day, to the park of their memories—mad to the world, but faithful to eternity.
12. The Silent Shade
An old man clings to his courtyard’s last jamun tree as his village fades under the march of modernity. His embrace of the tree becomes a wordless prayer—a plea for roots, for memory, for the vanishing tenderness of life once lived in shade, not neon.
13. Beyond the Color of Skin
Adeeba, dark-skinned and self-effacing, finds in her tutor Nadeem not pity but reverence. Their bond transcends color, culture, and prejudice—celebrating a love that looks beyond the surface to the soul’s quiet beauty.
14. The Silent Rebellion
Nandini, a young Dalit woman, dares to question her own people: what happens when a weapon of equality becomes a tool of privilege? Her peaceful revolt exposes how even the noblest ideals can decay into hierarchy—and how truth, when spoken from the margins, burns brighter than fire.
15. The Waiting Veil
Before a traditional panchayat, a divorced woman questions centuries of religious orthodoxy with calm intelligence. Her defiance turns ritual into revelation, exposing how blind faith can cage half the human race. A bold meditation on freedom, intellect, and the courage to question divinity itself.
Closing Reflection
The Fire That Wouldn’t Die is more than a collection— it’s a reckoning. Each story burns with questions we’d rather avoid: What does hunger do to humanity? Can forgiveness cleanse guilt? How far will truth go before silence swallows it?
Together, they form a symphony of struggle and grace— where every spark of conscience, every act of rebellion, every tear of mercy becomes part of a fire that will not, cannot, die.
The Silence of Sin
The Silence of Sin— Where Every Crime Whispers a Secret
There are crimes that shake cities.
And then, there are those that shatter souls.
The Silence of Sin isn’t just a collection of crime stories — it’s a journey into the unseen corners of the human mind, where love, guilt, greed, and redemption silently collide. Each story unfolds like a confession made in the dark— half-whispered, half-hidden, but entirely human.
This anthology peels away the glamour often painted around crime and lays bare the raw, unsettling truths behind every act. These stories aren’t about police chases or courtroom drama— they’re about the moment when a person crosses that invisible line between what’s right and what’s necessary.
Set against the vibrant yet shadowed streets of India— from small-town alleys and mountain borders to bustling metros— every tale in The Silence of Sin captures the pulse of real people caught in unreal circumstances. A police officer haunted by his past investigation. A woman who hides a corpse under a veil of love. A journalist torn between truth and survival. A soldier who must kill to protect, yet loses his soul in doing so.
What happens when morality fails, but conscience refuses to stay quiet?
Themes that Linger:
Crime as Consequence — How ordinary desires spiral into extraordinary mistakes.
Love and Betrayal — Where affection turns into obsession, and trust becomes the first victim.
Justice vs. Guilt — When the law is blind, but the heart remembers everything.
Cultural Echoes — A mirror of the Indian soul, with its contradictions, superstitions, and humanity intact.
Why It Stands Out:
Unlike conventional thrillers that chase suspense, The Silence of Sin pursues psychological truth. The horror lies not in the act of violence, but in the realization that sometimes — the real crime is silence itself.
There are crimes that shake cities.
And then, there are those that shatter souls.
The Silence of Sin isn’t just a collection of crime stories — it’s a journey into the unseen corners of the human mind, where love, guilt, greed, and redemption silently collide. Each story unfolds like a confession made in the dark— half-whispered, half-hidden, but entirely human.
This anthology peels away the glamour often painted around crime and lays bare the raw, unsettling truths behind every act. These stories aren’t about police chases or courtroom drama— they’re about the moment when a person crosses that invisible line between what’s right and what’s necessary.
Set against the vibrant yet shadowed streets of India— from small-town alleys and mountain borders to bustling metros— every tale in The Silence of Sin captures the pulse of real people caught in unreal circumstances. A police officer haunted by his past investigation. A woman who hides a corpse under a veil of love. A journalist torn between truth and survival. A soldier who must kill to protect, yet loses his soul in doing so.
What happens when morality fails, but conscience refuses to stay quiet?
Themes that Linger:
Crime as Consequence — How ordinary desires spiral into extraordinary mistakes.
Love and Betrayal — Where affection turns into obsession, and trust becomes the first victim.
Justice vs. Guilt — When the law is blind, but the heart remembers everything.
Cultural Echoes — A mirror of the Indian soul, with its contradictions, superstitions, and humanity intact.
Why It Stands Out:
Unlike conventional thrillers that chase suspense, The Silence of Sin pursues psychological truth. The horror lies not in the act of violence, but in the realization that sometimes — the real crime is silence itself.
The Eternal Prisoner
There are two ways horror grips us.
First, through that sudden flash— the one that clenches your nerves and leaves you gasping. And second, through the quiet, enduring unease that hums beneath the skin, whispering: what if this world isn’t the one we think it is?
The Eternal Prisoner dwells in that uneasy in-between. This collection of six haunting tales doesn’t merely aim to frighten— it redefines what fear means. Here, the supernatural isn’t just a ghost outside your window; it’s memory, guilt, repetition, illusion— the lingering pulse of what once lived inside us.
Across distant geographies— from the misted hills of Himachal to the haunted fields of Assam, from decaying mansions to cursed roads— these stories are united by one thread: the terrifying intimacy of reality itself.
1. The Eternal Prisoner
The Count, the castle, and the endless loop of consciousness.
The title story opens with a gothic allure: an immortal count, an unsuspecting visitor, and a castle that breathes its own secrets. But beneath its candlelit corridors lies a deeper terror — the prison of eternity itself. The “eternal prisoner” is not the monster who cannot die, but the human who cannot escape the echoes of his own past.
“Immortality,” the count says, “isn’t a gift. It’s the longest punishment ever written.”
2. The Presence
When fear takes the shape of silence.
A young man travels to a remote Assamese village to conquer his fear— and spends one night in a place known as the Ghost Hamlet. What begins as a test of courage turns into an awakening. The “presence” here is not merely spectral; it is the shadow within, the collective memory of dread that refuses to die. This story strips horror of its props and brings it face to face with human vulnerability.
The scariest thing, it says, is not seeing a ghost— it’s realizing the ghost might be you.
3. The Illusion Field
When reality becomes part of the tour.
A group of friends visits an infamous haunted farmhouse, curious to experience the thrill of “dark tourism.” What they find is not a ghost, but an illusion that rewrites reality itself. Time loops, perception fractures, and every step forward tightens the trap.
By the time the survivors realize the truth, they’re no longer sure whether they’re inside the illusion— or have become part of it.
4. The Lake House Mystery
In the silent depths of Lucerne Lake, memory never dies.
When a young architect and his wife vanish from a lakeside villa in Lucerne, the town dismisses it as another unsolved tragedy. But years later, strange echoes begin to rise from the frozen water— whispers of names, faces in the glass, and a story that refuses to end. Some houses keep secrets. Some lakes keep souls.
5. Echoes of the Dead
In every village, some stories refuse to die.
When a young man returns to his ancestral village, he encounters a wandering witch— a shapeshifter cursed to relive her story night after night. As he delves deeper, he discovers that her haunting isn’t vengeance but a repetition of grief.
This story resurrects the folklore of rural India with startling realism, turning the “chudail” from a creature of fear into a tragic embodiment of memory and metamorphosis.
The dead don’t always seek revenge. Sometimes, they just want to be remembered right.
6. Roswell Mansion
Where architecture meets afterlife.
A civil engineer arrives in Himachal to inspect a new project and ends up staying at an old mansion— Roswell Mansion. But soon, reality begins to unravel. The mansion seems to breathe, its corridors bending, its mirrors reflecting impossible moments. This story closes the collection with a sublime question: If perception can lie, is reality ever real?
A Map of Fear
Taken together, these six tales create a haunting architecture— from the immortal to the mortal, from castles to forgotten villages, from the otherworldly to the intimately human.
Fear is a geography. You move through it as through a landscape: first unfamiliar, then recognizably your own.
The Eternal Prisoner begins with gothic grandeur and slowly draws inward, until by the final story, you realize that every ghost was only a metaphor— for time, memory, and the infinite loop of guilt and perception.
This is not an anthology of jump-scares. It’s a slow burn. A collection that lingers like smoke, exploring the intersection between outer and inner hauntings — where horror is not spectacle, but revelation.
Who Should Read It
This collection will draw both classic horror enthusiasts and lovers of psychological fiction.
If you seek the grotesque, you’ll find it.
If you seek meaning, you’ll find that too — hidden in between whispers, mirrors, and the spaces where fear and truth trade places.
In the End
When you close this book, don’t expect silence. You might hear an echo— of footsteps fading down a corridor that shouldn’t exist, or a voice asking: “Did you really see that?”
The Eternal Prisoner doesn’t just tell ghost stories. It reminds you that may be, the ghosts were never outside to begin with.
First, through that sudden flash— the one that clenches your nerves and leaves you gasping. And second, through the quiet, enduring unease that hums beneath the skin, whispering: what if this world isn’t the one we think it is?
The Eternal Prisoner dwells in that uneasy in-between. This collection of six haunting tales doesn’t merely aim to frighten— it redefines what fear means. Here, the supernatural isn’t just a ghost outside your window; it’s memory, guilt, repetition, illusion— the lingering pulse of what once lived inside us.
Across distant geographies— from the misted hills of Himachal to the haunted fields of Assam, from decaying mansions to cursed roads— these stories are united by one thread: the terrifying intimacy of reality itself.
1. The Eternal Prisoner
The Count, the castle, and the endless loop of consciousness.
The title story opens with a gothic allure: an immortal count, an unsuspecting visitor, and a castle that breathes its own secrets. But beneath its candlelit corridors lies a deeper terror — the prison of eternity itself. The “eternal prisoner” is not the monster who cannot die, but the human who cannot escape the echoes of his own past.
“Immortality,” the count says, “isn’t a gift. It’s the longest punishment ever written.”
2. The Presence
When fear takes the shape of silence.
A young man travels to a remote Assamese village to conquer his fear— and spends one night in a place known as the Ghost Hamlet. What begins as a test of courage turns into an awakening. The “presence” here is not merely spectral; it is the shadow within, the collective memory of dread that refuses to die. This story strips horror of its props and brings it face to face with human vulnerability.
The scariest thing, it says, is not seeing a ghost— it’s realizing the ghost might be you.
3. The Illusion Field
When reality becomes part of the tour.
A group of friends visits an infamous haunted farmhouse, curious to experience the thrill of “dark tourism.” What they find is not a ghost, but an illusion that rewrites reality itself. Time loops, perception fractures, and every step forward tightens the trap.
By the time the survivors realize the truth, they’re no longer sure whether they’re inside the illusion— or have become part of it.
4. The Lake House Mystery
In the silent depths of Lucerne Lake, memory never dies.
When a young architect and his wife vanish from a lakeside villa in Lucerne, the town dismisses it as another unsolved tragedy. But years later, strange echoes begin to rise from the frozen water— whispers of names, faces in the glass, and a story that refuses to end. Some houses keep secrets. Some lakes keep souls.
5. Echoes of the Dead
In every village, some stories refuse to die.
When a young man returns to his ancestral village, he encounters a wandering witch— a shapeshifter cursed to relive her story night after night. As he delves deeper, he discovers that her haunting isn’t vengeance but a repetition of grief.
This story resurrects the folklore of rural India with startling realism, turning the “chudail” from a creature of fear into a tragic embodiment of memory and metamorphosis.
The dead don’t always seek revenge. Sometimes, they just want to be remembered right.
6. Roswell Mansion
Where architecture meets afterlife.
A civil engineer arrives in Himachal to inspect a new project and ends up staying at an old mansion— Roswell Mansion. But soon, reality begins to unravel. The mansion seems to breathe, its corridors bending, its mirrors reflecting impossible moments. This story closes the collection with a sublime question: If perception can lie, is reality ever real?
A Map of Fear
Taken together, these six tales create a haunting architecture— from the immortal to the mortal, from castles to forgotten villages, from the otherworldly to the intimately human.
Fear is a geography. You move through it as through a landscape: first unfamiliar, then recognizably your own.
The Eternal Prisoner begins with gothic grandeur and slowly draws inward, until by the final story, you realize that every ghost was only a metaphor— for time, memory, and the infinite loop of guilt and perception.
This is not an anthology of jump-scares. It’s a slow burn. A collection that lingers like smoke, exploring the intersection between outer and inner hauntings — where horror is not spectacle, but revelation.
Who Should Read It
This collection will draw both classic horror enthusiasts and lovers of psychological fiction.
If you seek the grotesque, you’ll find it.
If you seek meaning, you’ll find that too — hidden in between whispers, mirrors, and the spaces where fear and truth trade places.
In the End
When you close this book, don’t expect silence. You might hear an echo— of footsteps fading down a corridor that shouldn’t exist, or a voice asking: “Did you really see that?”
The Eternal Prisoner doesn’t just tell ghost stories. It reminds you that may be, the ghosts were never outside to begin with.
October 14, 2025
इक्वोडो
‘मिरोव’ ‘ओरियन’ और ‘विलाद’ के बाद ‘अर्ल्ज़वर्स’ के कांसेप्ट की चौथी और अंतिम कहानी ‘इक्वोडो’ के रूप में पेश है— यह पूरी कहानी आठ भाग में है और सभी भाग एक साथ ही प्रकाशित किये जा रहे हैं।
पिछली तीन कहानियों में और इक्वोडो में एक बेसिक फ़र्क यह है कि वे कहानियां पृथ्वी के अतीत, वर्तमान और भविष्य से जुड़ी थीं तो उनके पहले पन्ने से ही समझा जा सकता था कि क्या चल रहा है— जबकि इक्वोडो में ऐसा नहीं है, तो इसे समझने के लिये यह समझना ज़रूरी है कि इसकी कहानी सीधे यूनिवर्स के दूसरे ग्रहों से शुरू होती है, जहां-अलग-अलग तरह की इंटेलिजेंट लाईफ़ मौजूद है।
यूं तो इस कांसेप्ट की पहली कहानी ‘मिरोव’ भी तीसरे भाग में पृथ्वी से हट कर शैडो यूनिवर्स में शिफ्ट हुई थी, लेकिन चूंकि उसकी शुरुआत पृथ्वी के वर्तमान से हुई थी तो जब तक कहानी पृथ्वी से हटी थी, तब तक पाठक कहानी से कनेक्ट हो चुके थे और इसलिये किरदारों के साथ एकदम अलग यूनिवर्स में पहुंच जाना अटपटा नहीं लगा था— जितना इक्वोडो में लग सकता है।
‘इक्वोडो’ की शुरुआत ही खुले यूनिवर्स से होती है— जहां 'थ्य ओ राॅन' के रूप में एक नई ताक़त सामने आती है, जो सीधे ईश्वर होने का दावा करता है, और इसके पक्ष में वह कई तरह की शक्तियों का प्रदर्शन भी करता है। जो अब यूनिवर्स में मौजूद हर तरह के जीवन को अपने कंट्रोल में ले कर अपने तरीके से चलाना चाहता है, जहां किसी भी सुप्रीम क्रीचर के पास बस नाम की और कंडीशनल फ्री विल होगी और सभी ज्यादातर जीवन किसी रोबोट की तरह नियंत्रण के साथ जियेंगे— जिनके पास इंसानों जैसी वह छूट बिलकुल नहीं होगी कि वह मनमाने तरीकों से जीवन जीते हुए अपने ही प्लेनेट को तबाह कर लें।
कहानी की शुरुआत ऐसे ग्रहों से होती है— जो वूडर्स या हेलिडर्स के बनाये हैं। हेलिडर के बसाये प्लेनेट की मूल प्रजाति फिएंडर्स की है, जो कि हेलिडर्स की रचना हैं— यानि वही प्राणी, जो ‘ओरियन’ और ‘विलाद’ में जाॅगर्स और हेलब्रीड्स यानि शैतान के रूप में सामने आ चुके हैं। 'इक्वोडो' की शुरुआत ही इन बाहरी जीवों से होती है, जो अपनी प्रजाति को फिएंडर्स के रूप में पहचानते हैं। एक इंसान की नज़र से हम कह सकते हैं कि इक्वोडो की कहानी यूनिवर्स और एलियंस के साथ शुरू होती है।
अब इस कहानी को समझने के लिये ओरियन और विलाद में परोसे गये ‘अर्ल्ज़वर्स’ के कांसेप्ट को वापस याद करते हैं… एक सिस्टम है, उसमें बाकी सब दूसरे एप्स हैं, करोड़ों तरह की फाइलें हैं— लेकिन इस सिस्टम में एक वायरस है, जिससे जूझने के लिये, उसे रोकने या ख़त्म करने के लिये एक एंटी-वायरस इंस्टाल किया जाता है… ऐसे में इसे ऐसे समझिये कि यह पूरा यूनिवर्स, इसमें शामिल सभी तत्वों समेत वह सिस्टम है, जिसमें हेलिडर वायरस की और वूडर या इक्वोडियंस एंटी-वायरस की हैसियत रखते हैं। हालांकि यह पूरी तस्वीर का बस एक पहलू है।
इसे ऐसे भी समझ सकते हैं कि किसी शोमार नाम के क्रियेटर ने इस पूरी सृष्टि को रचा है— और किसी अननोन कारण से इसमें सुर-असुर, दोनों तरह की शक्तियों को मौजूद रखा है, यह अच्छाई और बुराई का प्रतीक हैं, अंधेरे और उजाले का प्रतीक हैं, सृजन और विनाश का प्रतीक हैं। जितना एक ज़रूरी है, उतना ही दूसरा ज़रूरी है— बिना एक के, दूसरे का कोई अस्तित्व नहीं। जैसे न बिना रात के दिन का कोई अस्तित्व है और न बिना दिन के रात का। एक के होने के लिये ही दूसरे का होना ज़रूरी है और जब दोनों होंगे, तभी सृष्टि होगी।
अब हम इंसान एक पाले में आते हैं, जिनके लिये शोमार सृष्टि का पालनहार है, वूडर्स उसके बनाये फरिश्ते हैं, जो यूनिवर्स भर में जीवन का सृजन करते हैं— और इस सृष्टि में हेलिडर्स शैतान हैं, जिन्हें खुला छोड़ा गया है, वूडर्स से ज्यादा शक्तियों से लैस किया गया है, ताकि वे हम सभी का इम्तहान ले सकें… क्योंकि उनसे मिलने वाली अपने विनाश की चुनौतियां और प्रतिक्रिया में इससे उत्पन्न जीजिविषा ही हमें सर्वाइवल के पैमाने पर टिकने लायक मज़बूत बनायेगी।
लेकिन इन सारी बातों के बावजूद, तस्वीर के इस पहलू में यह मात्र एक पक्ष का सच है— दूसरे पक्ष की मान्यता क्या है? इक्वोडो का पहला भाग इसी पक्ष को सामने रखता है और यह अंतर समझ में आता है कि हर चीज़ को देखने का सभी का नज़रिया अलग होता है— जहां इंसान सबकुछ इक्वोडियंस की नज़र से देखते हैं, और उनकी दुनिया में हेलिडर्स घिनौने, ख़तरनाक और शैतान होते हैं… ठीक इसके उलट फिएंडर और हेलिडर की नज़र में वूडर्स शैतान थे, जबकि उनके बनाये इंसान बस गंदे, तुच्छ कीड़े सरीखे जीव।
तो इस कांसेप्ट को समझने के लिये फिएंडर को समझना भी उतना ही ज़रूरी है, जितना हेलिडर्स की फिलाॅस्फी। जैसे वूडर्स शोमार की बनाई एक शक्ति थे और वे जीवन पनपने लायक अलग-अलग ग्रहों पर विविधता भरे जीवन का सृजन करते थे— उनके लिये सैटन या हमन, कोई भी सर्वोपरि नहीं था, बल्कि उन्होंने जेनेटिक इंजीनियरिंग के ज़रिये ढेरों तरह के जीवों की रचना की थी… वहीं हेलिडर्स भी वही काम अपने तरीके से करते थे, लेकिन वे विविधता के पैरोकार नहीं थे, तो उनका बनाया जीवन सभी ग्रहों पर एक ही रूप में पनपता था और अपने अंश से अपने ही जैसे जो जीव वे बनाते थे, वे फिएंडर कहलाते थे। पृथ्वी पर इन्हीं जीवों को 'ओरियन' में ‘जाॅगर्स’ की संज्ञा दी गई थी।
इक्वोडो में वूडर्स और हेलब्रीड्स से हट कर नया इस यूनिवर्स में ‘थ्य ओ राॅन’ का प्रवेश है— जो बाकी दोनों शक्तियों से अलग हैं, असल में वह ईश्वर होने का दावा करता है और किसी भी प्लेनेट के सुप्रीम क्रीचर के डिजाइन में व्याप्त उसकी डिफाॅल्ट त्रुटियों को दूर कर के एक बेहतर जीव और बेहतर प्लेनेट्स बनाना चाहता है और उसकी कोशिशों में उसके सबसे बड़े दुश्मन खुद वूडर्स और हेलब्रीड्स हैं— जिनसे निपटने के साथ ही वह अपने सफ़र की शुरुआत करता है और उन्हें सीमित करने में कामयाब रहता है।
अपने देवत्व को स्थापित करने और अपनी स्वीकार्यता पाने के लिये वह दो आकाशगंगाओं को पूरी तरह तबाह कर देने वाली एक गैलेक्टिक जंग को चुनता है— जिसके तीन पक्ष होते हैं, एक हेलब्रीड्स के बनाये फिएंडर्स से भरी गैलेक्सी नेलिडो, दूसरे वूडर्स के बनाये इंसानों के सदृश जीवों से भरी ससेन गैलेक्सी और तीसरे विलुप्त हो चुके वूडर्स, जो पृथ्वीवासियों जैसे अगवा किये जीवों के सहारे अपनी पुनर्स्थापना की कोशिश में लगे थे।
थ्य ओ राॅन उस जंग से जुड़े अहम किरदारों के अतीत में घुसपैठ कर के उनके साथ घटी घटनाओं को मैनीपुलेट करता है, जिससे इस गैलेक्टिक जंग के परिणाम बदलें और न सिर्फ़ एक बड़ी तबाही टल जाये— बल्कि इस बहाने उसे एक झटके से हज़ारों उन्नत सभ्यताओं के बीच ईश्वर के तौर पर स्थापित होने का मौका भी मिले। उसके चुने सभी मोहरे भयंकर किस्म के संघर्षों में उलझे थे, जहां अब थ्य ओ राॅन का हस्तक्षेप अपना प्रभाव पैदा करता है और चीज़ें बदलनी शुरू होती हैं— लेकिन क्या जंग का वास्तविक परिणाम भी बदल पायेगा?
Ikwodo Chapter 1: The Rise of Thya O Ron
Ikwodo Chapter 2: Planet of the Dead
Ikwodo Chapter 3: Cosmic Insurgents
Ikwodo Chapter 4: The Mysterious World of Lenor
Ikwodo Chapter 7: Battle of the Galaxies
Ikwodo Chapter 8: The Final Apocalypse
पिछली तीन कहानियों में और इक्वोडो में एक बेसिक फ़र्क यह है कि वे कहानियां पृथ्वी के अतीत, वर्तमान और भविष्य से जुड़ी थीं तो उनके पहले पन्ने से ही समझा जा सकता था कि क्या चल रहा है— जबकि इक्वोडो में ऐसा नहीं है, तो इसे समझने के लिये यह समझना ज़रूरी है कि इसकी कहानी सीधे यूनिवर्स के दूसरे ग्रहों से शुरू होती है, जहां-अलग-अलग तरह की इंटेलिजेंट लाईफ़ मौजूद है।
यूं तो इस कांसेप्ट की पहली कहानी ‘मिरोव’ भी तीसरे भाग में पृथ्वी से हट कर शैडो यूनिवर्स में शिफ्ट हुई थी, लेकिन चूंकि उसकी शुरुआत पृथ्वी के वर्तमान से हुई थी तो जब तक कहानी पृथ्वी से हटी थी, तब तक पाठक कहानी से कनेक्ट हो चुके थे और इसलिये किरदारों के साथ एकदम अलग यूनिवर्स में पहुंच जाना अटपटा नहीं लगा था— जितना इक्वोडो में लग सकता है।
‘इक्वोडो’ की शुरुआत ही खुले यूनिवर्स से होती है— जहां 'थ्य ओ राॅन' के रूप में एक नई ताक़त सामने आती है, जो सीधे ईश्वर होने का दावा करता है, और इसके पक्ष में वह कई तरह की शक्तियों का प्रदर्शन भी करता है। जो अब यूनिवर्स में मौजूद हर तरह के जीवन को अपने कंट्रोल में ले कर अपने तरीके से चलाना चाहता है, जहां किसी भी सुप्रीम क्रीचर के पास बस नाम की और कंडीशनल फ्री विल होगी और सभी ज्यादातर जीवन किसी रोबोट की तरह नियंत्रण के साथ जियेंगे— जिनके पास इंसानों जैसी वह छूट बिलकुल नहीं होगी कि वह मनमाने तरीकों से जीवन जीते हुए अपने ही प्लेनेट को तबाह कर लें।
कहानी की शुरुआत ऐसे ग्रहों से होती है— जो वूडर्स या हेलिडर्स के बनाये हैं। हेलिडर के बसाये प्लेनेट की मूल प्रजाति फिएंडर्स की है, जो कि हेलिडर्स की रचना हैं— यानि वही प्राणी, जो ‘ओरियन’ और ‘विलाद’ में जाॅगर्स और हेलब्रीड्स यानि शैतान के रूप में सामने आ चुके हैं। 'इक्वोडो' की शुरुआत ही इन बाहरी जीवों से होती है, जो अपनी प्रजाति को फिएंडर्स के रूप में पहचानते हैं। एक इंसान की नज़र से हम कह सकते हैं कि इक्वोडो की कहानी यूनिवर्स और एलियंस के साथ शुरू होती है।
अब इस कहानी को समझने के लिये ओरियन और विलाद में परोसे गये ‘अर्ल्ज़वर्स’ के कांसेप्ट को वापस याद करते हैं… एक सिस्टम है, उसमें बाकी सब दूसरे एप्स हैं, करोड़ों तरह की फाइलें हैं— लेकिन इस सिस्टम में एक वायरस है, जिससे जूझने के लिये, उसे रोकने या ख़त्म करने के लिये एक एंटी-वायरस इंस्टाल किया जाता है… ऐसे में इसे ऐसे समझिये कि यह पूरा यूनिवर्स, इसमें शामिल सभी तत्वों समेत वह सिस्टम है, जिसमें हेलिडर वायरस की और वूडर या इक्वोडियंस एंटी-वायरस की हैसियत रखते हैं। हालांकि यह पूरी तस्वीर का बस एक पहलू है।
इसे ऐसे भी समझ सकते हैं कि किसी शोमार नाम के क्रियेटर ने इस पूरी सृष्टि को रचा है— और किसी अननोन कारण से इसमें सुर-असुर, दोनों तरह की शक्तियों को मौजूद रखा है, यह अच्छाई और बुराई का प्रतीक हैं, अंधेरे और उजाले का प्रतीक हैं, सृजन और विनाश का प्रतीक हैं। जितना एक ज़रूरी है, उतना ही दूसरा ज़रूरी है— बिना एक के, दूसरे का कोई अस्तित्व नहीं। जैसे न बिना रात के दिन का कोई अस्तित्व है और न बिना दिन के रात का। एक के होने के लिये ही दूसरे का होना ज़रूरी है और जब दोनों होंगे, तभी सृष्टि होगी।
अब हम इंसान एक पाले में आते हैं, जिनके लिये शोमार सृष्टि का पालनहार है, वूडर्स उसके बनाये फरिश्ते हैं, जो यूनिवर्स भर में जीवन का सृजन करते हैं— और इस सृष्टि में हेलिडर्स शैतान हैं, जिन्हें खुला छोड़ा गया है, वूडर्स से ज्यादा शक्तियों से लैस किया गया है, ताकि वे हम सभी का इम्तहान ले सकें… क्योंकि उनसे मिलने वाली अपने विनाश की चुनौतियां और प्रतिक्रिया में इससे उत्पन्न जीजिविषा ही हमें सर्वाइवल के पैमाने पर टिकने लायक मज़बूत बनायेगी।
लेकिन इन सारी बातों के बावजूद, तस्वीर के इस पहलू में यह मात्र एक पक्ष का सच है— दूसरे पक्ष की मान्यता क्या है? इक्वोडो का पहला भाग इसी पक्ष को सामने रखता है और यह अंतर समझ में आता है कि हर चीज़ को देखने का सभी का नज़रिया अलग होता है— जहां इंसान सबकुछ इक्वोडियंस की नज़र से देखते हैं, और उनकी दुनिया में हेलिडर्स घिनौने, ख़तरनाक और शैतान होते हैं… ठीक इसके उलट फिएंडर और हेलिडर की नज़र में वूडर्स शैतान थे, जबकि उनके बनाये इंसान बस गंदे, तुच्छ कीड़े सरीखे जीव।
तो इस कांसेप्ट को समझने के लिये फिएंडर को समझना भी उतना ही ज़रूरी है, जितना हेलिडर्स की फिलाॅस्फी। जैसे वूडर्स शोमार की बनाई एक शक्ति थे और वे जीवन पनपने लायक अलग-अलग ग्रहों पर विविधता भरे जीवन का सृजन करते थे— उनके लिये सैटन या हमन, कोई भी सर्वोपरि नहीं था, बल्कि उन्होंने जेनेटिक इंजीनियरिंग के ज़रिये ढेरों तरह के जीवों की रचना की थी… वहीं हेलिडर्स भी वही काम अपने तरीके से करते थे, लेकिन वे विविधता के पैरोकार नहीं थे, तो उनका बनाया जीवन सभी ग्रहों पर एक ही रूप में पनपता था और अपने अंश से अपने ही जैसे जो जीव वे बनाते थे, वे फिएंडर कहलाते थे। पृथ्वी पर इन्हीं जीवों को 'ओरियन' में ‘जाॅगर्स’ की संज्ञा दी गई थी।
इक्वोडो में वूडर्स और हेलब्रीड्स से हट कर नया इस यूनिवर्स में ‘थ्य ओ राॅन’ का प्रवेश है— जो बाकी दोनों शक्तियों से अलग हैं, असल में वह ईश्वर होने का दावा करता है और किसी भी प्लेनेट के सुप्रीम क्रीचर के डिजाइन में व्याप्त उसकी डिफाॅल्ट त्रुटियों को दूर कर के एक बेहतर जीव और बेहतर प्लेनेट्स बनाना चाहता है और उसकी कोशिशों में उसके सबसे बड़े दुश्मन खुद वूडर्स और हेलब्रीड्स हैं— जिनसे निपटने के साथ ही वह अपने सफ़र की शुरुआत करता है और उन्हें सीमित करने में कामयाब रहता है।
अपने देवत्व को स्थापित करने और अपनी स्वीकार्यता पाने के लिये वह दो आकाशगंगाओं को पूरी तरह तबाह कर देने वाली एक गैलेक्टिक जंग को चुनता है— जिसके तीन पक्ष होते हैं, एक हेलब्रीड्स के बनाये फिएंडर्स से भरी गैलेक्सी नेलिडो, दूसरे वूडर्स के बनाये इंसानों के सदृश जीवों से भरी ससेन गैलेक्सी और तीसरे विलुप्त हो चुके वूडर्स, जो पृथ्वीवासियों जैसे अगवा किये जीवों के सहारे अपनी पुनर्स्थापना की कोशिश में लगे थे।
थ्य ओ राॅन उस जंग से जुड़े अहम किरदारों के अतीत में घुसपैठ कर के उनके साथ घटी घटनाओं को मैनीपुलेट करता है, जिससे इस गैलेक्टिक जंग के परिणाम बदलें और न सिर्फ़ एक बड़ी तबाही टल जाये— बल्कि इस बहाने उसे एक झटके से हज़ारों उन्नत सभ्यताओं के बीच ईश्वर के तौर पर स्थापित होने का मौका भी मिले। उसके चुने सभी मोहरे भयंकर किस्म के संघर्षों में उलझे थे, जहां अब थ्य ओ राॅन का हस्तक्षेप अपना प्रभाव पैदा करता है और चीज़ें बदलनी शुरू होती हैं— लेकिन क्या जंग का वास्तविक परिणाम भी बदल पायेगा?
Ikwodo Chapter 1: The Rise of Thya O Ron
Ikwodo Chapter 2: Planet of the Dead
Ikwodo Chapter 3: Cosmic Insurgents
Ikwodo Chapter 4: The Mysterious World of Lenor
Ikwodo Chapter 7: Battle of the Galaxies
Ikwodo Chapter 8: The Final Apocalypse
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