There are novels that come into the world quietly, asking for attention, and there are novels that seem to generate their own gravity before release. Reign of Pawns belongs firmly to the second kind. As the mid-December launch approaches, conversations across reading communities are growing louder. A sense of excitement surrounds this debut work by V. S. Edwár, and much of it has to do with the way the story blends suspense, mythology, global intrigue, and emotional depth into a single sweeping arc. Readers who have followed the early buzz sense that this book holds something unusual, something that rises slowly but powerfully.
The earliest glimpse into this world arrives through its striking cover. A white-bearded figure stands illuminated by a jewel that hovers above his palm. The energy surrounding him crackles with colour, as if a storm is suspended in time behind him. The imagery suggests an ancient force moving through the present world, and the contrast between the mythical figure and the sleek, modern typography of the title sets the tone for what awaits inside. Even before reading the blurb, the visual hints at a story that blends timeless elements with contemporary unease. It invites the reader to wonder what kind of mythic presence has broken into the narrative, and why.
The blurb deepens this curiosity. Five strangers. Five incomplete memories. Five lives drawn from different continents and thrown together in a dark, locked basement. They wake with no clear sense of time, no understanding of what binds them, and no way to predict what comes next. The blurb whispers of a mysterious force, of magic that crackles in the background, and of cryptic myths that seem to shape their journey. It does not explain the purpose behind their abduction, nor does it reveal the identity of their captor. Instead, it teases at an expanding world where myth and modernity collide. This subtle restraint is one of the reasons early readers on Goodreads have responded with curiosity. They have praised the book for refusing to give away its secrets too early, choosing instead to slow the reader down and immerse them in tension.
One of the book’s most engaging qualities lies in the way it opens with something deceptively calm. Rather than thrusting the reader into immediate chaos, the novel begins with a meticulously detailed broadcast of the State Opening of Parliament in London. Anchors describe the royal regalia, the movement of the Imperial State Crown, and the significance of each ceremonial step. Readers unfamiliar with such rituals feel as though they are being guided through a historical moment. Yet beneath this quiet grandeur, there is a faint sense of anticipation, as though the ceremony is a curtain drawn across a deeper story waiting to unfold. Critics who read the book early have noted how this opening creates a sharp contrast with the later chapters and how beautifully it sets up the shift from order into uncertainty.
The shift arrives with the abduction of Darren Swanson. His sudden sedation, the forced transport across continents, and the moment he awakens months later in a dim, concrete basement mark one of the book’s first gripping turns. The shock he experiences is shared by the reader. He discovers Liang, Aarno, Ojoré, and Diego, all equally confused, all locked in the same grim room. None of them understands how they arrived there. None of them recognises the others. The atmosphere becomes thick with speculation and fear. These scenes do not rely on loud action or violence. They rely on silence, uncertainty, and the emotional weight of confinement. That tension has been highlighted by readers in early reviews on platforms like Goodreads and other literary spaces on the web. They found themselves unable to stop turning pages because they wanted to understand the invisible thread that connected these five men.
The mystery grows deeper when Sánchez, their quiet visitor, begins to tell them stories from the Mahabharata. His voice becomes a bridge between the modern basement and the ancient world. He recounts the stories of Ganga and Shantanu, the birth of Bhishma, the rise of Satyavati, and the lineage that leads to Pandu and Dhritarashtra. These retellings are more than narrative detours. They open a second realm inside the novel, one where duty, destiny, power, and moral conflict echo across time. The deliberate pacing of these mythological chapters has been praised by Goodreads reviewers who enjoyed the depth and richness they bring to the thriller framework. Readers familiar with Indian mythology will recognise a respectful yet compelling presentation of the epic, and those encountering it for the first time will feel its gravity through the captives’ emotional reactions.
Curiosity heightens in the chapters in which Drágosláv, the orchestrator of the abductions, reveals layers of menace and vulnerability. His own past, stitched with mafia violence, childhood trauma, and an encounter with a supernatural being in the ocean, gives him a tragic complexity. One moment, he is dangerous, and the next, unexpectedly fragile. His carefully staged dinner scene, where he brings the captives’ families into the basement while keeping the men paralysed, stands out as a moment of unbearable tension. The captives struggle, not with physical chains but with their inability to speak or move. Their families remain unaware of the danger surrounding them. The emotional intensity of this moment is one of the reasons early readers described the novel as gripping in ways they did not anticipate.
Beyond Europe, the narrative widens dramatically during the cyclone in Konark. The storm tears across the land, yet within it stands a glowing sphere containing two mysterious figures. Ushvatthama and Aroon observe the devastation calmly, speaking of ancient weapons and forgotten missions. This scene has been especially praised by mythology enthusiasts who felt that the author managed to create a bridge between the ancient epic world and the present-day story without diminishing either. It is here that the novel reveals how boldly it intends to weave its threads together.
Readers on Goodreads have responded warmly to these layers. They have complimented the author’s ability to shift between continents without losing emotional continuity. They have admired the slow, deliberate unfolding of clues. Some enjoyed how the story refuses to fit neatly into a single genre. Others commented on the atmosphere, which they described as quietly haunting. Several early reviewers appreciated how the book rewards close attention, noting that even the smallest details take on new meaning as the story progresses.
What makes this novel stand out is not only its plot, but the promise it holds. Adventure readers will sense that the story is preparing them for global movement and unexpected encounters. Fans of mythology will feel the thrill of an epic whispering beneath the surface of a modern tale. Thriller enthusiasts will recognise the psychological tension and carefully orchestrated suspense. Readers who enjoy slow-building contemporary fiction will find reflections on identity, destiny, and human connection. The book seems prepared to offer an experience that lingers long after the last page.
As the launch approaches, the anticipation feels earned. Reign of Pawns: Book 1 – The Parieur’s Play announces a new voice in fiction, one unafraid to balance mythology with modernity, or suspense with philosophical depth. It invites readers into a world where the past is alive, the present is unstable, and the future is uncertain. For anyone looking for a book that keeps curiosity alive from the first chapter to the last, this debut promises something special.
You can book your pre-launch copy on Amazon India now – click here to get one!
Article by Nidhi for Intellectual Reader
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