Trevor Warren’s debut The Terror and the Sword is the first book in the Hueik Trilogy, and it’s an ambitious medieval-inspired fantasy that tackles vampire mythology with impressive worldbuilding. Set in a war-torn continent where ancient threats resurface, the novel presents a morally complex antihero called Bowv as he is released from captivity to deal with a vampiric threat. It’s the kind of classic fantasy that feels like it could have been written decades ago, and you wouldn’t be able to tell.
The story follows Bowv (I’ll admit, not entirely sure how to pronounce the main character’s name—Bo-v? Bove?), an infamous bandit awaiting execution who gets an unexpected second chance. While he sits in a dungeon awaiting execution, war wages across the Continent. Yet there’s another threat, one supposedly dealt with millennia ago: vampires. Bowv is forced to deal with both threats after being released by Rono, the very king who threw him in the dungeon. They soon discover that vampires do walk amongst them, even Bowv, at first a skeptic. Armed with the sword of the gods (which gives the trilogy its name), a divine weapon created to kill vampires, Bowv agrees to help for selfish reasons, not realizing this war will shatter both the world and change him forever.
The worldbuilding in the book is pretty impressive and extensive. The Protectorate—a pantheon of nine gods including Aeruno, Kalrekos, Junyl, Heques, Numveron, and so on—feels well-developed, like the Faith of the Seven inGame of Thrones. Each deity has distinct domains and symbolism, from Tolunfie who guides the dead to Xaretgriu who guards against disease. The book has an underlying theme of scepticism versus belief in the supernatural. The imagery and description throughout the novel are also particularly well-executed. Warren immerses you in the world, whether it be through elaborate temple scenes or inns with creaky doors. It’s the kind of details that help immerse you in this world.
When the action does come, it’s gripping and page-turning. Warren writes visceral combat, “One lunged and thrust at my chest. He was fast but sloppy. I don’t know what he was aiming for: my stomach or chest. I parried his thrust with minimal effort, deflecting his sword to my right side, and since his attack was reckless, his left shoulder followed his sword. Seizing the opportunity, I sent my sword ramming through his gut.” The first-person perspective puts readers right in the middle of these encounters, and I enjoyed the style as I’m kind of tired of head hopping fantasy. It’s also particularly interesting finding out more about the vampires, from whether or not they even actually exist to the lore around them.
The dialogue is fun and engaging. Conversations feel natural and reveal character effectively, like when Jorn questions why Bowv is helping the kingdom, calling him “a cutthroat who doesn’t care about the wellbeing of others,” and Bowv responds, “Don’t confuse altruism with necessity.” The characters are generally well done overall, with distinct personalities that drive the plot naturally. They are all a bit self-serious, so maybe some humour would have helped break up the story at some points, but that’s just a personal preference.
The main editorial issue I noticed was quite a lot of repetition of words, particularly in descriptive passages. Take this opening: “MY SOLE LIGHT SOURCE came from a window barred by thick iron bars. Centered high enough to be out of my reach, it gave me no hope of escape. Adjacent to the uneven stairs, a hazardous pass leading out of the subterranean prison was another barred window. The light that came through the windows beamed two rectangles onto the wall across from my cell, though each was broken up by the window bars.” In just a few sentences, we get “window” four times, “bars/barred” three times, and “light” twice. Besides the repetition, “Adjacent to” could simply be “Besides.” This pattern appears throughout and could use tightening.
The chapters are quite long, and sometimes it feels like the book could use a bit more editing to tighten pacing. While never boring, some sections feel like they could be condensed without losing impact. I would have appreciated a map to help keep track of all the locations. There are a lot of factions: Kytrenabins, the Gofrudins, the Nutharicans, the Renvolies, and the Huderians. It can be a bit confusing, and all of them are hard to pronounce. I know it’s a lot to ask, but a glossary would have helped navigate this complex fantasy geopolitical landscape.
That said, as a book written by one person and a debut, The Terror and the Sword is highly impressive. Warren mentions in his author’s note that due to budget constraints, he did pretty much everything himself. Considering those limitations, what he’s accomplished here is very well done. And honestly, once you’re drawn into Bowv’s world and invested in his journey, these minor editorial weaknesses fade into the background. The strength of the worldbuilding, character development, and plot momentum carries readers through any rough patches.
Overall, I found this to be an engaging, ambitious debut from an author with clear vision for epic fantasy. Anyone interested in vampire mythology, morally gray protagonists, or intricate political fantasy worlds will get a lot out of this book. It’s a gripping, well-done book with minor editorial flaws that don’t detract from the overall experience.
Final verdict: For fans of dark fantasy and readers interested in vampire lore, The Terror and the Sword offers a promising start to the Hueik Trilogy. The perfect book for anyone who enjoys writers such as Joe Abercrombie, Mark Lawrence, and Glen Cook.
You can get your copy of The Terror and The Sword here!
