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A Vision Of The Last Scene
Metamorphosis By Decree: The Beginning follows a young priestess chosen by her goddess to recover sacred tablets, forcing her to confront forbidden magic, buried history, and a religious establishment determined to preserve its power. What was the inspiration for the setup of your story?
The Beginning was actually a dream or a vision of the last scene in the Emperor’s throne room. I had to write a story to get there. That was the last time that happened. In every other book, I have a beginning and struggle to find the end. Because I love characters and how they interact, overcome obstacles, and grow, I sometimes worry.
Kate’s faith in Mirsha remains strong even as her trust in the religious establishment collapses. What interested you about separating personal faith from institutional loyalty?
This is essentially my background. I grew up believing my parents’ religion. I’m an American, so as a kid in the seventies and eighties, we really bought into the propaganda. It turns out, nothing is really like that. I’ve served my country, worked for decades; none of it meant anything. So, it influences my characters. They have to find what’s real.
One of the things I love is the underdog. Not a fan of the hidden hero, secret jedi, or whatever. I like real people that do incredible things for love, or friendship. The sacrifices make sense to me.
The Black Tower connects magic, sacrifice, family betrayal, and generations of hidden history. How early in the writing process did you know what Verig, Theris, and the Tower would ultimately reveal?
The end of that book was the beginning. It made sense, and the world it existed in spun into being as I tried to figure out what I was writing down and why. I like thinking about the worlds from a character’s perspective. They wouldn’t know how big the world is. They wouldn’t know other things exist. They don’t have the internet and live in an isolated society. Discovery is fun.
Later in the Danagors, one of the characters convinces Mirsha to let her try again. The God isn’t going to start the whole world over, so Pelwin is sent to our world to try again. In that scenario, suddenly everything changes. She has the internet and an education. So, a very similar story becomes completely different because the world changes.
Kate, T’az, Hestal, Bernard, Bear, and Thervan gradually become a community of outsiders. How did you approach giving each member of such a large traveling party a distinct personal arc?
This is the key to everything in everything I write. All of the characters have stories. I’m fond of NPC’s. Building a world requires them, unfortunately. A book in which everyone’s story is told would be huge and probably boring. To make a group work, the dynamics have to work. Everyone has to give and compromise. At the same time, they need to find the lines they won’t cross. That’s the dynamic that interests me, and for me, that’s what drives a story. You can put characters into any situation. If you’ve built them and rounded them out, their reactions and motivations are a lot clearer.
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But as Kate’s small company faces undead horrors, soul-stealing demons, and creatures beyond imagination, she begins to suspect that her sacred quest may not be what it seems. The deeper they venture into the cursed lands, the more the foundations of everything she’s believed begin to crumble. With her companions dying around her and enemies closing in from all sides, Kate must discover not only the strength to survive the ultimate evil—but the courage to question everything she’s ever been taught about the gods, the Code, and the very nature of truth itself.
Metamorphosis by Decree: The Beginning
Brian Pigg’s Metamorphosis By Decree: The Beginning is an expansive fantasy adventure built around faith, institutional power, and the unsettling return of magic to a society that has organized itself around rigid religious law. At its center is Kate, a junior priestess of Mirsha whose devotion is genuine even as her confidence in the religious establishment around her erodes. Her early cry, “This can’t be all there is,” captures both her personal dissatisfaction and the larger question that drives the novel. When Mirsha appears and charges Kate with recovering the lost Tablets of Markinet, Kate’s private doubts become the foundation of a dangerous public mission. The resulting story combines a traditional quest structure with political maneuvering, divine intervention, forbidden magic, and a sustained examination of what happens when religious institutions become more devoted to preserving authority than understanding the faith they claim to represent.
Kate gives the novel its emotional and thematic center because her development is rooted in curiosity rather than sudden heroism. She begins as someone who has learned that questioning is sinful, yet her encounter with Mirsha overturns that assumption when the goddess tells her, “It is not a sin to ask.” From there, Kate grows into leadership without abandoning the compassion, uncertainty, and devotion that define her. Her increasing supernatural abilities matter, but the more consequential change is her willingness to trust her own judgment. The book also surrounds her with a strong ensemble. T’az brings practical experience and fierce loyalty, Hestal contributes skepticism and an intellectual fascination with magic, Bernard develops from an uncomfortable traveler into a healer capable of genuine miracles, and Bear and Thervan bring their own conflicts with tradition, family expectations, and inherited status. Their personalities create humor and friction while gradually turning the traveling party into a community of people who have each found themselves outside the roles society prepared for them.
The worldbuilding is particularly effective when it emerges through those conflicts. The Code, the seven temples, the Churlars, the knights, the hidden mages, the lost history of the Empire, and the mysteries surrounding the Black Tower all have consequences for how the characters behave. Political arguments therefore carry real weight alongside the supernatural dangers. The novel’s direct, dialogue-heavy style also gives the large cast room to develop distinctive relationships, especially as the journey moves from Theopolis to Norseland, Chryselles, beyond the Wall, and finally into the Black Tower. By the time the party reaches that destination, earlier visions, trapped spirits, forgotten crimes, and the opening sacrifice have become parts of the same history. Verig’s concealed purpose and his confrontation with Theris give the climax a personal dimension as well as a magical one, connecting the preservation of the mages’ power to sacrifice, family betrayal, and generations of concealed wrongdoing.
What gives Metamorphosis By Decree its strongest identity is the way the external adventure reflects its characters’ internal transformation. The book is concerned with people discovering that inherited systems, titles, and traditions don’t necessarily define duty, courage, faith, or belonging. Kate finishes the quest changed by what she has witnessed, yet her devotion to Mirsha remains intact even as her allegiance to the Council has fractured. Her companions undergo parallel changes, and their reunion four months after the Black Tower makes clear that returning home hasn’t restored their previous lives. Instead, they recognize themselves as outcasts who would rather choose another uncertain journey together than return quietly to the places once assigned to them. That conclusion gives the novel a satisfying sense of completion while naturally establishing a larger story ahead. As the opening volume of a broader fantasy narrative, The Beginning succeeds most through its combination of adventure, institutional conflict, friendship, and a central idea that becomes increasingly important as the story unfolds: meaningful change begins when people are willing to question the rules that have taught them who they’re supposed to be.
Pages: 328 | ASIN: B0FNR6NBSN
