Of Pride and Power - 56. Authors' Story Notes

I thought I'd share some insights into my thought process for this story—both for readers and for myself if I ever wonder why I wrote something so alien to my own experience as a gay man. I'll focus on the genres and subgenres that shape this story to give a clearer frame of reference:

Genres:

Fantasy: Within the Fantasy genre, there's a subset called Isekai that originated in Japan and has expanded into Korean and Chinese fantasy fiction. The core idea is that a modern person is somehow transported across time and space to another world that resembles ours but operates under unique rules and processes, often structured like a ‘system.’ Inspired by this concept, I wanted to push further, weaving scientific mythology into my universe. Elements like Merlin, Camelot, the Cathars, fair folk, runes, and other pseudo-fantasy or occult themes in my story are grounded in advanced scientific knowledge. Essentially, I merged Isekai with Science Fantasy, similar to how Fullmetal Alchemist combines scientific mythology with Isekai elements.

Additionally, though Omega fiction is primarily geared toward a female readership and authorship, I’m an avid reader. While I respect how female writers imagine a third sex in fantasy settings that break away from traditional male/female roles, I feel they sometimes overlook the real-world complexities surrounding intersex and third-gender issues in our society. The odds of encountering someone with both male and female biological traits are about 1 in 10,000, so it’s rare but possible. I took on the challenge of creating a non-binary, gender-fluid main character and narrator who embodies both male and female aspects. I can’t say if I succeeded, but it was an intriguing exercise in breaking new ground in my writing.

Science Fiction: When people think of Sci-Fi, they often picture space or aliens, but at its core, Sci-Fi is about applying technology to current needs. Harry Turtledove has been a major influence here. By bringing contemporary technologies into the past, you can imagine a range of historical changes. Even something as small as a portable printing method—smaller than a desk, as opposed to the building-sized presses of early history—could significantly affect literacy rates and information spread. I didn’t focus solely on military technology; although the military aspect is there if you choose to emphasize it, I also included powerful analog tools for printing, industrial production, and resource management early in the story to set up later events.

Sub-genres:

Historical Fantasy: While stories set in the Elizabethan era have been done often, that period had so much more than just English history. France was in civil war, the Holy Roman Empire (or Germany) and the Spanish Empire were ruled by a single family, and Russia was aggressively expanding in Eastern Europe during the Livonian War. Adding futuristic elements and technologies to this era allowed me to breathe new life into these conflicts and rivalries, which, as a history enthusiast, I found fascinating. I also enjoyed integrating hidden elements, such as reinterpreting characters from Shakespearean plays for various story arcs. My favorite is the Hamlet-inspired arc, where Eli inadvertently advances plans for Prussian unification and a Swedish Empire.

Medieval Fantasy: Although this aspect appears early in the storyline, it was crucial for world-building. The economics of feudal estates and the nobility system of England hindered centralized governance and reform. This tension culminates in a revolt against Eli in London, ending with the abolition of feudal power in England, Wales, Scotland, and Ireland. In my universe, much of Europe still relies on a quota system, mixing feudal support with religious adherence. I also added a twist where the Renaissance never fully happened due to the Catholic Church’s efforts to curb literacy as Martin Luther began his movement in Germany.

Alternate History: Much alternate history unfolds, particularly as Eli becomes this reality’s version of Elizabeth Tudor. Creating the first generation of Omegas in a medieval society required restructuring religion to protect such individuals. Eli promotes secular atheism as an alternative to Protestant and Catholic influence, fostering an anti-feudal and anti-medieval mentality. In contrast, future factions try to control the world through limited literacy and adherence to moral absolutism, while Eli advocates free expression and a contrarian worldview in pursuit of national goals.

Libertarian Sci-Fi: This part is intensely political: Eli embodies a militant Libertarianism, a perspective rarely portrayed. Most Libertarian thinkers emphasize self-defense and self-determination, but there’s a newer school within the philosophy that prioritizes active defense and national sovereignty. Since the rise of Trump’s adherents in U.S. politics, the neoconservative faction has fractured, with some merging into Libertarianism—a shift I’ve incorporated into Eli’s worldview. In this context, the story explores using non-human agents (like modern-day AI or drones) to prevent any crisis of conscience or morality, enabling aggressive strategies without ethical dilemmas.

This approach informs Eli’s final Russian campaign strategy, which is a sinister take on liberation: instead of directly killing, Eli’s forces exhaust the enemy into indirect surrender without needing their admittance of losing. This campaign doesn’t occupy or control; it systematically destroys population centers and resources to force dislocation, leaving survivors demoralized and deprived. For instance, nuclear blasts in Moscow don’t kill everyone immediately, and a neutron bomb doesn’t wipe out all displaced civilians, but the devastation and false hope crush survivors. With no resources left to rebuild, the remnants of Russian-controlled Eastern Europe are left desolate.

Through modern and speculative technology—enhanced chemicals similar to Agent Orange, the Alcubierre drive enabling near-instant travel across Russian territory—the Sci-Fi elements merge with Libertarian principles to form Eli’s final approach to ‘freedom’ in its most relentless form.