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APEX to Launch January 7th!

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Ian Stuart Sharpe on the Jotunn War Cover Process

Ian Stuart Sharpe on the Jotunn War Cover Process

One of the ideas that fascinates me most as an author are the symbols we use throughout history.

For example, the cover of the latest issue of the Jötunn War is a pastiche of a well known WWI poster. We have subverted the Army Air Service American Eagle and added in a raven, very much a Norse symbol.

Because the whole premise of the Vikingverse is that the Norse never Christianised – and in my alternate history, even conquered Rome – it is the Raven banner and not the eagle that flutters proudly across the Norse Empire. Same idea, different reality!

You might wonder why artists and propagandists were so keen on the eagles in the first place….

The bald eagle was chosen June 20, 1782 as the emblem of the United States of America, because of its long life, great strength and majestic looks, and also because it was then believed to exist only on the American continent. But the eagle as a heraldic device goes further back. The Reichsadler (German “Imperial Eagle”, also featured in the original) is derived from the Roman eagle standard, used by the Holy Roman Emperors and in modern coats of arms of Germany, including those of the Second German Empire (1871–1918) and the Third Reich (Nazi Germany, 1933–1945).

It was meant to embody the reference to the Roman tradition similar to the double-headed eagle used by the Palaiologi emperors of the Byzantine Empire or the tsars of Russia. It’s all about power and legitimacy.

But we all know history is rewritten by the victors, and in my setting that means Vikings! So, go and tell people to buy up War Bonds/make a Kickstarter pledge.

The Empire needs YOU!

Ian Stuart Sharpe




Media Contact: Gwendolyn Nix


 New Post-Apocalyptic Fantasy Comic Releases on March 29, 2019

TOPEKA, KANSAS (March 29, 2019)—Orc Girl & Gobbo, a new comic series from Outland Entertainment releases on March 29, 2019. Created and illustrated by Chris Yarbrough, Orc Girl & Gobbo follows the story of an orc runt swordswoman and goblin pup, last of his hive, as they explore a world full of horrors and adventure. A fast-paced humorous action fantasy, this comic launches into a land where civilization sits on the brink of collapse and an unknown evil ravage the landscape, only known as “The Horror.”

Orc Girl and Gobbo came to me in a dream, two years ago,” explained Chris Yarbrough. “Since then they, and the world they inhabit, have kind of taken over my mind. Almost every night when I go to sleep, I am plotting out some element of their characters, or the larger world. Frequently, this leads to more dreams, and I jot those down in the morning. I have so many stories in my head, it’s good to finally do something with one of them,” Yarbrough continued. “I think this is my best work so far, and I hope people enjoy it.”

“Chris and I have been working together for several years now—he’s one of the most talented and creative artists I’ve had the pleasure to work with, ” said Outland Entertainment’s Creative Director Jeremy Mohler. “When he brought up the idea for Orc Girl & Gobbo, I knew that Outland had to help him get it out!”

Orc Girl & Gobbo will release on March 29, 2019 and will be available online and wherever books are sold.



In ancient Eld Sirrah, land of thunder, civilization is on the brink of collapse. Ravaged by a century of a terrible curse, all but the mightiest of kingdoms have turned to dust. Abandoned cities and holdfasts of the old world juts like sinister teeth, ravaged by “The Horror.” It is an age of vast frontiers, an age of redrawn maps and splintered axes. It is an age of bronze, iron, and magic. It is an age of adventure!

Such an age cannot turn without heroes, and heroes are in no short supply! Here we find an orc runt swordswoman and a goblin pup, last of his hive. Together, they will ride screaming into legend, but first their tale must be told. This is the tale of Orc Girl and Gobbo.


Chris Yarbrough is a middling illustrator, slacker, sometime writer, force of nature, and all around actual human person.

He’s done many things you’ve never seen, some you may have (Radiation Day). He’s crowdfunded, but he’s no stranger to running from a crowd. He’s had a pencil in his hand since he was two, and done actual useful things with a pencil since he was twenty-two. He talks to crows, but they never talk back. One time, he even ate a whole spaghetti!

Chris is not a cannibal despite anything you, or anyone you know, may have heard. And, that’s final.


Outland Entertainment was founded as a creative services company in 2008 by Jeremy Mohler. Since then, Outland has worked for a wide variety of clients across the world. Outland specializes in assembling creative teams and managing projects. Contact them via their site form or go to For more information, contact Jeremy Mohler at





Media Contact: Gwendolyn Nix


The first of a four-issue graphic novel brings Norse history to life this March

TOPEKA, KANSAS (March 22, 2019)— The Jötunn War, a brand-new addition to the Vikingverse universe created by Ian Stuart Sharpe, launches on Kickstarter on March 22, 2019. The first of a four-issue graphic novel series and a follow up of Sharpe’s debut novel The All Father Paradox, The Jötunn War is an alternate universe where the Norse rule the stars with restless fleets and an iron will. When the thralls rebel, turning to the artifice of Norns to help them escape their bondage, the Natural order is thrown into chaos, causing a war that will rage across the Nine Homeworlds. Will the thrall rebellion change the Norse way of life? Or will the Empire crush them with flame and fury?

“When we first acquired The All Father Paradox, I knew the Vikingverse setting had so much potential for trans-media storytelling,” said Outland Entertainment’s Editor-in-Chief, Alana Joli Abbott. “To see the first comic coming into fruition is truly exciting—and while it stands alone, readers of the novel will get extra insight into some mysterious characters…”

“It’s been a real delight to see the stories we started telling in The All Father Paradox take on a visceral urgency in comic form,” explained Vikingverse creator Ian Stuart Sharpe. “Norse mythology is a fascinating lens through which to take a view of the world. History is full of titanic battles, from David vs. Goliath to the Axis vs. Allies, but The Jötunn War is literally as big as it gets.”

The Kickstarter will support the printing and distribution of the graphic novel’s completed first issue. Other stretch goals include upgrades of printing specs, such as a glossier cover and higher quality paper, and finally the ability to fund the printing and distribution of the second graphic novel set in the Vikingverse.



The Vikingverse is the alternate universe that results when Odin escapes his doom at Ragnarok; a parallel timeline where Vikings rule seas and stars and the storied heroes of mankind emerge in new and brutal guises drawn from the sagas. Hang on tightly, ’cause the Free World just got thrown to the wolves and the meek shan’t inherit this Earth.


Ian Stuart Sharpe was born in London, UK, and now lives in British Columbia, Canada. Having worked for the BBC, IMG, Atari and Electronic Arts, he is now CEO of a tech start up. As a child he discovered his love of books, sci-fi and sagas: devouring the works of Douglas Adams, J.R.R. Tolkien, Terry Pratchett, and George MacDonald Fraser alongside Snorri Sturluson and Sigvat the Skald. He once won a prize at school for Outstanding Progress and chose a dictionary as his reward, secretly wishing it had been an Old Norse phrasebook. The All Father Paradox is his first novel.


Outland Entertainment was founded as a creative services company in 2008 by Jeremy Mohler. Since then, Outland has worked for a wide variety of clients across the world. Outland specializes in assembling creative teams and managing projects. Contact them via their site form or go to For more information, contact Jeremy Mohler at

Reclaiming Norse Mythology from the Nazis by Ian Stuart Sharpe

Reclaiming Norse Mythology from the Nazis by Ian Stuart Sharpe

It is one of the most iconic scenes in modern cinematic history:  Indiana Jones is in a desperate race against the Nazis, a lone hero battling against the entire German war machine to prevent an ancient artefact of immense power from falling into the wrong hands.

Of course, as is often the case, the truth is stranger than fiction. Nazi Germany really was obsessed with uncovering ancient texts and lost knowledge, and had a special division devoted to the pursuit of artefacts: the Ahnenerbe. This shadowy organization began as a prehistoric research institute, devoted to exploring German ancestral heritage. From inception, the group’s founders were obsessed with the legend Atlantis and the mystical powers of “Blood and Soil.” Himmler soon incorporated the group into the feared SS, but they remained an ideological factory, a thinktank, with fifty different branches and more than one hundred research projects in the field—archaeological expeditions and excavations seeking proof or propaganda that could advance the worldview that Germans were the master race.

Norse mythology spoke to the men of this new, resurgent Germany. The sagas recalled an age of unity, a timeless purity that existed in Northern Europe. The popular imagery of Vikings as a fierce warrior culture, willing to defend their lands in the name of Valhalla, resonated with the SS: the double sig-runes they used as their insignia represented victory. The Ahnenerbe craved links to the bold, brave North.

One such link was the venerable Snartemo sword, found on a farm in 1933 by two farmers, buried in a hidden tomb dating back to the early 6th century. Inside the tomb were rare fabrics, bear claws, and a magnificent sword. A sword with a gold-plated hilt, entwined with ornate geometric patterns.

And swastikas.

In Hitler’s own words, this ancient symbol “signified the mission allotted to us—the struggle for the victory of Aryan mankind.” Germans had become obsessed with swastikas the moment Heinrich Schliemann discovered the hooked cross on the site of ancient Troy in the 1870s. They linked it to similar shapes found on German artefacts and concluded that it was a “significant religious symbol of our remote ancestors”—the remote ancestors that gave legitimacy to Himmler’s outlandish claims, pseudo-science, and fake history. The swastika was like the Nazi North Star.

In 1936 an International Congress was held in Oslo, with a special exhibition of the Snartemo sword discovery as the main attraction. The Ahnenerbe were, unsurprisingly there in force, following their guiding star towards glory. So much so that some Norwegian archaeologists foresaw a problem, and, with great pragmatism, hid the Snartemo sword and its swastika hilt in a vault of a remote bank. Only a few academics knew of the plan, and these Norwegian Indiana Joneses kept their secret well. The invading German forces were never able to find the original and made do with a replica, recreated from drawings.

Historical revisionism

Not so long ago, the swastika meant something very different. In the years following the sensational discovery of Troy, the symbol popped up everywhere, in vogue as a good luck charm: in Rudyard Kipling’s signature, on Coca-Cola pendants, Carlsberg beer bottles, American army shoulder patches, and even Boy Scout merit badges. Charles Lindbergh had one emblazoned on the nose cone of the Spirit of St. Louis in 1927.

The swastika genuinely does have a long history, used as sacred symbol in pre-Christian religions by Hindus, Shintoists, Odinists, and Druids. The sign usually represented the sun, and the original Norse name for it was the fylfot. Vikings used it as a decoration on a bucket found on the Oseberg ship dating to 800 AD. A version of a swastika, the sun cross, adorns the top of the Gosforth cross which is central to the novel, The All Father Paradox. The antagonist of the novel knows the power of symbols only too well: ““This leathery old binding, these spindly tattoos, they tell a saga. These marks are the birthright of my people; they bind me to the dead.”

Today, continuing Nazi connotations mean that swastikas are beyond redemption in the West. But in many senses, the same ideological war once waged by the Ahnenerbe continues on other fronts. Norse symbols, once coveted by the Nazis for their raw power and ancient heritage, are now contested by rival groups of pagans, Neo-Nazis, and advertisers seeking to exploit them for their own benefit. Vikings themselves have become a symbol, representing at best adventure, risk, individual spirit, and daring and at worst, xenophobia, purification of ethnicity, and male violence. There is a berserker rage felt keenly by those white males who feel under siege by immigrants and #MeToo, an anger that some modern politicians have encouraged (and it is a sentiment that the antagonist in the novel is happy to exploit too).

But this imagery is largely mediated through popular culture rather than from the original folklore of North Germanic pre-Christian Europe. Simply put, the way we perceive Vikings today has little to do with the reality of the Viking Age and everything to do with the way we want to see ourselves. It is the greatest of ironies that Vikings, once demonised as the scourge of Europe, are now a talisman for those who are mortally afraid.

Perhaps it is time to stop hiding in the illusions of the past and start building a future built on practical reality. If the story of the Snartemo sword teaches us anything, it is that when people try to use their heritage and symbols as weapons, the true sons of Vikings will just sensibly and quietly spirit them away.

The modern Ahnenerbe

In the dying days of summer 2018, posting and commenting as @vikingverse, I came across an Instagram post. Using the tag #VikingFacts and the slogan “Facts. Not Revisionism”, the account was proclaiming that:

  • “The Aesir are your ancestors and not gods”
  • The reference to gods is an “Abrahamised mistranslation.”

It seemed the Ahnenerbe were still peddling their own warped reality. Imagine: Thor, Odin, Loki and Heimdall—all part of the family. The DNA testing kit business would go into meltdown.

I wondered, did the poster really believe his post? On what grounds?

There is a long tradition of linking myth with real historical events or personages. It’s called Euhemerism, and it supposes that historical accounts become myths as they are exaggerated in the retelling, accumulating elaborations and alterations over the centuries.

It’s a great propaganda tool in any argument. The early Christians, hostile to paganism, embraced euhemerism in attempt to undermine the validity of pagan gods. Cohortatio ad gentes, they would cry—”Those to whom you bow were once men like yourselves”.

Several centuries later, presumably to curry favour with King Hákon Hákonarson, Snorri Sturluson euhemerised Thor as a prince of Troy in the prologue to his Prose Edda, thereby linking his King to the very cradle of civilization and the Norse gods in one deft sentence. In all likelihood, this one book helped Himmler “join the dots” to his hoped-for past glory and predecessors.

I pointed out some of this background to the poster, mentioning that Æsir is the plural of áss, which is attested in other Germanic languages, like the Old English ōs, and for good measure, adding that the word had been traced back through its Indo-European roots to Sanskrit. It quite definitely meant God, I posted, and the Christians hadn’t meddled with etymology.

There was a momentary flurry of abuse, and then I was banned, my comments deleted. The rest of the account drips with misogynism and machismo—I should have looked more closely. After some research, I found out that the owner of the account is a Frenchman. Suffice to say he doesn’t speak Old Norse, or have a military background, or any of the other things he claims.

I like to think there is a different between writing fantasy and living it, but clearly for some people, the line is somewhat blurred.



Ian Sharpe was born in London, UK, and now lives in British Columbia, Canada. Having worked for the BBC, IMG, Atari and Electronic Arts, he is now CEO of a tech start up. As a child he discovered his love of books, sci-fi and sagas: devouring the works of Douglas Adams, J.R.R. Tolkien, Terry Pratchett and George MacDonald Fraser alongside Snorri Sturluson and Sigvat the Skald. He once won a prize at school for Outstanding Progress and chose a dictionary as his reward, secretly wishing it had been an Old Norse phrasebook. The All Father Paradox is his first novel.

Interview with Ian Stuart Sharpe, Author of The All Father Paradox!

Interview with Ian Stuart Sharpe, Author of The All Father Paradox!

Q: What made you write The All Father Paradox?

Ian Stuart Sharpe: I think it was preordained.

Not in a crazy way, you understand. You just learn to spot the signs, to realize that something is off-kilter. For example, in the year 793AD, according to the Anglo-Saxon Chronicle, there were plenty of foreboding omens. “Excessive whirlwinds”, lightning. Fiery dragons were seen flying in the sky. As if that wasn’t bad enough “great famine followed.”

And then, at the beginning of another long, drizzle-bound British summer what should show up but a “ravaging of wretched heathen men” who promptly destroyed God’s church at Lindisfarne and kickstarted the whole Viking Age. Some might argue that if the monks at Lindisfarne had been a little better at reading the tea leaves, we might not be here, discussing this book.

“Never before has such terror appeared in Britain…The heathens poured outthe blood of saints around the altar, and trampled on the bodies of saints in the temple of God, like dung in the streets.”

It must have seemed like the end of the world.

In my case, it was June 2016AD. My eSports company had just been ground into the dust by a doomstack of unfortunate events. Trump was already the presumptive nominee for the Republican party and then, to add to the sheer caprice of the moment, the UK voted for Brexit. I felt something like a monk at Lindisfarne, wondering which way the wind was blowing, and whether Norsemen might arrive on the tide. And that’s not a political comment, more a reflection of all the churn and change.

The world suddenly was full of “Holy F*ck!” moments. My reaction to it all was to become a new Anglo-Saxon Chronicler, to hold up a cracked mirror to the end of the world as we knew it.

Q: Why should others read the book?

ISS: There is an early episode of the British TV series Doctor Who, in black and white from 1965. I remember it from reruns: a rogue Time Lord plans lure the Harald Hardrada’s Vikings to the coast and destroy their fleet with an atomic cannon. This Time Meddler insists his plan will stabilise England and benefit Western civilisation.

It’s a nice idea. The thought that you could make the world a better place. The notion that you could reclaim what was was rightfully yours. Change the past – kill Hitler before he rose to power and save a generation from slaughter. Save the world, resurrect the girl – it worked for Superman.

What if? It’s a question we should all ask. We should all walk a mile in another man’s shoes, open ourselves to a little alternative perspective. Or else the world is just little bits of history repeating.

Q: What makes this story unique?

ISS: Who doesn’t like a nice Norse saga, full of Vikings raping and pillaging?!

Well, that’s not this book. Not all of it anyway. The fact is that the Scandinavian civilization had a rich and vibrant culture – unique art forms, a deep oral tradition, a sprawling trade network, a yearning for adventure and prestige. This is a book full of characters drawn from the pages of history, but it is really a story of a civilization.

On numerous occasions, the Norse came within a hair’s breadth of seizing the great cities of the age: London, Paris, Hamburg – and the greatest prize of all, Constantinople, the City of the World’s Desire. Imagine if the Trickster God had been with them, rather than against them. The What If in question isn’t far-fetched.

Those “wretched heathen men” could have ruled Europe, and likely the world.

Moreover, most Viking books dwell on the past, but I wanted to examine a Norse present. I wanted to transplant a warrior culture, built on slavery, but with a democratic bent and one where women were often heralded rather than hidden. And I wanted to examine how their myths and icons might grow without the influence of Christianity, the world of seidr and spirits, and see how it stretched over the centuries.

Q: How does it compare to other books like it in the genre?

ISS: There aren’t that many perspectives on Norse culture and civilisation that really highlight their true legacy. I recently took my family on a tour on Denmark, visiting hill forts, museums and re-enactments. I was amazed at how little they knew about these people. Viking were the bad guys. (Just ask Doctor Who). They wore horned helmets. They were raiders and barbarians. Even the best “Viking literature” doesn’t do more than reinforce old tropes.

That’s because history is written by the victors, and the Vikings, for all their legendary heroics, well, they lost.

But the Vikings are still with us, if you know where to look. The Old Norse rót is still apparent among the tangle of Anglo-Saxon, French and Latin. The language of the Vikings may have become subdued over the centuries but make no mistaka about it – from byrðr (birth) until we deyja (die) – the raw energy of the Norse shapes many of our words. Just look at a Viking the rangr way, and he might þrysta (thrust) a knifr into your skulle.
For the more literary, even the word Kindle comes from the Norse kynda – to light a fire. And that’s an important part of the book. Just as Tolkien had his Elvish (and he borrowed much of his lore from Old Norse stories), the All Father Paradox is peppered with Old Norse. It might look strange. It might make you pause and think.

And that’s exactly why it is there.

So put the book on your Kindle, and set fire to what you think you know. It beats the other ways into Valhalla.
Pre-order now so you don’t miss a moment!