Behind the Book: Omen of Fire

Omen of Fire, dark fantasy romantasynovel by author Nathan Wilson and S. E. Nin

At last, my co-author was proud of me.

The Abhorrent was a success with my toughest critic, but I wasn't content to stop there. I wanted Omen of Fire to be more than just another reimagining of the Genpei War or another dark fantasy epic. I wanted a story full of heart, soul, and yearning for things we cannot have.

Personal changes in my life also made an impact on the story. It pushed me to weave in more awareness about mental health. As I wrote, a theme emerged: discovering self-love in the face of depression, breaking cycles of hate, and the conviction that our struggles don't have to destroy us. They can teach us compassion for others and appreciation for one's own worth.

This time, Shindara wasn't just facing demons or samurai. He was going to confront the ultimate battle in himself.

"You see my worth in a way that makes me feel seen and understood."

Aya

After the ichor and venom of The Abhorrent, I wanted to write about love. Not perfect, sanitized, idyllic love but something more tender and aching. I wanted a romance that still felt true to the fantasy world I was building. Telling Aya and Shindara's story through dreams and memories seemed like the only way their relationship could live again on the page. This narrative approach would allow their love to transcend death and parallel Shindara's journey.

But dreams and memories were not enough. I wanted Aya's presence to be felt, to almost hover at the edge of reality. So I turned to the idea of seizure-induced delirium and near-death hallucinations, unravelling Shindara's mind until the past spilled over into the present. It seemed the most beautiful and devastating way to show their relationship.

Much of this was influenced by my co-author, S. E. Nin. She encouraged me explore romance and erotica more boldly, not as an afterthought between scenes. I viewed this as an opportunity to add new layers and emotional nuances to the story, to delve into the darkest recesses of desire, obsession, grief, and sensuality. But the truth was I couldn't write what I didn't feel. When I began to date again, I finally had the will to attempt it.

As a result, the romance in the final two books was no longer imagined, as I drew inspiration from lived experience. The line between art and reality begins to blur.

Shindara hallucinates during the Night Parade of One Hundred Demons, overcome by visions of the wife he loved and lost.

Redeeming
Hachi

Ever since Hachi appeared in the story, he was pure chaos. Loud, crass, and impossible not to laugh at. He was the type of character who would break the tension with a vulgar comment and wear his bravado like he was the greatest hero of our time. Whether it was his ridiculous battle cry or his roguish charm, readers seemed to gravitate toward him. But as the series grew darker and the themes more serious, I wondered if there was something more beneath his jokes and sake-fueled swagger. Comedy can be a mask, and sometimes the biggest personalities hide the darkest secrets.

With Omen of Fire, I wanted to explore what happens when Hachi stops running away from himself. Not to punish him, and not to rewrite him, but to finally let the reader see the person behind the bluster. What if his wild stories were covering something he didn't want to face? What if Hachi was made to reckon with his love of battle and borderline alcoholism? Those questions opened the door to a more vulnerable version of him.

Shindara was already seeking atonement, and layering Hachi's redemptive arc over his made it all the more poetic to me. Writing him this way felt like giving Hachi a chance to stop being the comic relief and start being human. I had second thoughts about showing him struggle, but the risk paid off with moments that felt genuinely iconic. I'm especially proud of his character development in this novel, more than any other. There will always be laughter when it comes to Hachi, but this time, he might find strength in making amends instead of swinging a sword.

The Night Parade of One Hundred Demons

Hyakki Yagyō, the Night Parade of One Demons, is a concept from Japanese folklore and Heian-era literature. It is said to consist of hundreds of creatures. Oni, tengu, kitsune, kappa, ghosts, animated tools, and countless others, dancing and singing through the night. If a human stumbles upon the parade without spiritual protection, they will be torn apart, cursed, or killed. Only monks with special charms or divine blessings can survive. In some traditions, the parade occurs on specific nights, often in summer, when the boundary between the human world and the spirit world is thin. But this is more than a random occurrence; it is an annual migration of spirits.

In some ways, the Night Parade of One Hundred Demons shares parallels with the Wild Hunt from Norse mythology, a cavalcade of skeletal horsemen and an omen before disaster. I was also influenced by Hungry Ghost Festival and Tomb Sweeping Day, holidays celebrated in certain Southeast and Asian countries. Of particular fascination to me was Ghost Month, which begins in the seventh month of the Chinese lunar calendar. On the first day of this supernatural season, the Gates of Hell are believed to open. The fifteenth day is said to mark the height of spiritual activity, culminating in the main event of Hungry Ghost Festival. During this event, the living offer food, burn joss paper, and hold ceremonies to appease the spirits.

Hyakki Yagyō is altogether different and far more dangerous. In Omen of Fire, I imagined the Night Parade as the ultimate consequence of Shindara's actions. This demi-apocalypse would engulf the capital unless he was willing to sacrifice himself. More than just a moment of reckoning, this phenomenon could lead to the emergence of a new character. This one could have crawled out of the abyss during the Battle of the Eclipse, bringing everything full circle.

Concept art of the Yokai King. This was also the original cover design for In My Damnedest Dreams before it was changed to depict Izanami.

Mental Health Awareness
and
Depression

Perhaps it was no coincidence that as I approached the finale of Omen of Fire, I was reaching a crisis in my own life. It didn't help that I was about to adapt the final events of the Genpei War.

The Battle of Dan-no-Ura, waged on April 25, 1185, has been dramatized for centuries as one of Japan's most tragic clashes. The Taira clan was defeated at sea, and the imperial ship became the setting for an unforgettable scene. As the battle turned against them, many samurai threw themselves into the sea. Emperor Antoku, only six years old, was plunged into the sea in his grandmother's arms. They were followed by their royal entourage in mass suicide.

This became the emotional catalyst for the breakdown between Shindara and Sadato. Both were standing on the edge figuratively, tangled in the guilt of their moral failures. The toll of Sadato's ultra-nationalism and war crimes had finally caught up to him. From one monster to another, he invited Shindara to end their lives together. And when Shindara refused, Sadato attacked and tried to coerce him into murder-suicide.

Because at the time of writing this, my life was imploding. My heart had never been broken like this before. At least, not in a way where I was vilified by family, friends, and someone I thought I loved. In a most unorthodox way, chapters 29 and 30 became my catharsis as I tried to hold on.

I hoped the finale might resonate with others who wanted to give up but were holding onto something, too. Through Shindara, I tried to channel my last hope. Moreso, I could see the beauty in the moment when he lets go of his hate against himself and others, when he chooses life. It's okay to fall down. To fail.

What matters is getting back up and trying again. That is what makes Omen of Fire a story about forgiveness, self-love, and the belief that we are more than just the flaws we might see in the mirror.

History in the Book

During the Heian period, medical understanding was limited and illness was often seen as having supernatural roots. Certain diseases, such as smallpox, were associated with malevolent spirits like the Hōsōgami. When smallpox afflicted a community, families would sometimes display red dolls because the color red was thought to expel disease and banish evil.

Onmyōdō magic was practiced by the Bureau of Onmyō, a government agency that blurred the lines between science and religion, drawing on Taoist concepts of Yin-Yang and the Five Elements. Rituals existed for protection against disease, disaster, and evil spirits. Onmōydō reached the peak of its power during the Heian era. Those who specialized in divination and geomorphology played an important role in the Imperial Court.

The dragon engine technology in Omen of Fire was inspired by various Chinese explosive devices such as the "phalanx-charging fire-gourd" and the "flying-sand divine bomb releasing ten thousand fires." The world's oldest confirmed firearm and hand cannon was the "fire lance" (huotong), which utilized a touch-hole for lighting the gunpowder. Eventually, the bamboo tube portion was replaced by metal barrels.

Two of the three Imperial Regalia were reportedly lost at sea during the Battle of Dan-no-Ura, including the sacred jewel and the sword Kusanagi (the Obsidian Blade in the novels). The sword is currently in the possession of the Emperor of Japan, but due to its divine status, no one is allowed to see it. There is no way of knowing what it looks like now or if it is only a replica.

DARK FANTASY & ROMANCE AUTHOR Nathan Wilson