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Content Warning: This section of the guide contains discussion of graphic violence, death, death by suicide, substance use, animal cruelty and death, and mental illness.
The Empire of Khanum was founded 600 years ago after the people of the Valley of Khanum learned to combat the enormous, semi-aquatic creatures, called leviathans, that for thousands of years had come ashore each year during the wet season and spread destruction and death. The people of Khanum alter their own bodies using the blood of the leviathans. With their enhanced strength and intellect, they have been able to hold the leviathans back long enough to and established a wealthy and powerful empire.
The Empire is now fragile; its original founders are gone, and much of their knowledge has been lost. Every year, it must expend all its resources to fight back the ongoing leviathan threat while maintaining the internal harmony necessary for survival. Within this society, Dinios Kol works for the Iudex, the imperial justice institution. His mind has been altered to grant him perfect memory. He works with Ana Dolabra, a brilliant analyst who lives a largely cloistered existence because her mind is too powerful to endure ordinary life. Together, they solve the Empire’s most difficult and dangerous murder cases: Dinios investigates and remembers everything, while Ana analyzes his findings.
Iudex investigator Signum Dinios Kol (Din), an imperial engraver—that is, a criminal investigator whose mind has been augmented to possess perfect recall—travels by carriage with his superior, Ana Dolabra, toward the city of Lacanthim. Ana, who wears a blindfold to prevent her extraordinarily powerful analytical mind from being overwhelmed by too much sensory input, complains loudly that their assignment, the murder of a gentry girl, commands attention only because of the victim’s social status. Din privately recalls their orders, which warn of widespread social strife. He reminds Ana that the case is urgent because the suspect, Castus Armenta, and the victim are from two different gentryclans (aristocratic families) who are now on the verge of war.
Their journey is impeded by a traffic blockade. Impatient, Ana orders their pilot to drive off-road through the surrounding bean fields, which are harvested by drokha-cats—strange, cat-like creatures with human hands. As they approach the city, they discover the source of the blockade: Armed forces from the Armenta gentryclan have surrounded the town. Ana deduces that the situation is a stalemate, with the Armenta family trying to free the suspect from jail while the victim’s family is trying to reach him for their own retribution.
Din and Ana arrive at the murder scene to find a tense standoff between the Armentas and the Buravs, just as Ana predicted. After Din bluffs his way past Armenta forces, they meet the victim’s father, Burilis Burav, who demands his daughter’s body and insists that the accused, Castus Armenta, is obviously guilty. Ana persuades Burilis to withdraw his men by promising a swift investigation. Din interviews the innkeeper, who reveals that the victim, Zansay Burav, and Castus were secret lovers and had been meeting for over a year. Examining the scene, Din finds Zansay brutally killed but with no signs of a struggle or defensive wounds. During the inspection, Din is alarmed by a new “voice” in his head, which Ana explains is a “maturation” of his life-shortening cognitive augmentations. Based on the strange evidence, Ana theorizes that Zansay calmly lay down to die after being grievously wounded and sends Din to ask Castus what Zansay did after she died—an instruction that greatly perplexes Din.
While walking to the Lacanthim jail, Din is overwhelmed by a gloomy melancholy at Ana’s revelation that his augmentations as an engraver have reached maturation: He has reached the peak of his powers, which hereafter will begin a slow, irreversible countdown to the loss of his mental functioning and then to an early death. Din reflects on his choice to undergo the Sublime suffusions—to be augmented with the blood of the leviathans in order to serve the Empire—a trade made to pay off his father’s debts and save his family from poverty. This decision has physically altered him and set his fate. For three years, he has been estranged from his family, receiving only financial notices, including a bill for his father’s burial costs. Harboring a bitter resentment about sacrificing his future, Din chooses not to know whether his family is content. Trying to push aside dread, he resolves to focus on the current investigation, feeling terribly alone while walking through the city.
Din arrives at the jail to find a tense standoff between a crowd of armed Buravs and a single representative of the Armenta clan: Castus Armenta’s uncle, Trikao. Akun Seriv, princeps of the custodi—essentially a local police chief—barely prevents violence. Din uses his authority as an Imperial Iudex to disperse the mob. Trikao reveals that Castus is the last of four siblings; the other three died recently—two by suicide and one in a horse-riding accident—leading to rumors of a family curse. Princeps Seriv explains the feud’s history, an economic rivalry between the Armentas, who control the local cattle industry, and the Buravs, who produce the beans on which the cattle are fed.
Din interviews Castus, who claims he cannot account for his actions. He describes meeting with Zansay in secret, as they had done many times before. Zansay found a flensing knife in her bag and couldn’t explain how it got there. Both then heard a beautiful, unearthly song that transported them into a dream-like state. Zansay gazed out the window, while Castus felt himself mentally transported to his family’s butchering halls, where he had previously been traumatized by the violent work of cattle butchery. When he became aware of his surroundings again, he saw Zansay grievously wounded but strangely serene. He remembers that she calmly lay down in her blood, seeming as if nothing could upset her. His next memory is of being outside covered in her blood. Castus confirms that Zansay’s injuries match the precise cuts he was trained to make with a flensing knife for his family’s business. Overcome with guilt and horror, Castus declares that he wishes to be executed. The chapter ends as Din tells Seriv, the princeps of the local custodi, that they must go to the forest where Castus was found.
Din travels on horseback with Seriv to the forest of Sapirdad, an hour’s ride from Lacanthim. He observes its unnatural appearance: purple-hued trees with pale trunks growing in hexagonal patterns. Seriv explains that the forest was created by the ancient Khanum, possibly to guard the tombs of the Daljen, the first of the old imperial tribes to vanish in the ancient past. The Khanum augmented the trees to grow in unnatural ways intended to ward off intruders. As they approach, the narrator feels an unsettling gloom, which Seriv identifies as a fear-inducing pheromone emitted by the augmented trees, forcing them to dismount their skittish horses and proceed on foot.
Seriv shares local rumors, including the theory that the Daljen were cursed and that this curse has now fallen upon the Armenta family, whose line is also ending; the Armentas believe that the Daljen are their ancestors, though this belief may be only a self-aggrandizing myth. He also reveals there have been sporadic sightings of mysterious flashing lights deep within the impassable woods for the past three years. They arrive at the spot where Castus was found, just a short distance into the dense trees. Seriv confirms what Castus has already told Din: that Castus claimed to have been followed, though no evidence was found. Din notes that Castus told him he went into the forest to pray. Seriv confirms that there are scattered shrines within the forest, but he maintains that Castus was simply “out of his head” (60).
After hearing Din’s account, Ana formulates a theory that both Zansay and Castus were infected with a modified fungus called the guiding web. This fungus, used to condition drokha-cats for farm labor, makes its host highly responsive to specific audio pitches, compelling them to perform associated actions. Ana suggests that a third party used inaudible notes to puppet Castus into committing the murder and Zansay into not resisting; Castus’s work in the flensing halls was the conditioning that led him, under the influence of the web, to kill Zansay in the same manner in which he previously butchered animals. To prove this, she has Din retrieve her collection of musical instruments. As Ana plays a series of high-pitched notes on a shawm, Zansay’s corpse convulses and sighs, confirming that her body is still responsive to the conditioning even after death.
Realizing the gravity of this discovery, Ana sends Din to fetch Princeps Seriv. She explains her theory and provides a horrifying demonstration by making the corpse move again. Seriv is stunned, recognizing that this means the Armenta family’s recent tragedies may have been orchestrated murders, not the result of a curse. The chapter concludes with Seriv’s critical revelation: It was the Burav family—the Armentas’ main rivals—who developed the guiding web fungus, and the individual who pioneered this technology was Zansay’s own father, Burilis Burav, making him the prime suspect.
Ana gathers Din and Seriv at their new quarters—a room at the Green Drover Inn—for a secret meeting. She further explains her theory that the killer is using a new strain of the guiding web fungus to condition multiple human victims who are unaware of their state. She warns that if the killer discovers their investigation, they could trigger a wave of murders and suicides. This revelation horrifies Seriv, who realizes he could also be infected.
To proceed with utmost secrecy, Ana devises a two-part plan. First, she decides against releasing Zansay Burav’s body, instead ordering Seriv to find the Orbiis—the imperial agricultural department. As experts on fungi who are politically neutral, Ana wants them to perform an autopsy on Zansay to analyze the unique neurofungus.
Second, Ana turns her attention to the recent string of deaths in the Armenta family, which she now suspects were murders disguised as suicides and accidents. Seriv reveals that the family matriarch, Velona Armenta, has already been obsessively investigating her children’s deaths, believing them to be divine punishment. Seeing a potential source of information, Ana tasks Din with contacting Velona’s brother, Trikao, to arrange a meeting. Seriv mentions that Trikao is Velona’s older brother, and Din wonders aloud why Velona—and not Trikao—is head of the Armenta clan. Seriv explains that inheritance among the clan is determined by a competition in which all siblings compete to raise the largest herd of cattle. Velona won this competition, making her the leader of the family.
Din goes to a bar called the Crooked Horn to find Trikao Armenta. Trikao is in a somber mood and becomes defensive when asked about the previous deaths in his family, which he attributes to the family’s supposed curse. He angrily tells the Din not to dig into his family’s past suffering. Deciding not to reveal the suspicion that the deaths were orchestrated, Din instead asks to speak with Trikao’s son, Ippeas, and his betrothed. Trikao agrees, stating that the betrothed, a skilled rider, should arrive first. A young woman soon gallops up on a destrier—a huge, augmented horse—displaying such skill that it appears as if horse and rider are one organism. When she dismounts, both she and Din are rendered speechless at the sight of each other. The chapter ends with the revelation that the woman is Din’s long-lost sister, Fotia.
The novel’s prologue establishes a grand, mythic scale with its opening declaration: “BEFORE THERE WAS MEMORY, BEFORE THERE WAS HISTORY, there were the leviathans” (3). This introduction places the Empire of Khanum in a world defined by the ongoing threat of the leviathans, with its fragile, hard-won survival dependent on biological augmentation. In the first chapter, the narrative then pivots from this epic history to the grounded, procedural mystery of a single murder in the remote canton of Sapirdad, establishing the Ana & Din series’s signature blend of genres: a murder mystery in a high fantasy setting. This structural shift creates an important tension that persists throughout the opening chapters: The public’s belief in “harmony, equality, and progress must be maintained, for without [it], the Empire shall unravel” (3), but this belief is shown to be contingent on solving what initially appears to be a provincial crime. The armed standoff between the Armenta and Burav gentryclans is not just a local dispute; it represents the potential for the kind of internal strife the prologue warns could doom the empire. The investigation thus becomes a microcosm of the larger imperial struggle, where maintaining social cohesion in one small city is directly linked to the macro-level fight against existential threats like the leviathans.
Ana Dolabra’s opening complaint that “most people are absolutely enthralled by dead girls” (7) serves as a metafictional critique of detective fiction conventions. Her tirade against the disproportionate attention given to the murders of high-status women over more systemic forms of violence introduces the theme of Class Hierarchy as a System of Exploitation. The case’s urgency is defined not by the act of murder but by the social standing of the victim and perpetrator. This scene also establishes the dynamic between Ana and Dinios Kol, which deliberately mirrors the relationship between Sherlock Holmes and Dr. Watson in Arthur Conan Doyle’s genre-defining Sherlock Holmes novels. Ana, like Holmes, is a reclusive, eccentric genius who analyzes evidence from a distance, even retreating into a closet to think. Din, as the first-person narrator with a perfect memory, serves as the Watson figure—the reliable observer who acts as the reader’s eyes and ears. His augmented memory makes him the ultimate chronicler, a perfect recording instrument for data that Ana subsequently analyzes. Her analysis routinely overspills the boundaries of the investigation, taking in not only the immediate circumstances of the crime but the underlying systemic forces that give it context. This structure allows the novel to operate as a traditional mystery while Ana’s commentary provides a meta-textual critique of the genre’s and society’s inherent class biases.
The journey into the canton of Sapirdad reveals a landscape grotesquely reshaped by commercial demand. Din’s observation of the “total defoliation of this landscape” (10), where every resource has been redirected toward cultivating beans for cattle feed, grounds the abstract conflict in a tangible environmental crisis, a commentary on the ecological harm wrought by industrial agriculture in the real world. Din is both an outsider and an insider, having grown up “on the other, less wealthy side” of this same landscape (10), and this perspective allows him to compare the landscape’s present condition with his memory of what it should look like, introducing The Moral Cost of Meat Production as a central force in the narrative. The enormous, bio-engineered urhosi cattle and the specialized drokha-cats used for harvesting represent a world where nature has been aggressively altered for profit. The symbol of urhosi cattle and flensing halls, though only mentioned at this stage, looms over the region as a representation of a system of unsustainable consumption that directly fuels the violence. The feud between the Armentas and Buravs is not just a matter of pride but an economic war rooted in an ecologically destructive model. The land itself is a casualty, its barrenness a visual manifestation of the gentry’s greed and the root cause of the conflict that threatens to tear the empire apart.
Castus Armenta’s memory of hearing a beautiful, irresistible song just before the murder implies a sinister, unseen force that defies rational explanation, introducing an element of horror to the narrative. This element is soon identified as the guiding web fungus, a form of mind control evocative of the real-world cordyceps fungus that parasitizes and controls the movements of ants. By inventing a similar fungus that works on humans, author Robert Jackson Bennett raises questions about the existence of free will and provides an allegory for the exploitative systems that strip people of autonomy while preserving the illusion of choice. The fungus functions as the ultimate tool of exploitation, forcing its victims to carry out their own apparent suicides and the murders of their loved ones. This revelation reframes the recent history of the Armenta family, suggesting that their supposed curse is actually a series of meticulously planned assassinations.
While the gentry families grapple with their legacies, Din’s internal monologue in Chapter 3 reveals his own painful and complicated relationship with the past. His walk to the jail becomes a meditation on the personal cost of his imperial service. The news that his cognitive augmentations are “maturing”—a process that will shorten his lifespan and lead eventually to dementia—evokes “the vague feeling that there was something gestating in my skull: an awful little fetus quietly devouring my thoughts, like a chick consuming the albumen within its egg” (38). This metaphor is notably analogous to the life cycle of the guiding fungus, which grows quietly inside the skull of its host until it, too, matures and supplants the host’s own mind and personality. Unlike the fungus’s unwittingly infected hosts, however, Din accepted his augmentations knowingly, trading his future for his family’s financial stability. His situation thus highlights the theme of Class Hierarchy as a System of Exploitation: Because of class inequality, his body has become a resource for the Empire to use and discard, just as the gentry exploit the land and laborers. The emergence of a “voice” within his memories externalizes this loss of self, making him a stranger in his own mind. This internal crisis deepens his character beyond that of a simple narrator, establishing a deep sense of isolation and resentment that complicates his role as a dispassionate investigator.
The narrative’s focus on the Armenta family’s history introduces The Destructive Pursuit of Family Legacy as a self-defeating force. Trikao’s despair over the deaths of his sister’s children, which he and others attribute to a supernatural curse, shows a family trapped by its own traditions and superstitions. Their reverence for the long-dead Daljen, who are themselves rumored to have been cursed, links their present decline to a pattern of inevitable decay—absolving them of the responsibility to address the human conspiracy unfolding around them. This preoccupation with the past is physically manifested in the symbol of the altered forest, an unnatural, ancient place that emits an aura of fear and wrongness, emblematic of the unnatural, heavily manipulated environment of Sapirdad itself. This broad, dynastic conflict becomes intensely personal for Din with the shocking appearance of his sister, Fotia, as the betrothed of an Armenta heir. Din, who sacrificed his future and severed family ties for the Empire, is suddenly confronted with the direct consequences of that choice. Fotia’s involvement means that the case is no longer an abstract problem of gentry politics but is now inextricably linked to his own abandoned legacy, shattering his professional detachment and forcing him to reconcile his past with his present.



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