Game info

If you think dragons are a myth, you will learn otherwise here. Luzi stumbles upon secrets and ancient knowledge. When searching for truth, one may find love and friendship in places abandoned years ago, or in realms not of this world.

Based on book 1 of 5 in the Luzi Cane series.

The story is not based on drama and conflict, but loaded with a deep understanding of the human and beyond and hints at transformative choices in life.

If you think dragons are a myth, you will learn otherwise in this story. Furthermore, you will learn about the elves, and discover a whole world that you didn't know existed right under your nose.

In her search for material for an upcoming book, Luzi stumbles upon many secrets and old wisdom, signs of seemingly lost, ancient knowledge. When searching for truth, one may find love and friendship that one has been looking for, even in places abandoned many years ago, or in realms not of this world.

Based on the first book (of 5) in the Luzi Cane series, it gives you a unique opportunity to enjoy an incredible adventure. At the same time, you gain so-called lost or hidden knowledge, in a world that desperately tries to wake up from its long slumber but is distracted by the 'noise' from the same world. The dragons are awakening, not to destroy us, but to guide us in our quest for a deeper understanding of our place in creation.

The kinetic visual novel contains of 31 chapters + addendum and nearly 59,000 words.

Eriqa Queen

How I connect to my story: I start with an idea, a working title. This idea has an ethical, but dormant counterpart. As I put words, often the title, into my manuscript, the idea becomes active. This creates a sparkle of consciousness in the imaginative realm. This is how all creations start. - This is intuitive, nonmental writing. My mind doesn't create the story and is often surprised what is put into the manuscript. - The sparkle becomes a light as it draws more ideas in. Characters emerge with their own personalities and the first contact are very special. Again, it is not a mind thing, but a 'heart' thing. I connect and feel the character. Sometimes I know (like in knowingness which isn't a mind thing), the character is there, but it takes some time or the right conditions in the plot, before it opens and joins the plot. It is quite fascinating. - I use present tense and mostly dialogues. My primary person (antagonist) is the first-person dialogue, and I do not switch into other characters' minds and feelings, they must show themselves through actions. This way, it presents my descriptions in the present tense in 'dialogue' with the reader. The reader and the 'writer' experience the story together. The 'writer' does not know more than the reader at any point in the story.