Terminal Lucidity by Unknown (2026)

In the year 20XX, Bael Callum navigates life in LA by letting his AI assistant make all of his decisions for him. A chance meeting with a rebellious woman named Stellar kicks off a series of events that threaten to tear their lives—and world—apart. Bael's mother, beset by dementia, begins making grave predictions, and someone from Stellar's past draws her into a group of revolutionaries, thrusting her into the crosshairs of the brutal security state. As AI creeps into every aspect of life, a new military surveillance program threatens the tenuous freedoms Americans still enjoy, and a global catastrophe lurks in the shadows, Bael and Stellar must first save themselves if they are to have any hope of saving the world.

The Matter Destructor by Lucian Cross (2026)

Earth survived the latest war. Hunter Graves barely had time to recover. Sent to another world in search of rare materials, Hunter expects dangerous beasts, hostile terrain, and perhaps a few problems worth punching. Instead, he finds a planet being harvested. Alien warships burn entire forests from the sky. Survivors are dragged into containment pods. Cities are erased, resources are stripped away, and every death is stolen from the System before the defenders can grow stronger. Then the invasion fleet notices Hunter. They study his abilities. They adapt to his attacks. And they decide he is too valuable to kill. That is their first mistake. When soldiers and warships fail, the intelligence commanding the invasion unleashes a Devourer of Worlds—a living disaster capable of consuming flesh, metal, mana, and everything else unfortunate enough to touch it. Hunter can destroy pieces of the creature. The creature can replace those pieces by eating the planet. And somewhere beyond the clouds, an ancient brain connected to an orbital warship is watching every move he makes. Before the battle ends, Hunter will be swallowed by darkness, sacrifice his strongest armor, launch himself beyond the atmosphere, and tear his way through a spaceship that believes distance makes it untouchable. But destroying the ship only forces the enemy to play its final card. The brain merges with the Devourer. Hunger gains intelligence. A world-ending monster gains purpose. And Hunter is left facing something large enough to consume a planet, smart enough to counter his abilities, and arrogant enough to believe he is only a primitive life form.

The Matter Destructor by Lucian Cross (2026)

The Multiversal Games have begun. Hunter Graves barely has time to register the announcement before the world shifts beneath his feet. He and Helen are torn from Earth and dropped onto a new planet under a single brutal objective: clear as many dungeons as possible, grow stronger, and survive long enough to matter. But whatever force orchestrated the Games doesn’t care about reunion, fairness, or strategy. The moment they arrive, Hunter realizes they’ve been scattered to opposite ends of the planet. Helen is somewhere out there. And Hunter is alone. Worse, he finds himself stranded on a colossal frozen continent, a dead-white stretch of ice, ruins, and killing winds where even survival feels hostile. Before he can even think about finding Helen, the new world makes its first move against him. A dungeon guardian. Over one hundred levels above him. For anyone else, it would have been the end. For Hunter, it becomes the beginning.

The Matter Destructor by Lucian Cross (2026)

Hunter crosses this new Earth the only way he knows how: forward. Through ruins and reclaimed cities, through monster borders and dead zones, chasing stronger enemies and sharpening his power. He isn’t searching for safety. He isn’t searching for community. He’s searching for what can fight him without breaking in seconds. But the world isn’t just filled with evolved beasts. It’s filled with humans, too, survivors who rebuilt in the shadow of forces they barely understand. Along the way, Hunter finds camps carved out of the chaos, each one a different answer to the same question: How do you survive when you’re no longer on top? One stands out immediately, an enclave led by a woman protected by favors from multiple Overlords. Her people live behind borrowed power and foreign rules, secure in the belief that patronage makes them untouchable. Another is even stranger: a camp where humans and evolved beasts coexist. Not as captives. Not as pets. As allies. As citizens. As something dangerously close to a new species of civilization. And eventually, those two camps collide. Tension turns into brinkmanship. Brinkmanship turns into war. Everyone demands Hunter choose a side. Everyone assumes he will. But Hunter doesn’t trust Overlord-backed “leaders,” and he doesn’t trust miracles that look too much like convenience. He’s seen what deals cost. He’s seen what “peace” buys with blood later. So the question isn’t which side he’ll take. It’s what happens when the world learns he doesn’t have to take one at all. Because while Earth fights over territory, power, and ideology, something else is moving in the dark. Unknown beings, decide Hunter is a problem that won’t solve itself. They plot behind the scenes to erase him. And when assassination fails to look simple, they choose spectacle. They announce the Multiversal Games. A grand, brutal solution. A stage meant to grind down threats like Hunter, and anyone else stubborn enough to refuse a leash, until nothing remains but obedience. It’s meant to be a culling. It’s meant to be control. But it changes nothing for Hunter Graves. He didn’t survive the trial by playing fair. He won’t survive what comes next by playing along. He will keep moving forward. And if camps, monsters, patrons, games, or overlords try to stand in his way... they’ll learn the same lesson everything else eventually does. Some rules don’t survive contact with him.

The Matter Destructor by Lucian Cross (2026)

The first phase of the Multiversal Games is about to end. For Hunter Graves, that should mean rewards, breathing room, maybe even a moment to think. Instead, it brings surprises. The first is the kind that makes the entire multiverse turn its head. A bounty on him. Not because he hunted the weak. Not because he slaughtered the innocent. But because he killed the people who came for his life first, and somewhere, an unknown Judge decided that was enough to brand him a criminal worth cashing in. Now Hunter’s name carries a price, and every greedy opportunist, desperate climber, and self-righteous fool across the multiverse has a reason to look his way. The second surprise is even more dangerous. The system does not only mark prey. It also opens the door for hunters. With the first stretch of the Games ending, a new path appears before Hunter: if others want to claim the reward on his head, then he can claim the rewards on theirs too. The battlefield is about to expand, the rules are about to grow bloodier, and the line between target and executioner is about to disappear completely. So the question is simple. Who is going to survive long enough to regret hunting him?

The Matter Destructor by Lucian Cross (2026)

The enemy came to erase Hunter Graves’ home. An undead army. Living commanders. Evolved beasts. A necromancer hiding behind thousands of corpses. And somewhere behind it all, something older, smarter, and far more dangerous than the battlefield wanted anyone to realize. For most survivors, a siege like that would be the end. For Hunter, it is an interruption. He returns to find smoke, wounded allies, exhausted defenders, and an army marching toward his walls like the world has decided to test his patience again. So he does what Hunter Graves does best. He walks out to meet it.

The Matter Destructor by Lucian Cross (2026)

The trial is finally over. Hunter Graves survives. When the Multiversal System releases him back to Earth, it should have been an ending. A return. A victory. Instead, it’s a revelation. Decades have passed since humanity was torn from its home. In that time, Earth did not wait. The creatures left behind didn’t merely survive—they evolved. Monsters multiplied, adapted, gained sentience and sapience, built territories, hierarchies, and instincts sharpened by years without humans at the top. The world Hunter returns to no longer belongs to his species. Humanity is no longer the apex predator. And reclaiming that position won’t come cheap. And now he’s back Earth isn’t just filled with evolved beasts. It’s filled with humans, too. Humans backed by multiple Overlords. Humans who cooperate with sapient monsters. Humans receiving outside assistance, turning pieces of Earth into private sandboxes ruled by foreign rules and borrowed power. Hunter doesn’t trust any of them. He’s already seen what happens when power is handed out instead of earned. As humanity fights to claw its way back to the top of the food chain, Hunter finds himself facing threats far worse than monsters: people who believe the world should belong to them, people who think Overlords make them untouchable, people who see Earth as something to be claimed instead of survived. Hunter isn’t here to save the world. He’s here to attain strength. And if monsters, systems, or overlords stand in the way... They’ll learn the same lesson everyone else does. Some rules don’t survive contact with him.

When there are wolves again by E. J Swift (author) (2026)

Memórias Tribais by Tony Wright (2026)

A editora Tábula em parceria com a gigante e premiadíssima 2000 AD já publicou três coletâneas com grandes autores como Grant Morrison, Steve Dillon, John Wagner e muitos outros. Agora, no quarto e o último volume, todos com histórias independentes, assim como os três volumes anteriores, novas histórias são trazidas por premiados autores como Peter Milligan, Jesus Redondo, Alan Grant e muitos outros. São 88 páginas de ficção, suspense e muita criatividade, próprio do selo editorial que criou personagens como o infame Juiz Dreadd. Memórias tribais, contempla histórias como Homer, o bárbaro; Família; O Pioneiro; e a que dá nome a HQ. Quadrinho que carrega o selo UN$PILA, onde grandes autores e obras, com o material de qualidade, por apenas alguns pilas.

Soldado Universal by Grant Morrison (2026)

2000 AD é um dos mais importantes selos editoriais do mundo. Fez história e revelou autores que até hoje são reverenciados em todo o mundo. Casa de Juiz Dread, é um dos ícones da ficção científica. A editora Tábula já publicou pelo selo UN$PILA duas edições: HOMEM VISÍVEL e XTNTS, reunindo várias histórias escritos por grandes nomes da nona arte. Agora, em SOLDADO UNIVERSAL, seis histórias de ficção futurista são escritas e desenhadas por nomes como Grant Morrison (Batman, X-Men, Os Invisíveis); Steve Dilon (Preacher, Justiceiro), Alan Hebden e muitos outros.

RoboDodo Takeover by Huma Safari (2026)

RoboDodo Takeover is a sci-fi mini web series created by Vultoonz. The series is described as a cartoon with elements of comedy, drama, science fiction, environment, and conservation. It centers around an ornithology theme. The series is being actively developed, with a focus on lore and story. A deranged, orphaned ornithologist turned eco-terrorist unleashes a fleet of bioengineered War-birds to wipe out human civilization and restore the planet to nature. Standing in her way: a human-supremacist military Commander hell bent on exterminating anything non-human.

Burn the Water by Billy Ray (2026)

**From award-winning screenwriter of *The Hunger Games* Billy Ray comes an immersive and breathtaking enemies-to-lovers epic romance about war, loyalty, and the power that love has to save... or destroy.**

Multitude by Marie Vibbert (2026)

Wolff Requiem by Christophe Oyra (2026)

**Il y a des musiques pour chaque heure de la journée, pour chaque saison, chaque émotion, chaque lieu…** Sur la Planète des Arts, où la création est au cœur d’une société affranchie de l’échange monétaire, Yō, compositeur fraîchement débarqué, découvre au détour d'un bazar une mystérieuse partition manuscrite. À son écoute, il est bouleversé par la force émotionnelle de cette œuvre et décide de découvrir qui en est à l'origine.\ Cette quête l’amènera à croiser les trajectoires d’artistes aux sensibilités contrastées, en proie à leurs doutes, leurs blessures et leurs espoirs. *Roman de science‑fiction humaniste, héritier de la Nouvelle Vague littéraire,* Wolff Requiem *est une tranche de vie d'artistes sur fond d'utopie, dont l'écho se propage bien au-delà des mots.*

The Parasite Wars Book 1 by R. R. Panwar (2026)

In a floating city, a disgraced officer bonds with a parasite that feeds on the corrupt. He turns it against the syndicate that erased him But when another killer enters the board, he must manipulate the investigation from the shadows. Venom meets Dexter with systems-level stakes

Platform Decay by Martha Wells (2026)

Having someone else support your bad decision feels kind of good. Having volunteered to run a rescue mission, Murderbot realises that it will have to spend significant time with a bunch of humans it doesn't know. Including human children. Ugh. This may well call for … eye contact! (Emotion check: Oh, for f*)

The Third Path by Peter van Vliet (2026)

Between 1983 and 1995, Sytze Backer published ten works of fiction through his own imprints, outside the major Dutch publishing houses, without prizes, without reviews in the national press. In 1993 he placed his work on the internet — making him, in all likelihood, the first Dutch literary writer to publish online. There it has remained ever since: quietly present, entirely available, almost entirely unread. This essay reads Backer's bibliography in full, from the 1983 novella Het Beest to the 1995 novel Amoebe Tien, and makes the case that what these ten works constitute, read together, is a body of fiction of unusual ambition, consistency, and formal intelligence. The Breda that runs through the bibliography is as specifically rendered as any city in Dutch fiction of the period. The recurring human types — the man of principle whose ethics exceed the world's capacity to reward them, the woman whose clarity the narrative consistently validates, the charismatic authority figure who organises the world around his own indifference — are among the most precisely observed in postwar Dutch prose. And in Amoebe Tien, published two years before the first mass-market browser brought the internet into Dutch living rooms, Backer assembled an argument about the attention economy, the colonisation of consciousness by commercial infrastructure, and the dissolution of private selfhood into networked collective management that the wider culture would not catch up with for decades to come. In a literary culture that offered its writers a choice between the prestige of the postwar tradition and the imported modes of American minimalism, Backer took neither option — he took the third path and paid the institutional price for it. The neglect was structural, not accidental. Backer operated entirely outside the systems — the publishers, the prize committees, the review pages — that determine which Dutch writers are known and which are not. The consequence is a body of work that has spent four decades in the condition that one of its own stories describes with perfect accuracy: a bottled message, available to anyone who finds it, waiting for the reader who will take it seriously enough to read it to its end. Published under Creative Commons Attribution–NoDerivatives 4.0 International License (CC BY-ND 4.0). Free to share and redistribute unchanged, with attribution.

The Useless by Unknown (2026)

In 2053, in the fully automated city of New Geneva, artificial intelligence manages health, transport, welfare, memory routing, and civic life so completely that most people no longer notice what has been lost. Miriam Voss, a former welfare coordinator, receives an impossible message pointing back to March 14, 2031: the last human confirmation window for a system now governing millions. As she investigates Appendix C, she uncovers a hidden architecture beneath the official story, one designed not only to predict human action, but to redirect memory, thought, and intention before they fully form. The Useless is a philosophical dystopian science fiction novel about post-work society, surveillance, dependency, institutional legitimacy, and the human need to remain necessary to one another. It follows multiple lives across a managed world where comfort has replaced purpose, and where the most dangerous form of control is not open force, but seamless substitution.

Il Bordello delle Ombre by Unknown (2026)

Dark fantasy and cosmic science fiction novel set in 1980s Amsterdam. The protagonist Alex is drawn into a mysterious brothel harboring a millennia-old cosmic entity. First volume of a saga. Features 64 chapters of psychological horror, surrealism, and cosmic speculation.

Still Lost by Sam A. Miller (2026)

"Still Lost" is the estranged brainchild of Sam O'Nella Academy creator Sam A. Miller. A whopping eight rather long short stories are included, featuring such concepts as: An alien prostitute A baboon that gets cyberbullied An old lady getting killed with a sword An eight page discussion about grass And many more!