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In conversation With Bestselling Author Lloyd Pilling Tosoff

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Lloyd Pilling Tosoff books have been a huge hit with readers setting off shockwaves on social media streams, which is not surprise since each and every one is a phenomenal work of literary art. “Children of Pleiades, Rise of the Henge” is a must read this season, and we believe it will hit the bestseller list very soon given the level of excitement it continues to generate.

“Children of Pleiades, Rise of the Henge” is the first book in this two book series, taking readers deep into a fascinating world, one where the children of a sacred bloodline are haunted by a murder perpetrated by an ancestor. The struggle between good and evil plays a very real role in this epic story, which is very much a human drama but it is also teeming with superstition and folklore, including an otherworld of pixies, faeries, angels, and legends of visitations from star men.

Pilling Tosoff takes readers on an epic journey, and recently we caught up with him to learn more about this talented writer, his work and when his next book is coming out.

“Children of Pleiades, Rise of the Henge” is a two-part series, which is quite brilliant, what was it like for you to write a series? What was your biggest challenge, and conversely what was the most fun aspect for you? 

The truth is, it was not intended to be a series. The project started to take shape in 2012 as a historical fiction novel influenced by my writing hero, Ken Follett. After writing several highly descriptive passages such as the following: “Blue shadows cast by trees that lined the beaten dirt path kept a chill in the early morning air as the foliage on low hanging branches lit up golden from the first rays of the rising sun that spilled onto the forest floor. The reddish tint of the treefall carpeted the ground between massive trunks of ancient oak trees and filled his nostrils with a pleasing musty smell. Tiny bluebells perfumed the air with a delicate fragrance, hanging their curved tepals as if bowing in reverence to the sun. The glory of the morning made Gwain’s heart soar with the joy of being alive.” I soon realized that there is only one Ken Follett, and I was going down a rabbit hole that would lead to nowhere. I retained the idea of an ancient historical theme but decided to make it a human story of murder, lust, jealousy, envy, and the gamut of earthly emotions set against the background of superstition, folklore and legend that stirred the hearts of the people of Briton at the time. Over a period of several years, while writing a few other novels, the project became very lengthy, so I decided to cut it in half and make it a two-novel series. The biggest challenge was researching the history of henges, belief in an Otherworld, religious practices of the day, and ensuring the historical aspects of the story were accurate. I am not sure I would label the writing process as “fun” and would rather say I love to write because I know how to get inside the heads and hearts of my characters.

You have written eight epic books, which have caused a stir in the literary world. I know this is a bit like asking you which of your children you love the most, but I am going to ask anyway – do you have a favorite book you have written? And why is it your favorite? 

“Escape from Konigsberg” received a flattering Kirkus review and wonderful response from my readers. Based on a true story, it follows a young Prussian boy, Walter Heinrich as he watches his beloved home of Königsberg, East Prussia fall into communist hands during the last days of WWII. Faced with unspeakable tragedy, the scholarly 16-year-old bravely escapes, along with his two young sisters on what may have been the last coal train to Berlin where Walter begins a quest that changes his life forever.  A coming-of-age war novel that touches the heart and evokes deeply felt emotion tells of the terrible atrocities that befell the German people in the wake of a brutal war. Kirkus described it as a realistic rendering of a horrific period in German history, and “beautifully depicted” in its portrayal of a romantic affair in the midst of the destruction of the 700-hundred-year-old mediaeval city at the hands of the Red Army and the Allied bombing campaign. It is my favorite novel because of its real-life depth, in a story of love, loss, and hope.

Covid has been challenging for most people, what has it been like for you to keep your creativity flowing during this time?

My wife/editor and I live on a secluded acreage in the heart of the west coast Canadian rain forest. I am a lone wolf for the most part, so the lack of social contact during this pandemic has not been particularly mind altering as I have spent the last decade producing a large body of artistic work. I would say that I have not been affected artistically by Covid 19. We miss our children and other family members but hopefully things will begin to normalize as the pandemic is mitigated by the soon to be available vaccines.

You are both an author and a songwriter, telling stories in different ways. What inspired you to start writing books, and do these two modalities have things in common that you find compelling?

In short, they both use words. As a writer, musician, and painter, however, I can tell you that all art forms are inspired and emerge from the same creative place. My daughter Amanda is a prominent jazz composer and recording artist and we often talk about the creative process as the expression of artistic language. As a writer I love words, but I also recognize that at a prima facie level, they are at best symbols somewhat removed from the primal level of subtext and emotion. The language of all art forms can be simply stated in my view as the persuasive and articulate use of light, space, form, color, movement, and sound. Words, whether in a song or in a novel, must connect the reader or listener to an emotional experience through the use of the aforementioned aspects that are at the ground of all artistic expression.  

I am now a huge fan of your work. Is there another book in the works?

Part two of the Children of Pleiades series, “The Curse of Nordumaal” will follow “Rise of the Henge”, likely in June of 2021. After that, I have a Canadian Crime Thriller, “Black Diamond Conspiracy”.  Thirty-one-year-old former airline baggage handler, Jason Black miraculously survives the crash of his light aircraft near the town of Canmore in the Canadian Rockies. After lifesaving brain surgery, he awakens from a coma with no memory of who he was before the crash. Black is helped to uncover his past by the young woman who discovers the severely injured pilot as he lay slumped over the controls of his downed plane. The recollection casts a shadow over his second chance at life when he finds out that he was involved in a diamond smuggling ring. Forced into finding diamonds missing from the crash site, he faces the wrath of the mob boss and pursuit by a rogue cop for a double murder he did not commit.

You can find out more about Lloyd Pilling Tosoff and his work on his website. https://lloydtosoff.com

Michelle has been a part of the journey ever since Bigtime Daily started. As a strong learner and passionate writer, she contributes her editing skills for the news agency. She also jots down intellectual pieces from categories such as science and health.

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Lifestyle

The Future of Youth Horror Gaming: Lonely Rabbit’s Midnight Strikes

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Credit: Lonely Rabbit

Empty hallways echo with footsteps that aren’t yours. The carnival rides spin without passengers. Familiar spaces, the ones etched into childhood memory, twist into something menacing, something that watches. Lonely Rabbit’s Midnight Strikes arrives eight months before its completion, targeting a youth horror genre that is hungry for experiences that feel personal rather than purely fantastical. The indie studio searches for a publisher while building momentum for a game that weaponizes nostalgia, turning high schools and carnivals into theaters of psychological dread. As franchises age and audiences demand fresh scares, this PC title tests whether memory-based terror represents the next chapter in youth horror.​

Maturing Past Jump Scares

Youth horror gaming shed its training wheels. Little Nightmares and Bendy and the Ink Machine proved that younger players crave atmospheric storytelling over cheap shocks, puzzle-solving over gore, and visual distinctiveness over recycled formulas. Bendy’s ink-soaked corridors attracted a massive audience, including children drawn to the characters despite the T-rating, because the experience felt emotionally authentic rather than condescending. Players now expect psychological tension woven through environmental details, stories told through decaying spaces, and cryptic objects scattered across levels.​

The genre’s maturation reflects audiences who grew up solving Portal’s test chambers and exploring Limbo’s monochrome nightmares. Among the Sleep demonstrated the potency of perspective: experiencing horror through a toddler’s eyes made familiar domestic spaces feel uncanny and threatening. Fran Bow plunged players into hand-drawn asylum corridors where perception itself became unreliable, where puzzles demanded engagement with trauma and grief rather than simple pattern recognition. Modern youth horror respects its audience enough to disturb them thoughtfully, creating experiences that linger days after the screen goes dark.​

Corrupted Childhood as New Territory

Midnight Strikes drags players through levels “reminiscent of their childhood memories”: the high school, the carnival, spaces universal enough to feel personal. Lonely Rabbit constructs what they describe as a “menacingly beautiful atmosphere filled with bizarre and terrifying creatures,” pairing monster survival with puzzle challenges that prioritize mood over mechanics. The game adopts a “cinematic and otherworldly feel” while grounding its terror in locations players actually inhabited, making fear feel intimate rather than abstract.​

This memory-based direction distinguishes Midnight Strikes from fantasy settings that dominate youth horror. Deserted carnival rides and empty school corridors carry weight because players recognize them as such. Maybe the locker rows feel too narrow, maybe the Ferris wheel groans with a voice that shouldn’t exist, maybe the cafeteria smells wrong. The game challenges players to “survive their fear of the unknown” while navigating spaces that should feel known, creating cognitive dissonance that amplifies dread. Other developers exploring similar territory, such as Subliminal, which utilizes “nostalgic spaces” and “a rotting feeling that something is not quite right,” suggest that childhood corruption represents an emerging subgenre.​​

Lonely Rabbit’s approach weaponizes personal history. Every player attended school, visited carnivals, and formed memories in spaces designed for safety and joy. Corrupting those spaces turns nostalgia into a threat, asking audiences to confront distorted versions of their own experiences. The monsters inhabiting these environments become more than obstacles; they represent the fear that familiar places might betray us, that memory itself becomes unreliable when shadows move in the wrong direction.​

Smaller Teams, Bigger Risks

Indie studios like Lonely Rabbit maneuver where larger publishers hesitate. Their two-month publisher search and pre-launch community building reflect changing pathways for games that defy established franchise formulas. Building a follower base before release creates market validation, proving that audiences want what you’re making before significant capital is committed. Transparency about development timelines and production milestones generates audience investment, turning potential players into advocates during the publisher search.​

Midnight Strikes represents creative gambles major studios avoid when quarterly earnings loom. Smaller teams experiment with concepts, corrupted childhood spaces, memory-based horror, pand sychological tension prioritized over action mechanics, that might fracture focus groups but resonate with underserved audiences. Lonely Rabbit’s global distribution ambitions demonstrate indie confidence: build something distinctive enough, and geography becomes irrelevant when digital storefronts erase borders.​

The next eight months determine whether Midnight Strikes defines a subgenre or remains an interesting experiment. If players respond to horror that mines personal history, if corrupted nostalgia proves more terrifying than fantasy monsters, other developers will follow this path. Lonely Rabbit’s gamble, that childhood spaces make better horror stages than alien planets or demon dimensions, could redefine what scares young players next. The studio’s publisher search tests whether the industry views memory-based terror as the future of youth horror or a niche curiosity. Either outcome writes the next page in a genre still learning what it can become.

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