Pedro Urvi appears twice on this audiobook's listing, once in the author field and once in the publisher field, which describes the shape of the operation before any of the plot arrives. This is a self-published epic fantasy series running to at least five volumes, produced with no imprint standing between the writer and the catalog. That is not a complaint. It is context for everything else on the page, including a review column whose dates refuse to line up with the release date printed above them.
The Review
Nahia carries the rescue. Egil has worked out a plan to get the Gryphon King out of the dungeons beneath Drakoros, and Nahia has to execute it with help from the undercover collaborators at the academy, knowing that nobody has ever escaped those dungeons before and that failure means death. The description asks whether they will make it or die in the attempt, which is the question every fifth volume in a fantasy sequence asks, and it asks with the exclamation marks turned all the way up. What the copy will not tell you is how much of the thirteen hours belongs to that thread rather than the two running alongside it.
Egil's plan is one of three plots moving in parallel. In the Nocean Deserts the rebellion continues, with the Red Squadron and the Desher Tumaini defending the Mountains of Blood against dragons sent to kill them. On the east coast of Tremia the Snow Panthers hunt for Golden Magic so they can fight dragons and free Astrid. Three theaters, three casts, one volume, and the description gives each of them a short paragraph capped with a rhetorical question. Thirteen hours has to hold all of that, and the tripartite structure is the first thing a new listener needs to understand before pressing play.
The Best Parts of Deadly Rescue
Amanda Leigh Cobb carries the entire recording alone, and this book hands one voice three simultaneous fronts: a dungeon break, a desert rebellion and a coastal quest, each with a cast of its own. A listener has to keep the Red Squadron distinct from the Snow Panthers, and the Desher Tumaini distinct from the collaborators inside the academy, and in print the chapter headings do a great deal of that separating. In a recording the reading does it. The listing supplies the credit and nothing at all about how those three threads are kept apart by ear. That is the single largest unknown here, and nothing printed on the listing resolves it.
Thirteen hours is what the duration field says, exactly that, with no minutes attached, which is unusual enough to notice on a page where every other figure is specific. Whether the recording really lands on a clean thirteen hours or the field was simply rounded, nothing here indicates. What the number does establish is a full-length novel rather than a quick installment, and for a fifth volume advancing three plots simultaneously that length reads more like a requirement than an indulgence. Dave Burke, waiting on the next installment in October, treats the pace of releases as brisk, which suggests these arrive faster than most fantasy sequences manage.
The Caveats
Richard H., writing as the father of a young reader and screening material for age appropriateness, names exactly one complaint, and it is not about the story: the kindle thing. That respondent prefers real books to electronic devices and says so at length on an audio listing. Another, signing as loves books, is waiting for volume six to become available in paperback before picking it up. The column here is a print and ebook conversation that happens to have been attached to a recording.
Four of the five responses carry dates earlier than the release date on this page. The audio is dated December 31, 2025, while the reviews are stamped August 23, September 9, November 12 and November 22 of the same year. Only the January 2026 response comes afterward. That is a mechanism, easily explained: the rating pool is shared across the printed book, the ebook and the recording, so a column can be complete and enthusiastic before the audio version exists. Read those four as verdicts on a novel.
Upsjacki supplies the only reservation in the entire column, and it is a mild one: this was actually the quietest book in the series so far. That matters for a fifth volume, because a quiet installment in an action series is usually a setup book paying for the next one. The same response praises Nahia's bravery and single-minded purpose and looks ahead to how the dragons will be introduced to the team, which reads as anticipation more than judgment. The description, with its exclamation marks and its promise of action, intrigue and magic, promises the exact opposite of quiet. Somebody is wrong, and the person who read it is more likely to be right than the person selling it.
Who Pedro Urvi Is Writing For
Epic fantasy for the whole family, the description says, from 10 to 100 years old. The listing files it under teen and young adult and attaches no tags whatsoever, so a buyer has to reconcile those two claims alone. Richard H.'s account is the most concrete guidance available anywhere on the page: a parent screening books for a young reader, satisfied enough to look forward to each release. Dave Burke adds that the author has a funny sense of humor that produced actual laughter, which is not a quality the blurb advertises anywhere in its three paragraphs of exclamation marks.
Fifth volumes belong to people who read the first four, and this one makes no pretense otherwise. Egil, Nahia, Astrid, the Gryphon King and three separate factions all arrive without introduction, and thirteen hours pushes them forward without pausing to explain who anybody is or why the Mountains of Blood matter. Anyone curious about the series should start earlier in it, because this page offers nothing that functions as a door. The Path of Dragons has four volumes waiting in front of this one, and the description makes no gesture toward any of them.
This listing sells a fifth volume behind a review column written mostly before the recording existed, with one credited reader carrying three storylines across thirteen hours. Series readers arriving on schedule already know the answer, and nothing on the page was going to supply it for them anyway.
- Performance: Amanda Leigh Cobb reads the whole thing alone, holding three parallel fronts and their separate casts apart by voice.
- What it covers: a prison break, a desert rebellion, a hunt for magic that can kill dragons
- Feel: Busy, propulsive, split three ways
- Our call: A fifth volume advancing three plots at once, built for listeners already four books deep and nobody else.
Common Questions
Why do four reviews on this audiobook predate its release date?
Because the rating pool is shared across editions. The audio date on this page is December 31, 2025, while four responses carry dates running from August through November of that year. Those four are describing the printed or electronic book, which reached readers first. Only the January 2026 response could concern the recording.
Can this audiobook be started without the earlier volumes?
Not comfortably at all. Egil, Nahia, Astrid, the Gryphon King, the Red Squadron and the Snow Panthers all arrive without introduction, and three separate plots are already in motion when the book opens. The description assumes four volumes of shared history behind it, and thirteen hours stops for nobody arriving late.
How does a rating of 4.7 square with a single vote?
It does not square at all. A lone vote of whole stars cannot produce 4.7 under any convention. The counter claims one while five written bodies are on display, and those show four fives alongside a single four. Take the responses as the record, and treat the badge above them as a broken field.
