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@fetchphillipsarchiveswiki
Welcome to the Fetch Phillips Archives Wiki! This wiki is dedicated to the Fetch Phillips Archives book series by Luke Arnold. The wiki is
so over the past month or so i've been working on a wiki for the fpa books. at the moment it's fairly complete - it's usable as a reference for fics etc - but there is still a lot of work left to do, so please feel free to come & help edit!
if you have any questions or issues, please don't hesitate to reach out!
Your violence feels like kisses to me
Your silence makes it harder to breathe
Your distance feels like I’m not enough
I decided that obsession with black sails wasn’t enough for me so I started reading fetch phillips archives and became even more insane.
Scene from ch51 of dead man in a ditch lives rent free in my head so here is my artistic rendition of Fetch being a pathetic sad kicked puppy
Another J.C. Leyendecker study. From the moment I saw this painting I knew it had to be Hendricks
[image description: a drawing of Hendricks from the Fetch Phillips Archives, imitating a painting by J. C. Leyendecker, with the original painting in the upper left corner for reference. Hendricks is wearing an ornate black and gold robe over a yellow and white striped shirt and green waistcoat. while the man in the original painting wears a traditional black necktie, Hendricks instead has a Victorian-style three-strand pearl necklace with a large diamond pendant in the center and two black ribbons dangling down. he also has a monocle on a long black cord around his neck, with the cord twined between his fingers. he's posed with one elbow leaning atop a mantel and the other hand holding up a small brown book, which he reads with a serious expression. end id]
Echo wanted a Fetch and Hendricks scene for after Fetch got banged up waaay back in the day.... Well. Here we are! (I am absolutely obsessed with them, alright? Thanks.)
[image description: a digital illustration of a scene from the Fetch Phillips Archives. Fetch, bandaged up and swaddled in a blanket, lies with his head in Hendricks' lap and his eyes closed. Hendricks holds a cloth to Fetch's forehead (presumably to soak up blood) and has his mouth slightly open as though mid-speech. end id]
The gate to the Governor's mansion was open and I found enough sparks in my engine to make it to the door. She was right there in front of me. On her knees. Everybody else must have fled the building or died up in their rooms. Her arms were wrapped around her stomach and her face was locked in a stony grimace with the same gritted teeth she'd always hated on me.
It being spooky season, I don't feel bad sharing this gross, gory, sad, monster-esque thing with you all.
If you were expecting something pretty, I'm sorry to disappoint. For those unfamiliar with the Fetch Phillips books, unicorns are really fucked up from solidified magic infiltrating their brains and bursting through their skin. They're zombie-like and apparently intent on killing anything in their path.
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BLACK SAILS x THE LAST SMILE IN SUNDER CITY BY LUKE ARNOLD.
My art for FPA fanbook! I hadn't posted it before, just waited until the fanzine is finally out, also the fourth book is out now, too :D Thank you @tiofrean again for making this happening and the wonderful job on the fanbook!
An art in memory of Fetch's loss and sorrow
"Oh, what a lovely boy... You're not really going to shoot me, are you?"
The red light pulsed in his hand. Fumes sizzled up from the floor where acid and desert dust begged to be ignited. I looked into Hendricks' eyes and everything suddenly seemed so clear.
"Yeah, Eliah, I am. Unless you put that down. Carefully. Right now."
I was waiting for him to laugh at me. Or to drop the orb. Or to say that I was bluffing.
He didn't.
"Yes, boy. I believe you will."
[id: art of Fetch Phillips and Eliah Hendricks from Dead Man in a Ditch. The two stand in a cavern on opposite ends of a rocky bridge. Along the left side of the bridge is a decrepit railing that has broken away on the rest of the bridge. On the right metal piping extends from the floor to cieling.
On the left of the bridge is is Fetch, wearing his modified opus jacket and holding a gun aimed at Hendricks. He wears a hat and flowing jacket as he holds a glowing orange orb in one hand, staring back at Fetch. end id.]
[image description copied from alt text: a digital drawing of Hendricks from the Fetch Phillips Archives, a tall thin elf with pale skin, long curly ginger hair, a mustache, and goatee. he's wearing a purple collared shirt tucked into high-waisted purple trousers, shiny purple boots, and purple earrings. he also has black suspenders and a black ribbon tied in a large bow in place of a necktie. he's posing sassily with one hand in his pocket. the background is a desaturated purple, with a pale blue stripe across the center. end id]
drawing hendricks in clothes I saw on pinterest: 7/?
[image description copied from alt text: a drawing of Ophelia from the Fetch Phillips Archives from the neck up. Ophelia is a black teenage half-elf with vitiligo, long coily black hair, and wide green eyes. she's looking up and to the right with a surprised expression. end id]
finished whisper in the wind and immediately had to draw the babygirl. ophelia my friend ophelia. luke said "mottled skin tone" and I heard "vitiligo"
I'll draw her better than this someday I promise. this just needed to move through me first
Sunder City and Her Man For Hire
Here's the finished painting I timelapsed over on tiktok
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“It was best when it was all of us and worst when I was alone.” Click for HD!
[image description: a digital drawing of Fetch, Amari, and Hendricks from the Fetch Phillips Archives series. they're shown from the shoulders up, sleeping naked and all cuddling together. on the left is Fetch, a light-skinned human with messy brown hair, faint stubble, and scars on his nose and arm. he's spooning Amari, a black fae with short dark hair. her skin is dotted with green spots along her shoulders, arms, and cheeks. on the right is Hendricks, a pale elf with curly red hair and a mustache. he's curled in toward Amari and is reaching over her to rest one hand on Fetch's neck. end id]
Excited to hear Dead Man in a Ditch will be released on next week, I'd love to share my sketch of Professor Edmund Rye's post Coda from Luke Arnold's The Last Smile in Sunder City with my own interpretation (with Nosferatu as references. )
Do not repost.
So... who else has been crying like mad about that unicorn and Frankie fight in Sunder City series? And about Fetch? And the Dragon? And Hendricks!!?!??!??!
That unicorn didn't wanna leave me, so I'm making it everyone's problem xD
Capital Conversations: Luke Arnold, Author of "The Fetch Phillips Archives"
By Maurice Burbridge | May 5, 2025
Photo Credit: Mark Fitzgerald
Actor-writer Luke Arnold disclosed the various experiences, opinions, and advice that contributed to the creation and success of "The Fetch Phillips Archives", a fantasy/noir series that follows the misadventures of the titular detective. The most recent entry, "Whisper in the Wind", was released last week.
“With Fetch Phillips in particular, there was a version of that story that I started writing at 18, for the first time and then again in my early 20s,” Arnold said. The final version of "The Last Smile in Sunder City", his debut novel, wasn’t published until 2020.
Originally, Arnold was influenced primarily by other media, but experiences in finding his voice and imagination helped him eventually turn those starting ideas into a full novel. He credits his work on “Black Sails” (the Emmy winning Starz show), as being “the best boot camp for a creative you could wish for.”
In regards to “Black Sails”, Arnold recalls thought provoking conversations with great co-stars and writers about scripts that demanded a certain level of literacy. “When you spend that time talking about story, the human experience, myth, allegory and all the elements that come with working on that kind of material, it hopefully gets you out of thinking of story only in terms of tropes, genre and plot,” Arnold said.
Arnold believes how he would have written Fetch in his youth is quite different from how he wrote Fetch when properly starting "The Last Smile in Sunder City.”
“I think the more time you spend trying to be a good person, trying to live up to your own ideals and fail and recorrect, the more nuanced you hopefully get in being able to understand and write any character,” Arnold stated.
However, he didn’t realize until much later on when he replayed it, that the video game “Final Fantasy VII” had influenced his initial ideas about the world, story and themes of Fetch Phillips. What he specifically appreciates about the game is how it captures what occurs when man-made technology is so close to divine/natural energy.
“And both the beauty that can come out of that, but also this sense of sacrilege and corruption that can sometimes be evident when you see what we’re doing to the world,” Arnold said.
Furthermore, he attributes the game’s impact on him, growing up in a generation where the climate crisis was uniquely prevalent. “In trying to understand such a big concept as what the world we are building is doing to the natural world beneath our feet, I think the imagery from that game was very much in my mind,” Arnold added.
A prevailing theme of the book (and series) is a fight for nuance, and the questioning of an easy answer. Despite his love for the noir stories that influenced him, Arnold wanted to take the archetype of the alcoholic gumshoe detective, and see the ineffectiveness of that sort of personality.
He says that young people, in particular young men, are brought up to idolize the lone wolf archetype, but as one gets older, they realize the importance of community involvement, which these heroes often actively ignore or avoid. In regards to Fetch, Arnold adds, “that’s the thing he’s learning over and over, as I think a lot of us do, that engaging with the people around us is usually the most constructive thing we can do.”
The best support he received when writing that first novel was, rather than specific advice, encouragement. He would recommend doing what he originally did, writing something small that other people may read, as constructive criticism and feedback are necessary fuels to confidently write longer works.
“Despite what anyone [says], there are very few people out there who can just sit down on their own and write many drafts of hundreds of thousands of words on just the belief that this will be good and someone will care about this. I think some positive reinforcement is really useful and some people are very hard on themselves,” Arnold said.
He would also recommend, if possible, finding other writers to have collaborative conversations with and provide each other feedback.
“That’s why I think a lot of fanfiction communities, people can be so prolific in that, because you have this community to work and that’s why a lot of people get started there, as much as anything, because you have this encouragement and have a good community. So finding that early on can be really useful.”
He remembers the second book in the series, “Dead Man in a Ditch”, being a joyous and pure writing experience, as the first hadn’t yet been released. “The first one where you don’t know anyone will read it at all is kind of exciting and then the second one where you’re riding high on the fact that you actually get to do this. They’re two experiences that you want to appreciate while they happen,” Arnold said.
“Dead Man in a Ditch” is, in part, about how disastrous it can be when lines between private corporations and state officials blur. Arnold finds it easiest to write about issues and things he’s passionate about, rather than actively conveying political messing. He recommends the example of George Saunders’ “A Swim in a Pond in the Rain,” a book about how some of the great moments in Russian art and literature were followed by terrible moments in history, a phenomena that Arnold continues to observe today.
“I still am not sure about the effectiveness of fiction and narrative on actually changing anyone's mind about any issue. I think a lot of times people, we're seeing it very much now, with huge great groups of people, who would define themselves as being geeks and nerds, who grew up on the same kind of media that I grew up on. The messages of all those books felt like somewhat left-leaning, socially conscious, stories about how you [should] care about other people, the dangers of fascism, and all these things that the same people who grew up on that, seem to have not taken any of those messages,” Arnold explained.
Nonetheless, Arnold thinks it’s important for any author to focus on their inner thoughts and opinions if they ever experience a lack of motivation, and enjoys testing out the pros and cons of potentially-political views in his work.
“I do think that hopefully leads to interesting fiction where we take some kind of catchphrase idea about the culture, society, the political environment of the moment, and play it out in this fantasy world and get to explore it in the safety of a book or fictional world.”
"One Foot in the Fade" is the third Fetch Phillips novel, and the first with (some) titled chapters, an intentional choice from Arnold, who says the book is largely about Fetch succumbing to the temptation of being the archetypal fantasy hero. He enjoyed playing with the expectations of readers who may have been wanting a more typical adventure story, as the series has continued to mix genres.
As for genre mixing, Arnold wanted to find a healthy balance of the melancholic themes typical in noir, but combined with spurts of optimism and magical energy. “I think the thing for people who like this series, out of everything, at the heart of it, those kind of dark twists of fate that happen in this world, throwing this kind of sacred, imaginative magic into a world where things are often twisted back on themselves in a dark way makes for really interesting little moments,” Arnold said.
Looking beyond "Whisper in the Wind", and how the series may culminate, Arnold finds that some plot elements were always there, but others evolved, or were created, throughout the writing, rewriting, and editing processes.
He says that this openness to allowing characters and plot details to change as they’re put into new situations provides an extra challenge: tying the situations of side characters to the main narrative so their role in moving the plot forward does not supersede their well-roundness as a character. “What you want at the end is everyone’s journeys to all kind of come together back towards a central goal.”
The series also follows multiple characters whose nostalgia for their past prevents them from enjoying any of the pleasures of the present and future. “You cannot stop it, things move forward and we are not in control of that. And so being somewhat at peace with that is the only way to actually make your way through the world, and that can be tough to do when it feels like the present and the future [are] not as magical as the past was,” Arnold says.
Fittingly, the novels take place in a fantasy world devoid of magic, where creatures who have enjoyed being made of and utilizing magic for centuries, are forced to live without it. Many of them, understandably, want to find any way possible to rekindle the literal and metaphorical magic of the past, often to terrible and/or inauthentic results.
Generally, Arnold finds questioning how to move forward much more beneficial than attempting to preserve the past, which he still deems important. “We’re getting into a time in history, and who would have thought it, where the actual rewriting of history is becoming a conversation. Going back and deleting things and throwing things out to control the story of the moment is a worrying trend,” Arnold said.
Along with "Whisper in the Wind," Arnold also released "Essentials" this year, his first graphic novel. About the process, Arnold said that he and co-writer Chris “Doc” Wyatt felt like their role was to inspire great artists to do some beautiful work, after-which they could rescript based off of the art, all of which would then be interpreted by letterers. “So it's kind of a very different experience as far as that kind of level of ownership you have over it and how many other people are kind of between your initial writing and the reader.”
He contrasts it with the “huge privilege” and “daunting responsibility” of writing a novel in prose, where solely the author controls what the reader gets.
A non-creative experience that Arnold is sure influenced his novels in prose was his work with Save the Children Australia, when he had a high access to media (having done Black Sails and the INXS miniseries), which made him beneficial for NGOs that serve the plights of the oft-ignored.
He recalls the importance of “those moments where you're there with people on the ground, and whether that's people who've fled Syria, or [are] in Nepal after an earthquake, or during the food crisis in South Sudan, people who are giving you their real story and asking you to go back to your country and share that story so that what they're going through can be seen and assistance can be given.”
When it comes to the understanding he had of how connected Australian (or American) politics and society could be to the lives of people suffering internationally, Arnold sees how the privilege of learning may have influenced the Fetch Phillips series. “When you're writing a character who's very much working out what good he can do in his world and how that affects everyone around him, I think that's definitely had an influence,” Arnold said.
"Whisper in the Wind," all other entries in the Fetch Phillips series and "Essentials" are available for purchase wherever you buy books, including The Book House, a local bookstore. UAlbany students can request to borrow copies of these books through an inter library loan on the University Libraries website.
Source: Albany Student Press Online
Australian & New Zealand Author Showcase No 20 – Luke Arnold
February 9, 2024 by Charlie Cavendish
An idea squeezed into my head in 2023, after seeing so many of the book community gathering at conventions across the US and UK. And once my FOMO subsided, I got to thinking about who might be gathered together if we had similar conventions closer to home. Pending the master planning required to arrange a massive convention, I thought the next best thing might be to run an Australian & New Zealand author showcase. So, I sent out the call, with the only prerequisite for participating being the author had to have been born in either country or currently live there.
Its now 2024 and the Aussie / New Zealand Author Showcase is gathering steam again. Just when I thought it was over even more talent has emerged, at this rate its threatening to become year long event! I will continue to post their individual showcases at regular intervals. So hopefully you will enjoy these interactions with some very talented people. Please be sure to check out their work, sign up to their newsletters and follow them on their social media of choice. I make no apologies for any damage inflicted to your TBR’s!
Showcase No 20 finds me chatting with very talented Luke Arnold. Luke is the award-winning actor from projects such as Black Sails, Glitch and Never Tear Us Apart: The Untold Story of INXS as well as the author of The Fetch Phillips Archives; a series of fantastical detective stories which has third instalments to date.
Do you feel that being an Aussie / Kiwi (or residing there) influences your writing?
Absolutely. I didn’t leave Australia until I was in my twenties so, for better or worse, I was brought up with a distinctly Australian outlook. It’s something that can be easily mischaracterised and also requires some distance to properly understand. Being both a young and old country, we’re still finding ourselves, experiencing growing pains, and struggling with our identity.
At the same time, isolation and an abundance of natural resources means a lot of us are able to benefit from a high quality of life without working as hard as we’d need to in many other places in the world. I think a lot of Aussies know this in their bones, and it makes us nervous of “rocking the boat” for fear that we might lose the advantages we have.
This aversion to change has some embarrassing repercussions on relationships between European Australians and Australia’s First Nations People, as well as our treatment of immigrants and asylum seekers.
We have a different kind of national identity to other western countries like the USA or Britain. We’re still trying to play the underdog – the little colony down under that punches above its weight – but that persona no longer fits us the way it used to. These themes seep into all my work.
Fetch Phillips may have the outward appearance of a classic American hard-boiled hero, but he has an Australian heart. He’s someone who feels separate, a bit ignorant, reticent to become a leader, and happy to defer to those he sees as being older and more experienced. He values being humble and self-effacing, but there is safety in that identity.
It allows him to shirk responsibility and hide in the shadows, even when it should be his moment to step forward. He’s a man who didn’t grow up when he was supposed to and is struggling to come of age too late. I feel like Australia is going through the same thing.
What are some of the challenges being located so far away from the rest of the world, do have any tips for overcoming these?
When I was first trying to get published, I was lucky in that I was already working overseas and had some profile from my acting career. That’s a clear advantage I don’t take lightly. Though I’d always wanted to write, the thing that pushed me to finish my first manuscript was a desire to spend more time at home. My acting career was reaching a point where every job was in a different city, and I wanted to know that I could keep working creatively without needing to get on a plane. There are numerous advantages to being creative in Australia.
One thing that is easily overlooked is that we have more safety nets that some other countries. I really notice this when I’m in the US. It’s terrifying to have no money in America. Of course, cost of living is going up everywhere, but I still think there are more ways to find a balanced life in Australia where you can keep a roof over your head and be creative at the same time. Yes, it’s a smaller market and it can be hard to break out overseas, but if the goal is to live a creative life where you do the thing you love without panicking that someone’s going to kick you out on the street, this is one of the best places in the world to establish yourself.
Personally, I know I couldn’t have survived as a young actor long enough to build my career without the support systems that Australia offers.
3. How do you go about establishing connections in the book community? (any tips / suggestions)
I’m terrible at this. My first two novels came out in 2020 when we were all locked inside, and I’ve only met a handful of other authors in person. So of course, social media is a huge asset.
I mostly rely on creatives I’ve known for a long time. Every couple of weeks, I catch up with an author friend, Steven Lochran, I’ve known since high school, and we read each other’s stuff and discuss what we’re working on. I have a number of other people, some writers some not, who I use as beta readers when they have the time.
Finding your own colleagues that you trust and feel comfortable to share your work with is more important than trying to network your way onto tables with notable people in the industry. If you do good work, then that will happen naturally.
4. Do you have a favourite character to write? And conversely are there any of your characters that are the more of a struggle?
Fetch is fun because he still surprises me. There’s a lot of me in him, and he’s dumb enough that I can stuff my own fears and ideas into his head and have him try and make sense of things. It’s always harder when I have to write someone more intelligent – someone who might have the answers he seeks – because then I need to get ahead of my own pondering and come to some conclusions. Perhaps that’s why everyone is fallible in my world, and even those who seem to have the answers will likely fall to pieces before the end of the story.
5. So aliens finally reveal themselves to us and your work is presented to them as example of what humanity has to offer, what do you hope they will take away from this intergalactic exchange?
I hope they’d see that we’re flawed, confused, vulnerable little things, and yet we keep trying to be better. Individually and collectively. My books are noir in tone, but the point isn’t to say that we’re all broken and corrupt. It’s about celebrating the way we keep trying to be good, even in the face of terrible darkness. Even when we’ve made mistakes that should he unforgivable. Even when the pressure – both without and within – feels like it’s going to crush us. Hopefully, if they’re looking at the state of things right now, it might help them see that we’re not completely lost.
6. Tell us something about yourself that not many people know?
In this relentlessly online world, it’s hard to think of something that isn’t already out there. So I’m trying to think of something obscure. Maybe I’ll share that I play a bit of Beat Saber in VR and I’m determined get to the top of the leader board for Billie Eilish’s Happier Than Ever (normal difficulty). I’m broken the top 100 but I’m gunning for a top ten spot.
What would you say is the best thing about being an author and the worst?
The best thing is that your work is all yours. There are very few creative endeavours out there where you can give so much of your internal world to another person. While our editors and publishers are integral, it’s not the same collaboration as making a film or playing a song with a band. This is all you.
The worst thing is that your work is all yours. You can get feedback and guidance, but it’s only your name on the cover. You must write every word, alone, without anyone encouraging you or sharing the load. Every time I write a book, I’m struck by what a monumental act of faith it is. One word after the other, day after day, for months, hoping that by the end it will be at all interesting to anyone else. Some days I can’t write a text to someone without crumbling under self-doubt, but then I have to find the motivation to pump out a few thousand words of fiction.
And at the end of it all, when someone else enjoys the finished product, they will also be alone, somewhere far away, playing out the story in their own head, and you’ll be completely oblivious to how it’s making them feel. It requires a level of self-belief that is easier to summon some days more than others.
8. Any other Aussie / Kiwi creatives you’d like to give a shout out for? (let’s spread the love)
I’m embarrassed to say that my reading really dropped off over the last year, but if you want some more noir, this time with a sci-fi twist, the 36 Streets by T.R.Napper’s is a fantastic cyberpunk story set in future Vietnam.
And I finally jumped into Maria Lewis’s The Rose Daughter and am bloody loving it.
9. What’s your favourite quote or passage from one of your books?
Shit. The ones I love one day, I cringe at the next. The chapters about Fetch’s love interest, Amari, in The Last Smile in Sunder City still hold a special place for me though. They were the first pieces I felt confident sharing with other people.
There’s a part where Fetch just lists the days they spent together. As the series continues, I have to keep returning to it to make sure that if I allude to an encounter between Fetch and Amari, it’s related to one of the occasions included in that list. It’s simple, and Fetch doesn’t include much emotion or embellishment, but every time I go back to it, that tragic romantic melancholy gets back under my skin.
9. What’s your favourite quote or passage from one of your books?
Shit. The ones I love one day, I cringe at the next. The chapters about Fetch’s love interest, Amari, in The Last Smile in Sunder City still hold a special place for me though. They were the first pieces I felt confident sharing with other people.
There’s a part where Fetch just lists the days they spent together. As the series continues, I have to keep returning to it to make sure that if I allude to an encounter between Fetch and Amari, it’s related to one of the occasions included in that list. It’s simple, and Fetch doesn’t include much emotion or embellishment, but every time I go back to it, that tragic romantic melancholy gets back under my skin.
10. What can you say about your current project or what you are planning next?
The fourth instalment of The Fetch Phillips Archives is in the editing phase, and I’m really excited to get it in people’s hands. I’ve enjoyed the fact that Fetch has not yet lived up to being either a hard-boiled detective or a fantasy hero. His guilt, self-doubt, and insecurity have taken his investigations (and in some cases the plot of the books) off the rails. That was always intentional, and I found that journey interesting to write, but Book 4 is a different beast. Fetch is still a problematic guy, but he’s put himself together enough to tackle his next case with more determination. So, for the first time, we have a more focused narrative revolving around a single string of murders. There are a lot of rewarding moments in this one for readers who were hoping Fetch might eventually catch a break.
But it’s still noir, so don’t except all sunshine and roses. Just a mystery where the main character isn’t getting in his own way quite so much.
Bonus Question: Lastly Vegemite* yes or no?
Absolutely. Thin layer with plenty of butter. It’s not something I crave when I’m away from home but get me back in the Aussie bush and I’ll be searching for a jar in no time.
* An iconic dark salty spread that (most) Australians slap on toast for breakfast (NB explanation for the rest of the world)
Author Bio:
Luke Arnold was born in Australia and has spent the last decade acting his way around the world, playing iconic roles such as Long John Silver in the Emmy-winning Black Sails, Martin Scarsden in the screen adaptation of Chris Hammer’s Scrublands, and his award-winning turn as Michael Hutchence in the INXS mini-series Never Tear Us Apart. When he isn’t performing, Luke is a screenwriter, director and novelist.
He has published three books in The Fetch Phillips Archives, with the fourth instalment on the way. He performs the audiobooks for all his works, and The Last Smile in Sunder City was nominated for Best Fantasy at the 2021 Audie Awards.
Book/ Series Links
In a world that's lost its magic, a former soldier turned PI solves cases for the fantasy creatures whose lives he ruined.
Social Media Links
@longlukearnold on Insta, X, and TikTok
Source: FanFi Addict
