Sorcerers, prepare for an unforgettable clash of powerful Avatars in our latest 

Chase and Ira go head-to-head in an epic battle using the Witch and Archimago Avatars - two new Avatars introduced in 

This legendary duel showcases constructed decks built with cards from 

 set, complete with decklists so you can recreate the action at home!

or looking to connect with fellow players? Use the 

 to discover local communities near you or join our growing 

Witness the Witch vs. Archimago Showdown in Our Latest Sorcery Gameplay!

 is a hand-painted masterpiece, brought to life through the vision and creativity of our extraordinary artists. Among them is 

, have made a lasting impact on the game’s artistic legacy.

With a background steeped in anthropology, an eye for storytelling, and a love of myth and legend, Liz’s work weaves together rich narratives and visual splendor drawing from her research and personal experiences traveling.

We had the privilege of catching up with Liz to delve into the stories behind a few of her favorite pieces. Here's what she shared!

Mirror Realm: A Journey from Doubt to Pride

she hated it. “I stuffed it in a drawer and felt like I never wanted to look at it again,” she confesses. But, months later, everything changed. “I pulled it out and thought, ‘Gee, that’s actually really nice. I think I’ll frame and hang it.”

Unlike most of her work, which Liz says she loves initially but grows critical of overtime, 

 followed an opposite path. “It wasn’t my go-to preference for subject matter,” Liz says, referencing the landscape focus. “

 took a long time to do. It was painted in 2020, a trying time for us all, and I was also dealing with low-grade long Covid. By the time I worked my way to its conclusion, I was 

has a special place in her heart. The painting draws inspiration from her travels, blending elements like a rock formation along the California coast, captured in a photo she took decades ago, to clouds and sunlight from a trip to Italy in 2019, and Cedar trees and sunlit water from morning walks around the Rillito River in Arizona.

The piece came together with a critical suggestion from Erik Olofsson, 

 founder and creative director. “I’d actually done four small and completely different paintings to be melded together, and they didn’t make a satisfactory whole for either of us,” Liz explains. Erik proposed the concept of a literal “sky mirror,” which elevated the composition to its final form.

The Seelie Court: Twilight Elegance and Hidden Power

 as a scene that captured the Fae’s timeless beauty and mystery. “The features I wanted most included: a mournful sense of ancient nobility and magical wonder passing out of the world,” Liz shares. Twilight and autumn set the tone, with elements like fireflies and art Nouveau-inspired columns framing the scene.

At the center of the piece is Titania, the queen of the Seelie, whose unearthly power and beauty were inspired by an albino model and cosplayer, Nastya Zhidkova. “She is slightly out of focus and with a less detailed aspect, to encourage the viewer to bring their own image of what ‘beauty’ can be into the process,” Liz explains.

Next came the courtiers, presenting a new challenge: capturing the attitude of the Fae. While the composition was resolved, Liz now had to convey their personalities in a way that felt authentic to their otherworldly nature. 

The result? Courtiers who are anything but passive, each radiating attitude and intensity. “Almost every one of the Fae are giving the viewers a hard stare, a haughty sneer, cool indifference, or frankly amused delight like a feral cat might have when spotting a fledgling just slipped out from the nest too early,” Liz shares. Each figure was carefully crafted, incorporating changelings, archers, and unseen forest folk to create a scene rich with detail and story.

is its dark mirror, filled with rage and reprisal. ‘The ‘elevator speech’ for this piece was, ‘You mortals ruined our glorious realm, by driving us off, and I would rather see it burn to the ground than let you enjoy a single green blade of it,” Liz passionately explains.

At the heart of the composition is the Unseelie King, crowned with an Irish elk skull - a symbol of humanity’s destruction of nature. “The skull’s implicit statement is, “This is what they did to the deer. This is what they would do to us. Give them no mercy, give them no quarter,” Liz shares.

The painting is filled with mythological figures, each carefully chosen from their dark and menacing qualities. “The baen shidhe (banshee) was a given. The Hellhound behind her is a traditional white-coated, red-eared hellhound of Celtic myth rather than the darker variety. A common, troll, with a pig’s skull for the hammer of his bludgeon. The musician plays a harp made from the breastbone and pelvis of a murdered girl. The witch has a hollow tooth, another Gaelic myth found from Ireland to northern Spain. The murderous redcap, whose headwear is dipped in the blood of his victims,” Liz continues, “A crazed Cailleach peers from behind the Kelpie, a lovely horse associated with water. When children pet the pretty horsie, they find they cannot get their hand loose from its hide. The kelpie submerges, and drowns the child.”

 can also be found. The grown changeling child from Titania’s court reappears here, now corrupted and standing at the king’s side. “He is not the scared and vulnerable child anymore,” Liz reveals. “And although still mortal, he evidently has magic and an unnaturally long life to carry on the king’s campaign of revenge against humanity long after the Fae themselves have gone to the West or faded away.”

The dark, layered narrative underscores the 

s vengeance and its stark contrast to the ethereal grace of the Seelie. Every element is steeped in myth and menace, creating a painting that feels as haunting as it is unforgettable.

Liz adds an unnerving detail: the eyes of each character are painted with Ultrablack, capturing more than 99% of the incident light. “Reproduced on a card or print, it only gives the characters an empty dreadful gaze, but the darkness is truly unnerving in the original.”

captures the heart of what makes the game so inspiring. From the reflective beauty of 

, her art transports players not only into the contested realm but also an even wider realm of imagination!

Liz stays in close contact with her community via her 

. To discover more about the incredible talent behind 

, explore our full roster of artists on the 

Artist Spotlight: Liz Danforth & Stories Behind Sorcery’s Stunning Artwork

The latest update to the Sorcery: Contested Realm Rulebook ensures that we provide the best possible Sorcery experience to players, whether they are TCG newcomers or veterans.

If you’re simply looking for a bulleted list of some of the updates, that can be found 

Let’s dive a bit deeper into a couple of the most significant changes

Intercepting Now Causes a Fight, not an Attack

Issue: The rules for intercepting caused an “attack” to trigger, which cascaded into a defend sequence, slowing down the game and adding unnecessary complexity. Also, the difference between intercept and defend didn’t matter much, since they both resulted in an attack.

Change: Intercept now only results in a fight, instead of a full attack sequence.

Now, the intercepting unit simply fights the moving unit, and that’s it. (Each unit strikes the other.) This is most relevant for cards that care about the “attack” trigger, like the Battlemage. If you intercept the Battlemage, it won’t count as an “attack,” but remember you can only intercept when a unit is using its “Move and Attack” basic ability and moves. (You intercept at the moment when an enemy enters a location via its “Move and Attack” basic ability.)

Issue: The rules for moving and attacking were separated into two different basic abilities.

Change: “Move and Attack” is now a single basic ability, which includes an optional move, followed by an optional attack.

This was a natural unification of the rules, making it easier to learn and remember. From a balance perspective, Skirmishers of Mu got a nice power up, since they can now declare the “Move and Attack” basic ability (which lets them move and attack), AND they get to use their ability as well, for a ranged strike.

Issue: Avatars shouldn’t ever be disabled.

Change: Specified that Avatar’s can’t be disabled.

This was an oversight in the previous rulebook, and is now fixed. The only card in Alpha that is impacted by this change is Dream-quest, which was never intended to work with your Avatar. This rule now aligns with our design intent.

Issue: The rules for carrying artifacts were inconsistent with the rules for carrying minions.

Change: The rules for when a minion can pick something up, carry it, and drop it are now unified.

The previous rules were fine, but the newest version is now more consistent, and thus easier to learn and remember.

These improvements are a result of our commitment to delivering an exceptional gaming experience and the community's invaluable input. Your feedback and engagement mean a lot to us! As always, hailing frequencies are always open and we're keen to hear your feedback. Feel free to post your questions in our community spaces, from the 

Designer Notes - Rulebook Update (July 14th)

Notes from the Design Team

Intercepting Now Causes a Fight, not an Attack

Unified Basic Ability - Move and Attack

Avatars Can’t Be Disabled

Carrying Artifacts and Minions

Acknowledgments

More Articles

Witness the Witch vs. Archimago Showdown in Our Latest Sorcery Gameplay!

Artist Spotlight: Liz Danforth & Stories Behind Sorcery’s Stunning Artwork