If you are searching for fantasy books similar to The Witcher and A Song of Ice and Fire but want something with a distinctly Slavic atmosphere, Dalibor Kovačec’s The Fifth God saga is worth putting on your reading list. This Croatian epic fantasy series combines dragons, magic, political conflict, ancient gods, morally complicated characters, romance, betrayal, and large-scale warfare. But instead of drawing its atmosphere primarily from Western medieval fantasy traditions, The Fifth God brings Slavic mythology and a darker Central and Eastern European flavor into its fantasy world. The result is a saga that can feel familiar to readers of Andrzej Sapkowski and George R. R. Martin while still offering its own identity.

The Fifth God: Black Dragons
The saga begins with The Fifth God: Black Dragons, introducing readers to the world of L’ven and a conflict that quickly grows from personal revenge into a threat to the entire world. At the center of the story is Hagala, an ancient sorceress who returns after a thousand years of exile. Her return is motivated by betrayal, unrequited love, and an overwhelming desire for revenge. She brings black dragons and dark magic with her, while seeking the Key that could allow a forgotten deity to enter the world. Opposing her are four orphans whose lives become unexpectedly connected to the fate of kingdoms and the supernatural forces moving behind the scenes.
That premise immediately gives Black Dragons some of the ingredients that make The Witcher so attractive to fantasy readers: dangerous magic, monsters, morally complicated figures, ancient supernatural forces, and characters forced to make difficult choices. It also has some of the sweeping qualities associated with A Song of Ice and Fire, particularly its multiple characters and intersecting storylines. The author describes the saga as epic fantasy with strong high-fantasy elements and a smaller dark-fantasy component, while the narrative shifts between different characters rather than remaining tied to a single protagonist.
The four central young characters also give the first novel a classic epic-fantasy foundation. Janosh the knight, Herbert the assassin, Silvio the wizard, and Marcijan the druid are drawn into a conflict much larger than their original lives. Their different abilities and backgrounds allow the story to move between combat, magic, nature, assassination, and supernatural mysteries. Like many successful sprawling fantasy sagas, Black Dragons is therefore less about one hero saving the world and more about how several very different people become pieces in a much larger game of power.
A Slavic Accent on Epic Fantasy
What makes The Fifth God particularly interesting for readers looking for something beyond another Tolkien-inspired fantasy world is its Slavic mythology. The world of L’ven includes familiar fantasy races such as elves, dwarves and gnomes, but it also incorporates creatures and mythological beings associated with Slavic traditions. Among them are drekavac, dryads, water nymphs, will-o’-the-wisps and other supernatural creatures, alongside a group of ancient giants whose names include Stribor, Klek, Koleda, Regoč, Svitogor and Troglav.
This is where the comparison with The Witcher becomes especially useful. Sapkowski famously created a fantasy world in which Slavic folklore and mythology could exist alongside political intrigue, monsters and medieval-inspired societies. The Fifth God takes a different route, but it similarly demonstrates how much atmosphere can be created by looking toward the mythology of Central and Eastern Europe. Instead of simply reproducing familiar Western fantasy archetypes, Kovačec builds a world in which Slavic-inspired supernatural elements stand alongside dragons, wizards, kingdoms and ancient gods. It is epic fantasy with a Slavic accent, rather than merely another imitation of medieval European fantasy.
Magic, Gods and Dangerous Power
Magic is another major attraction for readers who enjoy expansive fantasy worlds. The Fifth God does not rely on a single magical tradition. The saga distinguishes between sorcery, witchcraft, priestly magic and druidic magic, with each system drawing its power from different sources. Sorcery involves formulas, physical movements and material components, while witchcraft is connected to demons. Priestly magic comes through faith in the god Albin, whereas druidic magic is connected to devotion to the goddess Fera and the forces of nature.
This variety gives the series a more traditional high-fantasy scale than The Witcher, where magic is often mysterious, dangerous and comparatively restrained. At the same time, the different magical traditions create opportunities for conflict between characters and belief systems. Magic is not simply a tool for spectacular battles; it is connected to religion, nature, demons, gods and personal power. For readers who enjoy fantasy in which the supernatural has consequences beyond simply throwing bigger spells, this makes L’ven an intriguing setting.
The Fifth God: Magic of the Soul
The second novel, The Fifth God: Magic of the Soul, expands the conflict considerably. An enormous army led by Emperor Uto begins ravaging the continent, accompanied by griffon riders, undead warriors and black dragons. Their objective is to open the Gate and allow the Fifth God to enter the world. Meanwhile, political alliances shift, noble families interfere with relationships, and characters on different sides of the conflict pursue their own ambitions.
This second book is where the A Song of Ice and Fire comparison becomes particularly relevant. The story combines military conflict with political maneuvering, family interests, alliances, romance and characters whose personal decisions have consequences far beyond themselves. Yet Magic of the Soul also maintains the much more overt high-fantasy elements of dragons, undead armies, griffons, druids and powerful magic. In other words, it sits somewhere between gritty political fantasy and traditional epic fantasy, giving readers both swords-and-intrigue storytelling and a much larger supernatural conflict.
Romance is also woven into the larger conflict rather than being completely separated from the main adventure. In Magic of the Soul, two lovers dream of marriage while noble families attempt to interfere, while other relationships and love triangles add emotional complications. The author has described romantic relationships throughout the saga as forces that can influence the larger conflict rather than simply providing a subplot detached from the main story.
Why Witcher and Game of Thrones Fans May Enjoy It
Readers coming from The Witcher should expect a different style, but there are recognizable points of connection: monsters, magic, morally complicated characters, Slavic mythology, political tension and a world where supernatural forces can dramatically alter ordinary human lives. Readers coming from A Song of Ice and Fire may instead be drawn to the multiple viewpoints, competing powers, political alliances, betrayals and large-scale wars. The important distinction is that The Fifth God leans more heavily toward epic and high fantasy, with magic and supernatural creatures playing a much more visible role.
That combination may be the series’ most appealing quality. If The Witcher feels like monster-slaying fantasy filtered through Slavic folklore, and A Song of Ice and Fire feels like medieval political drama transformed into epic fantasy, The Fifth God offers another variation: Slavic-inspired epic fantasy where dragons, gods, magic, romance and warfare collide. It does not need to be exactly like either series to appeal to the same readership. Instead, it occupies the space between gritty fantasy adventure and enormous high-fantasy mythology.
The Future of the Fifth God Saga
The series is not finished yet. At present, two books have been published — Black Dragons and Magic of the Soul — while the third installment, The Fifth God: The Gate, is in preparation. According to the author, The Gate is intended to resolve many of the storylines established in the first book, potentially completing the main trilogy while leaving the wider world of L’ven open for additional stories.
For fantasy readers looking for their next long-form saga, that makes The Fifth God an interesting discovery. It offers the familiar pleasures of epic fantasy — kingdoms at war, powerful magic, dragons, ancient gods, romance, betrayal and characters caught between destiny and personal choice — while giving those elements a Croatian and Slavic identity. If your ideal fantasy bookshelf includes The Witcher, A Song of Ice and Fire, dark folklore and stories about ordinary people caught in conflicts involving forces far beyond their understanding, The Fifth God deserves a closer look. It is not simply “another Witcher” or “another Game of Thrones”; it is an attempt to take the epic fantasy formula somewhere more distinctly Slavic.


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