Vipul Shah is turning fifteen years of inquiry into a nine-part fantasy saga that transcends beyond the traditional realms of fantasy, mythology and spirituality and turning the three into one of its kind contemporary stories, while building tools and opportunities for a new generation of storytellers.
Technology taught Vipul Shah to think in systems. Ancient texts made him curious about the largest system of all: the universe.
For more than fifteen years, alongside his career in technology, Shah has explored possible connections between modern scientific cosmology and the cosmic architecture described in ancient texts. Beginning with Jainism, his inquiry expanded across faith traditions, examining similarities in the ways different cultures have imagined the structure of the cosmos, humanity’s place within it, and the questions that emerge when science meets belief. Those questions eventually became the foundation for his fiction.
The result is The Jambudveep Series, a planned nine-part epic saga. Its first two volumes, Bharat Kshetra – The Hidden Matrix and Arya Khand – The First Awakening, are already published. In 2026, the debut reached No. 1 on an Amazon Hot New Releases list and No. 3 on a fiction category bestseller list.
What interests us at NU Voice Press is Shah’s choice of form. He could have approached these ideas purely through research or nonfiction. Instead, he chose the long arc of fantasy. Fantasy gives readers a reason to stay with unfamiliar ideas. Shah weaves his research and episodes from his own real-life adventures into a contemporary epic, allowing ancient thought to enter the reader’s world through characters, conflict, discovery and momentum.
That, to me, is where the project becomes particularly interesting. The series is not simply attempting to recreate an ancient worldview. It is asking what happens when those ideas are carried into the imagination of a contemporary reader.
He is now applying his technical experience to the mechanics of storytelling as well, to help adapt novels into videos, trailers, comics and graphic novels, alongside proofreading and editing at word and line level. It brings the possibilities of visual storytelling closer to authors working from a manuscript.
The tool will launch through Arya Digital Studios. The venture also has a practical social purpose: training young people from underprivileged backgrounds and giving them opportunities to gain industry experience in creative technology. This is an important extension of Shah’s larger approach. For him, technology should become infrastructure for creativity, learning and access.
That emphasis on developing human capability extends to Shah’s school talks and TEDx appearance.
His message to young audiences is direct: “Let AI do the work for your brain, not the work of your brain.”
The distinction places judgement, imagination and authorship with the person using the tool, rather than allowing technology to replace the thinking that gives creative work its meaning. From a publishing perspective, I find that distinction particularly relevant. We are entering a period in which authors have more tools than ever before, but tools alone do not create stories worth remembering.
Shah hopes to bring the entire Jambudveep saga to the big screen. For us, its promise begins much earlier, with the reader who arrives for an adventure and leaves curious enough to open an ancient text, question a familiar idea or look at the universe from a slightly different angle.
That is where literature can do something technology cannot do on its own. It can make a question personal.