If you loved how Harold Shea uses symbolic logic to vault from our world into Ariosto’s realm—and then has to navigate courtly loyalties and duels to get himself and Belphebe home—you’ll click with Corwin awakening on Earth and clawing his way back to Amber. Like Shea fencing words and wits with knights and magi, Corwin spars through dynastic plots, trump-gates, and shifting realities, using nerve and cleverness more than brute force. It’s that same mix of portal-jump wonder and sly maneuvering you enjoyed in The Castle of Iron.

The banter and comic scrapes as Harold Shea blunders through the world of Orlando Furioso—misfiring his symbolic spells and trading quips with larger-than-life knights—map perfectly onto Rincewind’s misadventures escorting the tourist Twoflower across the Disc. Pratchett lampoons high-fantasy conventions the way de Camp and Pratt send up chivalric romance, delivering the same breezy, wink-filled fun you enjoyed in The Castle of Iron.

If Harold Shea’s culture-clash hijinks in Ariosto’s land—where a 20th‑century mind tries to keep pace with enchanted lances and court etiquette—made you grin, Twain’s Hank Morgan will delight you. Thrown into Camelot, Hank uses practical know‑how and a sharp tongue to puncture knightly pomp, much like Shea’s logical ‘spells’ upend the logic of romance. It’s the same satirical tilt at tilting knights that made The Castle of Iron sparkle.

What likely hooked you was Shea’s exacting, symbolic‑logic approach to magic—casting by theorem and correspondence. Gladstone hits that same pleasure center: Tara Abernathy practices Craft, a legalistic sorcery of clauses, balances, and proofs as she and Elayne Kevarian work to resurrect a dead god. Where Shea weighs syllogisms before leaping between worlds, Tara pores over bindings and covenants to outmaneuver rival practitioners—smart, rulesy magic with wit and style, echoing The Castle of Iron’s intellectual spellcasting.

If the pell‑mell momentum of Shea’s miscast jumps—dumping him amid duels, enchantments, and the scramble to get Belphebe home—kept you turning pages, Powers delivers that same headlong rush. Professor Brendan Doyle is hurled through sorcerous time-gates to 1810 London and must dodge werejackals, sinister magicians like Dr. Romany, and body‑snatchers while clawing back to his life. It’s the same kinetic, peril‑to‑peril sprint you enjoyed in The Castle of Iron.