Robin Marx's Writing Repository

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The Autumn Springs Retirement Home Massacre

By Philip Fracassi – Tor Nightfire – September 30, 2025

Review by Robin Marx

Horror fiction has been undergoing a resurgence in recent years, and with outstanding releases like Gothic and Boys in the Valley Philip Fracassi quickly established himself as an author worth watching. Released by Tor’s Nightfire imprint, The Autumn Springs Retirement Home Massacre feels somewhat different from past Fracassi books, but more of an expansion of his repertoire than a permanent change in direction. It experiments with genres in a way that is interesting, but perhaps not entirely successful.

Nearly eighty years old, retired high school teacher Rose DuBois lives a quiet life at the titular Autumn Springs Retirement Home in upstate New York. She’s comfortable in her routine and surrounded by friends, most notable among them the affable former professor Beauregard Mason Miller, with whom she enjoys a warm companionship that—to Miller’s obvious chagrin—hasn’t quite blossomed into a Golden Years romance. A shadow falls over Autumn Springs, however, when Rose’s friend Angela dies of an apparent bathroom fall. Given their advanced age, the Autumn Spring residents largely take the death in stride, but the retirement home administrator’s horrified reaction to Angela’s body and the extent of the injuries seen on the corpse make Rose wonder if foul play was involved. In the days to follow, more of Rose’s friends and acquaintances fall victim to similar mishaps and maladies. Rose’s suspicions mount, and with Miller by her side she begins to investigate the deaths that the larger retirement community mostly shrugs off. Her stubborn persistence, however, marks her as a future target for a shadowy murderer.

The Autumn Springs Retirement Home Massacre benefits from its brisk pacing. While the story itself is a bit of a slow burn—for most of the book the retirees are blissfully unaware that a killer lurks in their midst—individual chapters are brief and proceed at a rapid clip, frequently hinting at the murder to come, depicting its actual execution, or the discovery of the aftermath. While the proper amount of attention is spent on nice character-establishing moments, there isn’t a lot of extraneous fat; this is a lean, fast-moving book.

The appealing characters are another highlight of the book. Readers spend the most time with Rose and Miller, and both are well-rendered, realistic-feeling characters. I’ve met people very similar to them, and I imagine many other readers have as well. But we also get to spend some time in other characters’ shoes, frequently in their final desperate moments, and Fracassi doesn’t skimp on the supporting cast’s characterization. I noted it in my review of Boys in the Valley, but Fracassi’s uncommon ability to breathe life into a large cast of supporting characters through economical and empathetic characterization is again showcased in The Autumn Springs Retirement Home Massacre. The elderly residents’ vulnerability and isolation are especially poignantly rendered in one brief chapter late in the book, after it has been unequivocally established that a killer is stalking the halls of the retirement home. Desperate to flee, various residents phone family members and former spouses begging for sanctuary until the danger has passed, only to have their pleas fall on deaf ears. Their relatives are all busy with their own lives and don’t welcome the intrusion from the old folks; better they go back to being out of sight and out of mind, warehoused at faraway Autumn Springs.

While promoted as a “slasher” novel, that aspect doesn’t arrive until quite late in the narrative. Most of the murders are orchestrated to appear as accidents or deaths from existing health issues, the knives only come out towards the end. Indeed, the “Massacre” in the title almost feels like a misnomer, suggesting more of a kinetic bloodbath than the methodical and gradually escalating series of serial killings we are presented with. While there are some gory passages, horror elements in general are fairly muted. Subtle supernatural elements do appear in the book, but they’re plausibly deniable and so lowkey that part of me wonders if Fracassi would have been better off omitting them entirely and aiming more squarely at the thriller genre. Had Fracassi pursued that direction, he could have further augmented the mystery elements of this book. There are a handful of attempts to misdirect the reader regarding the masked killer’s identity, but they’re quickly discarded; Fracassi doesn’t really commit to the red herrings in a way that made me as a reader entertain them to as realistic possibilities. And while we eventually learn the murderer’s identity, even despite a handful of first-person perspective scenes we do not receive much insight into their motives for the killings beyond opportunism and contempt for the infirm.

Straddling the mystery and horror genres, The Autumn Springs Retirement Home Massacre feels slightly less self-assured than Fracassi’s Gothic or Boys in the Valley. I get the sense that Fracassi is trying something new here, going out on a limb. Indeed, in the Afterword Fracassi remarks that the final novel did shift and grow beyond his original concept, changing through his development of Rose as a character and the experience of losing his parents. If you’re already acquainted with Philip Fracassi’s work, The Autumn Springs Retirement Home Massacre is well worth checking out. Fracassi’s strengths—empathetic characterization and effective pacing—are present and accounted for. Horror enthusiasts unfamiliar with Fracassi are better directed to something like Boys in the Valley first, however, as the “slasher” marketing overstates the amount of gore and brutality present in the actual novel. “Final Girl” labeling aside, Rose owes more to Jessica Fletcher than Laurie Strode. Even if the mystery elements aren’t as developed as they could have been, The Autumn Springs Retirement Home Massacre is an easy recommendation for thriller fans. I enjoyed the time I spent with Rose DuBois and Beauregard Mason Miller and I’m pleased to see Fracassi resist complacency and push himself in new directions.

#WritingRepositoryOriginal #BookReview #Horror #Mystery #TheAutumnSpringsRetirementHomeMassacre #PhilipFracassi

This review originally appeared at Grimdark Magazine on January 11, 2026.

Conan the Barbarian #25

By Jim Zub (Writer) and Alex Horley (Artist) – Titan Comics – October 8, 2025

Review by Robin Marx

In Conan the Barbarian #25, after untold leagues of single-minded solitary travel, a cloaked stranger presents himself at the city gates of Tarantia, capital of Aquilonia, demanding to speak to King Conan. Initially rebuffed as a vagrant by the city guards, the anonymous visitor simply sits in the dust and waits patiently outside the gate until Conan finally gives in to curiosity and grants him an audience. Revealing himself to possess bone-white hair and the pallor of a corpse, the stranger claims to bear a great gift for Conan, but one that will only be bestowed after receiving three days of the king’s hospitality. In the days to follow, Conan’s queen and closest allies each approach him with their misgivings, but the king remains determined to stay the course even despite the visitor’s unsettling demeanor. At the close of the third day, the so-called “nomad” springs his trap, drawing Conan into a phantasmagorical realm where the barbarian-turned-king must survive a series of life-threatening ordeals to win “a prize akin to immortality.”

Entitled “The Nomad,” this special extra-long one-shot issue commemorates two full years of Conan the Barbarian at Titan Comics. While the barbarian has appeared as ruler of Aquilonia before in the ongoing The Savage Sword of Conan title, this issue marks the first King Conan story in Titan’s main Conan the Barbarian title and the first one penned by Jim Zub himself. But what makes this issue so remarkable is the artwork by Alex Horley. Over the course of a year, Horley rendered every page of the artwork as oil paintings. Horley has consistently delivered some of the most eye-catching covers for Titan’s The Savage Sword of Conan, so seeing an entire issue of the main comic receive such deluxe treatment is impressive.

Appropriately for an anniversary issue, with Conan the Barbarian #25 writer Jim Zub delivers a retrospective of Conan’s career that simultaneously does double duty as an approachable introduction to the character. Through flashback-like visions the reader is treated to a series of pivotal scenes in Conan’s adventures, some of which have been covered in the Titan comic run (Conan’s encounter with Atali’s frost giant brothers), and others which have as yet only appeared in the original Robert E. Howard fiction or previous comic adaptations (e.g., we see the ape-like Thak, from “Rogues in the House,” and Conan’s crucifixion in “A Witch Shall be Born”). Conan’s opponents are mocking, talkative specters, and through the dialogue Zub demonstrates both the aging Conan’s philosophy and his indomitable spirit. In the end, Zub brings it home by neatly tying the story in with one of the most recognized and quoted passages in the Conan literary canon.

Alex Horley’s artwork is truly gorgeous throughout. Horley offers up dynamic combat, excellent depictions of favorite Conan the Barbarian monsters, and the most alluring portrayal of pirate queen Bêlit seen in the Titan Comics titles so far. While never obtrusive, the texture of the canvas is occasionally visible through the artwork, a pleasing reminder of the care and workmanship that went into this issue. Even in a series blessed with talented artists, the work here is something special.

Conan the Barbarian issue 25 is perhaps the best single issue of the Titan Comics incarnation to date. Not only is it visually gorgeous, but the story is also an eloquent summation of the appeal of both the character of Conan and Sword & Sorcery fiction in general. If I knew a comic reader who wanted to know what this whole Conan business was about and why people are still excited about this nearly century-old character, this is the issue I would hand them.

#ReviewArchive #ComicReview #Fantasy #SwordAndSorcery #JimZub #AlexHorley #TitanComics #ConanTheBarbarian #GrimdarkMagazine #GdM

This review originally appeared at Grimdark Magazine on November 7, 2025.

The Essential Horror of Joe R. Lansdale

By Joe R. Lansdale – Tachyon Publications – October 7, 2025

Review by Robin Marx

Joe R. Lansdale is your favorite horror writer’s favorite horror writer. Widely anthologized and the recipient of no fewer than ten Bram Stoker Awards, it doesn’t feel accurate to characterize the prolific East Texas author as underrated, per se, but to this reader it has long felt like Lansdale should be much more of a household name, up there with Stephen King. Lansdale’s Hap and Leonard series of novels has received popular acclaim from crime fiction fans, but readers who are less plugged into the horror short fiction scene (as opposed to the novel market) are all too often unacquainted with his work. Tachyon Publications is attempting to rectify this injustice with The Essential Horror of Joe R. Lansdale. This convenient volume packages 16 tales spanning the lengthy career of this “Champion Mojo Storyteller.” The stories gathered here are dark, occasionally crude, often bleakly humorous, frequently gross, and always offbeat.

The Essential Horror of Joe R. Lansdale opens strongly with “The Folding Man.” Some teenagers out joyriding after a Halloween party encounter a big black automobile carrying a group of nuns. One of the boys decides to “moon” the nuns as a joke, and the sight of his bare buttocks immediately sends the nuns into a murderous rage. When their savage high-speed pursuit fails to eliminate all the teens, the nuns produce a bizarre mechanical man from the trunk of their car, dispatching it like the robot from The Terminator to hunt down the survivors. Relentlessly paced, filled with graphic violence, and operating by incomprehensible nightmare logic, “The Folding Man” sets the tone for the stories to follow. It lets the reader know that they are now in Lansdale’s world, in which a quirky, chance encounter can rapidly escalate into something horrific and fatal.

Weird Westerns are one subgenre in with Lansdale excels, perhaps due to his Texan background, and this volume includes a pair of them. In “The Hoodoo Man and the Midnight Train,” a gunsmith with some aptitude for folk magic and his apprentice are hired to retrieve the soul of an innocent woman condemned to an eternity as a passenger on a ghostly train guarded by a demonic duelist. The clever and methodical way in which the Hoodoo Man tackles this supernatural predicament feels like a satisfying blend of the early Witcher stories by Andrzej Sapkowski and the Silver John Appalachian folk horror tales by Manly Wade Wellman. “The Hungry Snow” is the second Weird Western, in which a wanderer known as the Reverend Jedidiah Mercer encounters a handful of bedraggled travelers stranded in the Rocky Mountains. Having exhausted their supplies, the hapless survivors have resorted to cannibalism. While the Reverend is understandably cautious around his hungry and desperate new acquaintances, the party as a whole face a greater threat: a prowling Wendigo lurking just beyond the campfire. Like “The Hoodoo Man and the Midnight Train,” “The Hungry Snow” features a level-headed and resourceful protagonist using their expertise and their wits to extract themselves from dire straits.

The Essential Horror of Joe R. Lansdale also includes a pair of post-apocalyptic tales, each with an appropriately unconventional spin. “Tight Little Stitches in a Dead Man’s Back” chronicles the descent into madness of a scientist emerging from an underground shelter into the world he had a hand in destroying. Humanity is all but extinct, and the surface world has been claimed by bizarre, hostile wildlife, forcing the scientist and his estranged wife to shelter together in a lighthouse waiting for the inevitable. While it still feels a little overstuffed to me, like it has more than enough ideas to sustain two separate stories, “Tight Little Stitches in a Dead Man’s Back” was one of the more memorable stories from the George R. R. Martin-edited volume Wastelands 2: More Stories of the Apocalypse (2015). The frequently anthologized novella “On the Far Side of the Cadillac Desert with Dead Folk” is another work of exceptional post-apocalyptic fiction. When a bounty hunter and his ruthless quarry are captured by religious zealots building an undead army, the two enemies must join forces to escape torture and death. Replete with a “Jesusland” theme park, sexy nuns, Mouseketeer ear hat-wearing zombies, and a dash of necrophilia, this story epitomizes Lansdale’s gonzo, deranged appeal.

The second novella collected in The Essential Horror of Joe R. Lansdale is probably his most famous work, due to the well-received 2002 film adaptation by Don Coscarelli (Phantasm, The Beastmaster, etc.): “Bubba Ho-Tep.” Set in an East Texas retirement home, the story is told from the perspective of an elderly man who is either Elvis in his twilight years or an impersonator who has kept up the act so long that his original identity has become foggy. When their fellow residents begin dying under mysterious circumstances, Elvis teams up with a nearly victimized Black man convinced that he is former President John F. Kennedy. They soon learn that a resurrected Egyptian mummy prowls the halls of their old folks’ home looking for souls to devour. With a colorful cast of addled characters and Lansdale’s trademark wit, comedy is very much at the forefront of “Bubba Ho-Tep,” but he doesn’t neglect the horrific aspect of the premise. The reader is reminded that the retirement home residents are incredibly vulnerable, death at the hands of the mummy results in eternal torment, and outside assistance is not coming. The threat may be somewhat ridiculous, but it is a lethal one, nonetheless.

Regular, well-meaning folks in the wrong place at the wrong time are common horror protagonists, but Lansdale also relishes putting the reader in the shoes of the truly despicable. Callous, bigoted, deceitful, or just plain demented. Sometimes they get their just deserts, sometimes they don’t. “My Dead Dog Bobby” is a two-page piece of flash fiction about a young boy playing with his decomposing pet. Lansdale is sometimes lumped in with the old splatterpunk movement—a categorization that’s not always undeserved but also feels slightly reductive—and there’s plenty of grue in this story, but readers may find their initial revulsion for the narrator replaced by pity by the short’s end. “By Bizarre Hands” is a chilling character study of a psychopathic traveling preacher visiting a widow on Halloween with plans to molest the woman’s developmentally disabled daughter. And rather than let readers off easy with the relatively reassuring “Bubba Ho-Tep,” The Essential Horror of Joe R. Lansdale instead concludes with one of the darkest stories in the book: “Night They Missed the Horror Show.” Two racist, idiotic high school boys attempt to kill a dull evening in their Podunk town by dragging the corpse of a dead dog behind their car. Later in the evening they encounter a pair of even crueler men and quickly find themselves in a desperate situation. In his introduction to the piece the author aptly describes it as “a story of the bad guys meeting some really bad guys.” Many of us have had the misfortune of encountering people that just seem “off” or somehow fundamentally broken inside, and Lansdale is uncommonly effective at portraying that sort of ominous individual on the page.

The Essential Horror of Joe R. Lansdale is a worthy retrospective of a bona fide horror master’s extensive career. The folksy, the humorous, the gory, the gonzo, and the pitch-black elements of his body of work are all present and accounted for across this collection’s 16 entries. If you’re new to Lansdale, this is an excellent place to start. If you’re already acquainted with him, this volume likely includes your favorite Lansdale story alongside several less familiar treasures.

#ReviewArchive #BookReview #Horror #TheEssentialHorrorOfJoeRLansdale #JoeRLansdale #GrimdarkMagazine #GdM

This review originally appeared at Grimdark Magazine on September 29, 2025.

Conan the Barbarian #24

By Jim Zub (Writer) and Fernando Dagnino (Artist) – Titan Comics – September 10, 2025

Review by Robin Marx

While Conan and Zula emerged unscathed from their audience with Thoth-Amon, master of the Black Circle of Sorcerers and an important figure in the insidious snake cult of Set, they learned of “Set’s brood gathering beneath Keshatta.” With the coming of dawn, Zula’s magic disguise has expired, however, and Athyr-Bast has escaped her bonds. An alarm is raised city-wide, but Conan and Zula remain committed to disrupting Thoth-Amon’s insidious plot to destabilize Stygia’s neighboring kingdoms. The pair venture into the tunnels below Keshatta, where curses and darker threats await.

Concluding the current Conan the Barbarian story arc, this issue is entitled “The Nest Beneath.” Jim Zub has managed to pack quite a bit of story into a single issue, and his narration work is appropriately breathless. Zub also incorporates a fun reference to Robert E. Howard’s original Conan tales by having the children of Set growing beneath the city take the same form as the monster from the story “The God in the Bowl.” A brief flashback in this issue reveals that the encounter in “The God in the Bowl” has already taken place in the Titan Comics Conan the Barbarian continuity, although not “on-screen.”

Fernando Dagnino delivers some more great expressions in this issue. Faces twisted in rage during combat, dumbstruck through mesmerism, panicking when confronted by supernatural horrors, etc. And while he had some opportunity to briefly show off some monster artwork in Conan the Barbarian #23, this issue’s Man-Serpents offer him an opportunity to really let loose.

In the final pages of the issue, Jeffrey Shanks delivers another informative essay on serpent-haunted Stygia, this time profiling the villains of Stygia. I was surprised to learn that scene-stealing sorceress villainess was not an original Zub-created character, but instead one who first appeared in Marvel’s Savage Sword in Conan in 1993, late in the original magazine’s run. Cheers to Zub’s archaeology work; his dedication to repurposing entertaining motifs and characters from the full body of Conan the Barbarian canon is laudable.

Conan the Barbarian #24 delivers a strong conclusion to one of the best storylines in Titan Comics’ two-year run. Newcomers to the title have been given a thorough grounding in Stygia, its snake cult, and power players like Thoth-Amon, meaning a firm foundation has been laid for the upcoming “Scourge of the Serpent” miniseries. While it’s unlikely that readers will be surprised to see Thoth-Amon and Athyr-Bast escape to plot another day, the fates of Livia and Zula are less predictable and should provide some exciting fuel for future stories.

#ReviewArchive #ComicReview #Fantasy #SwordAndSorcery #JimZub #FernandoDagnino #TitanComics #ConanTheBarbarian #GrimdarkMagazine #GdM

This review originally appeared at Grimdark Magazine on September 20, 2025.

The Savage Sword of Conan #6

By Jason Aaron (Writer), Geof Isherwood (Artist), Matthew John (Writer), Michael Downs (Writer), and Piotr Kowalski (Artist) – Titan Comics – December 18, 2024

Review by Robin Marx

Issue #6 of The Savage Sword of Conan features the conclusion of the lengthy King Conan comic “The Ensorcelled,” a short Conan story by Matthew John, and a new self-contained comic starring Dark Agnes de Chastillon.

Once again penned by Jason Aaron and illustrated by Geof Isherwood, the second half of “The Ensorcelled” takes up the lion’s share of the issue. When we last left King Conan, he was far from home, in Aquilonia’s neighboring kingdom of Brythunia. Despite taking a direct role in the capture of Xyleena, the infamous Witch of Graskaal, Conan finds himself disgusted by the way she was railroaded through a sham trial by his host, King Fabiano. Conan rescues the witch from her impending execution, a bold act that makes him an enemy of the ruthless witchfinders known as the Brethren of the Briar. Despite his distrust of sorcery, Conan throws in his lot with Xyleena, taking up arms against the hateful zealot Father Flail. He soon learns that the Brethren possess body-warping magic of their own, however. Spanning a combined length of 103 pages across two magazine issues, “The Ensorcelled” still feels a little on the long side—as a Savage Sword reader I would rather have multiple self-contained stories and leave serialized adventures to the monthly Conan the Barbarian title—but the second half is stronger than the first. It features some gnarly body horror, exciting combat, and an amusing epilogue. Geof Isherwood’s artwork impresses, and it’s clearly legible in monochrome, which can’t always be said for contributions by artists more accustomed to working in color. With their tangled, thorny masks Isherwood gives the Brethren of the Briar a cool and distinctive appearance, and he’s no slouch when it comes to rendering the gory bits of the tale as well.

Written by occasional Grimdark Magazine contributor Matthew John, “Madness on the Mound” is the first prose story to be included in The Savage Sword of Conan since issue #3’s excerpt from Conan and the Living Plague, published as part of John C. Hocking’s Conan: City of the Dead omnibus. This story takes place in the frozen north, shortly after Conan’s encounter with the demigoddess Atali, the Frost Giant’s Daughter (an episode recounted in Conan the Barbarian #15). Conan and the exhausted remnants of the Æsir war band led by Niord stop by an isolated village hoping for a brief respite. Conan is instantly on edge when he finds the hamlet left undefended, the bulk of the menfolk having left to search for a missing hunting party. A terrified boy rushes back to the village to report an attack by Vanir warriors, and Conan and his comrades set out to meet their foes. Instead of an enemy encampment, however, the men are confronted by a still-glowing fallen star. Fleshy roots have burst from the massive rock, and Conan soon discovers that the tendrils terminate in the bodies of the dead Vanir, wending through them and animating them like grotesque puppets. What follows is a bloody and grim little tale that emphasizes the horror aspect commonly found in Sword & Sorcery. It feels very much a companion to the creepy fantasy-horror stories collected by John in To Walk on Worlds and his contribution to Old Moon Quarterly, Vol. 7. The editing could have been a little tighter—“spore” is used when the word “spoor” is intended, and “below” instead of “bellow”—but John packs quite a bit of adventure in two short pages. John’s portrayal of Conan feels authentic, and supporting character Niord also has some good character moments.

The issue is rounded out by “The Head of St. Denis,” written by Michael Downs and illustrated by Piotr Kowalski. It focuses on 16th century French swordswoman Agnes de Chastillon. Dark Agnes hasn’t had the best track record in Titan Comics; a modified version of her origin story appeared in The Savage Sword of Conan #4 with the baffling choice of anime style artwork, and she also had a fairly unsatisfying role in the Conan the Barbarian: Battle of the Black Stone crossover event miniseries. This brief comic is almost a character study for Dark Agnes. Separated from her companion Etienne and pursued by enemies, she stumbles through a wooden marsh until she encounters an apparition of the decapitated martyr St. Denis of Paris. The episode feels a bit like a scene from a Hellboy comic (indeed, Kowalski’s artwork looks like a blend of Mike Mignola and woodcut prints) and not much happens beyond the reader getting a sense of Agnes’ fierce determination, but this is the best depiction the character has gotten in Titan Comics to date. I don’t envy modern day creators trying to work with Dark Agnes. She only appeared in two unpublished Robert E. Howard stories and a fragment, and there isn’t much substance to the character beyond “talented swordswoman who rejects patriarchy.” Maybe this episode will launch better stories for Dark Agnes in the future, but if the intent is to promote a Howardian heroine I think Conan’s former companions Valeria or Bêlit would make more interesting protagonists.

While it feels like creators continue to struggle with Dark Agnes and I would’ve preferred the page count be devoted to shorter standalone stories rather than sprawling multi-issue epics, The Savage Sword of Conan #6 marks a strong conclusion to the black and white magazine’s first year at Titan Comics. The artwork was excellent throughout and action scenes abundant. I appreciate seeing prose stories appear alongside the comics, and despite its impressive brevity Matthew John’s “Madness on the Mound” was the highlight of the issue.

#ReviewArchive #ComicReview #Fantasy #SwordAndSorcery #JasonAaron #GeofIsherwood #MatthewJohn #MichaelDowns #PiotrKowalski #TitanComics #ConanTheBarbarian #TheSavageSwordOfConan #GrimdarkMagazine #GdM

This review originally appeared at Grimdark Magazine on September 18, 2025.

The Buffalo Hunter Hunter

By Stephen Graham Jones – S&S/Saga Press – March 18, 2025

Review by Robin Marx

As The Buffalo Hunter Hunter begins, Etsy Beaucarne is struggling with an undistinguished academic career. A surprising opportunity falls in her lap, however, after a distant relative’s crumbling journal is discovered hidden in the walls of a decrepit parsonage. Penned in 1912 by her great-great-grandfather Arthur, a Lutheran pastor posted in Montana, Etsy hopes to use the manuscript as the springboard for a new research project, ideally leading to publications and tenure. But as transcriptions of the brittle and faded pages are delivered, she discovers a much darker and more troubling narrative than expected.

The premise established, Etsy’s story fades into the background. The Beaucarne Manuscript makes up the bulk of The Buffalo Hunter Hunter. Arthur Beaucarne’s religious ministrations to the small town of Miles City are disrupted when an ominous stranger begins attending his sermons. Invariably seated in the rearmost pew, the visitor is a Native American man dressed incongruously in a black Jesuit robe, battered cavalry boots, and dark glasses. Disturbed by the man’s intense scrutiny, Arthur nevertheless finds himself fascinated by the visitor. Eventually the Indian approaches Arthur after a Sunday service, introducing himself as Good Stab of the Pikuni (Piegan Blackfeet tribe), and says that he has come to the church to confess his sins. Over a series of weekly visits—the chapel dimmed so as not to aggravate his unusual sensitivity to light—Good Stab unburdens his soul, and Arthur dutifully recounts the man’s anecdotes in his journal.

During his first visit, Good Stab describes encountering the scene of a bizarre massacre, with dead white men surrounding a wagon containing a caged and hissing chalk-white man with fangs. After a series of catastrophes, the so-called “Cat Man” escapes from his prison and Good Stab undergoes a traumatic metamorphosis.

Between Good Stab’s visits, mutilated and exsanguinated human bodies begin appearing outside Miles City, partially skinned in apparent imitation of the wasteful fashion of white hunters of buffalo. Arthur quickly draws a connection between the corpses and his unusual guest and begins to investigate. Over time he begins to suspect an ulterior motive underlying Good Stab’s visits.

As it makes clear surprisingly early on, this book is a vampire novel. The Buffalo Hunter Hunter shares some superficial elements with Anne Rice’s 1976 Interview with the Vampire, and fans of the latter are likely to enjoy Stephen Graham Jones’ novel. But it’s also simultaneously a compelling revenge tale that deals unflinchingly with the Native Americans’ genocide at the hands of white colonizers. Rage, guilt, and regret feature prominently, and Good Stab’s anguish is powerfully rendered. Jones is himself of Blackfeet heritage, and it felt like the historical setting gave the author license to write about his ancestors’ plight in a more unfiltered and immediate way than his works set in the modern day.

Literary weightiness aside, The Buffalo Hunter Hunter is a particularly original vampire story. The Old West setting is fresh, as is the fact that—in Jones’ world—vampires literally are what they eat. Vampires begin to take on characteristics of the creatures they habitually consume. Too much deer blood and stubby antlers begin to sprout, for example. The same principle extends to human prey; when Good Stab subsists on white victims, he grows to resemble them, gaining a pale skin tone and scraggly beard. If he is to maintain his original form, he’s forced to devour his own people. It could be argued that this is a metaphor for cultural assimilation: associate too much with the white man and Good Stab begins to become one, but isolating himself among his fellow Pikuni is likewise harmful and unsustainable in the long term.

Beyond this novel depiction of vampirism, the book also boasts an abundance of chilling moments. With unlimited time at their disposal, The Buffalo Hunter Hunter repeatedly demonstrates that a sufficiently patient and motivated vampire can concoct tortures of breathtaking malice. Fates literally worse than death.

The Buffalo Hunter Hunter benefits from the strong and distinct voices of its two primary narrators, Good Stab and Arthur Beaucarne. Both are unreliable narrators in their own way. Good Stab is fond of using colorfully literal translations of his people’s words for animals (big mouth, blackhorn, real-bear, prairie-runner, etc.), but he occasionally slips and betrays a more fluent command of American English than the disarming Indian stereotype he playacts as. Arthur, on the other hand, reveals a tendency to dance around sensitive topics, to avoid examining or grappling with the uncomfortable until it’s too late.

Unfortunately, the robust characterization on display with Good Stab and Arthur ends up making the novel’s primary flaw more visible. When the Beaucarne Manuscript concludes, the narrative returns to the present day, with Etsy left to deal with her great-great-grandfather’s disturbing legacy. But because readers have spent so little time with Etsy, she feels much less satisfying as a viewpoint character. Good Stab and Arthur’s words are given heft by a lightly archaic style and the weight of history, while Etsy is just a modern gal with modern job frustrations and a cute cat. Relatable, but underequipped for the task of carrying such a heavy story’s ending. Perhaps this issue could have been ameliorated by having Etsy resurface periodically during the middle portion of the book to share her reactions and own investigative footwork, rather than showing up for a few brief pages in the beginning and then reappearing only to shoulder the last tenth of the book. The violence depicted in the finale also felt tonally different than what readers had been presented with previously. Less gritty, more gonzo.

Despite the comparatively weak finish, The Buffalo Hunter Hunter remains the most original and exciting vampire novel in years. Stephen Graham Jones has released many strong books in a short span of time, but this one is particularly passionate and multidimensional. While I suspect Jones’ best work is still ahead of him, The Buffalo Hunter Hunter stands out even among an already robust catalog of work.

#ReviewArchive #BookReview #Horror #TheBuffaloHunterHunter #StephenGrahamJones #GrimdarkMagazine #GdM

This review originally appeared at Grimdark Magazine on September 6, 2025.

Conan the Barbarian #23

By Jim Zub (Writer) and Fernando Dagnino (Artist) – Titan Comics – August 13, 2025

Review by Robin Marx

Having failed in his attempt to strike down his captor, the ruthless sorceress Athyr-Bast, Conan finds himself struggling to resist her mind domination magic. Zula, a shape-shifter Conan previously encountered in the jungles of the southern Black Kingdoms, appears in the nick of time, knocking Athyr-Bast unconscious and freeing Conan from her influence. Still indebted to Zula after their previous encounter (Conan the Barbarian #20), Conan agrees to help the magician sabotage his Set-worshipping Stygian enemies, provided they return to rescue Livia once their mission is complete. Zula uses his magic to disguise himself as Athyr-Bast and Conan dons the armor of one of the sorceress’ slain bodyguards. Together they set out to uncover the aims of Thoth-Amon, leader of the sorcerous Black Circle and an influential figure in Set’s snake cult.

Part III of A Nest of Serpents, this issue is entitled “Power and Influence.” Finally, Jim Zub delivers the much-teased first encounter between Conan and Thoth-Amon. While Thoth-Amon and Conan never actually meet in the original Robert E. Howard short stories, Conan only indirectly comes into contact with Thoth-Amon’s malign magic, Thoth-Amon is a fan-favorite antagonist from the pastiche novels and comic adaptations. Finally seeing the two characters together in the current Titan Comics Conan the Barbarian run was a long-awaited treat. Zub makes their meeting a tense one, showcasing Thoth-Amon’s great mystical powers while also depicting him as an embattled leader, beset by enemies both distant and within his inner circle. As one potential threat Thoth-Amon namedrops Natohk the Veiled One, who Howard fans will recall as the antagonist from the 1933 Conan tale “Black Colossus.” Thoth-Amon also demonstrates how well-informed he is when he recognizes the name Amra, Conan’s current nom de guerre; Conan hurriedly claims that he is a DIFFERENT Amra, not the notorious Black Coast pirate of which Thoth-Amon has heard.

Fernando Dagnino continues to showcase his strength and versatility as an artist in this issue. The architecture in this issue particularly stands out. Dagnino makes the teeming slums of Keshatta come alive, and Thoth-Amon’s Temple of Set is appropriately monumental and imposing. Thoth-Amon himself also looks “right,” maintaining the sinuous build and vaguely reptilian aspect popularized by Cary Nord in the 2004 Dark Horse Comics Conan title. In an interview in Conan the Barbarian #21, Dagnino laments that Conan’s face is tricky to perfect: if the bridge of his nose is even slightly too short, he ends up looking like the Incredible Hulk. True enough, in this issue there are some borderline Hulk-faced Conan depictions. But that’s less a critique of the artwork on my part than an amused acknowledgment of the two characters’ resemblance.

Conan the Barbarian issue #23 gives readers the Conan and Thoth-Amon encounter they have been waiting for. Zub and Dagnino deliver a briskly paced issue packed with tension and spectacle.

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This review originally appeared at Grimdark Magazine on August 7, 2025.

Conan the Barbarian #22

By Jim Zub (Writer) and Fernando Dagnino (Artist) – Titan Comics – July 9, 2025

Review by Robin Marx

Conan, his band of Bamula warriors, and Princess Livia have been drugged and imprisoned in the Stygian border town of Keshatta by the ruthless enchantress Athyr-Bast. She and other members of a sorcerous clique known as the Black Ring pit captives against each other in gladiatorial combat as a means of entertaining the unwashed masses while simultaneously jockeying for position and prestige within the Ring. Given no opportunity to prepare, Conan immediately finds himself thrust into the arena with the reigning champion, a giant brute named Krum-Va the Carver. Despite the formidable odds, Conan emerges alive but not unscathed. Further victories under the nom de guerre Amra the Annihilator earn Conan special treatment among the gladiators, and Athyr-Bast basks in her pet warrior’s triumphs. However, thoughts of liberating himself and his comrades are never far from Conan’s mind.

Conan the Barbarian issue #22, “Diamond in the Dirt,” borrows many recognizable elements from Spartacus and every other gladiator movie and TV show you’ve ever seen. Grossly mismatched opponents, triumphant underdogs, friends pitted against friends, slaves elevated to celebrity, privileged women dallying with their gladiators, etc. The tropes and story beats may be familiar, but they remain entertaining. While pit fighter was never a vocation undertaken by the barbarian in the original Robert E. Howard stories, it’s exciting to see the exploits of Conan the Gladiator in a more expanded capacity than the ruthlessly edited taste viewers were shown in the 1982 Conan the Barbarian film.

Fernando Dagnino’s artwork continues to appeal. Gladiatorial combat appears frequently throughout the issue, and Dagnino delivers melee depictions that feel not only dynamic and forceful, but rhythmically paced as well. Outside of the arena, Dagnino proves himself adept with the quieter moments. Athyr-Bast remains an alluring and well-dressed femme fatale, and women’s faces and costuming haven’t always been shown this much attention and care under previous Conan the Barbarian artists.

The Jeffrey Shanks essay accompanying Conan the Barbarian #22 explores the ancient Egyptian-themed land of Stygia, an isolationist land dominated by sorcery and snake cults. In addition to the current “Nest of Serpents” story arc, Stygia is set to figure heavily in the upcoming “Scourge of the Serpent” event miniseries, and the essay offers newcomers some welcome grounding in one of the Hyborian Age’s most evocative and mysterious locales.

While this reader hopes the much-teased antagonist Thoth-Amon will take a more prominent role in the next issue, Conan the Barbarian issue #22 is a fun and fast-paced gladiator montage.

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This review originally appeared in New Edge Sword & Sorcery Magazine Issue #3, released on December 9, 2024.

Shared World

By Jonathan Ball, GMB Chomichuk, James Gillespie, Chadwick Ginther – Stranger Fiction Inc. – November 20, 2023

Review by Robin Marx

Released under the auspices of Jonathan Ball’s Stranger Fiction Inc., Shared World collects six short stories by four Canadian authors, all taking place within the same jointly created Sword & Sorcery setting. While the concept of a shared Sword & Sorcery world immediately summons to mind Robert Asprin’s enduring Thieves' World series, surprisingly no acknowledgment is made of this antecedent. Instead, Silvia Moreno-Garcia’s introduction hearkens back to the days of Weird Tales magazine, when names and motifs from H. P. Lovecraft’s Cthulhu Mythos horror stories began cropping up in the more fantasy-oriented creations of his correspondents Robert E. Howard, C.L. Moore, and Clark Ashton Smith. The argument is that not only is there a long history of cross-fertilization between authors working in the pulp fantasy milieu, but that elements of Lovecraft’s Mythos in particular have had a strong presence in Sword & Sorcery fiction since the earliest days of the genre. Shared World is positioned as an heir to this literary tradition.

The setting of Shared World is a post-apocalyptic one. In the distant past, a great human civilization approached godhood. A mysterious calamity wiped out their kingdoms, however, leaving their monolithic ruins scattered across the shunned and monster-infested Once Lands. Various tribal societies keep to the less inhospitable margins of the wilderness, but one dominant metropolis has coalesced in the form of Khyber, a mighty city serving as a central gateway to three continents. Elements of the Cthulhu Mythos are prominent in Shared World, with several stories concerned with strange gods of the “dead but dreaming” persuasion. The tales are united by a central tension between characters striving to keep those ancient gods dormant and those seeking to hasten their return.

While the stories are presented in a mixed order for variety’s sake, each of the Shared World contributors has a particular focus. For example, both stories co-written by GMB Chomichuk and James Gillespie deal with members of the Vani, a tribal people, and begin with the same inciting incident: a Vani apparently driven mad by greed has slain the Spear King and sold his seven children into slavery. “Kaa-Rokaan,” the first story in this diptych, involves a Vani scout who ventures forth to rescue the enslaved tribesmen. Rokaan is assisted in his task by the totem spirit, or “Kaa,” of a crow. While he is initially disappointed in not being chosen by a more martial totem like Bear or Boar, Rokaan eventually comes to appreciate his spiritual ally’s strengths as he deals with the alien obstacles barring the path to his enslaved comrades. “Kaa-Shufa,” the second entry by Chomichuk and Gillespie, follows the Bear totem warrior woman tasked with pursuing Lothar, the traitor who killed the Spear King and sold his offspring. Shufa learns that Lothar’s heinous crime was motivated by desperation, and the two become uneasy allies in a quest that leads them deep underground, where yellow lichen-infected cultists attend to an alien god on the verge of an apocalyptic awakening. The Chomichuk/Gillespie stories are an intriguing blend of First Nations mythology and Lovecraftian horror, with resourceful heroes and their inscrutable spiritual allies pitted against eldritch threats.

Chadwick Ginther’s two contributions to the anthology are set in Khyber, a crowded and colorful metropolis pleasingly reminiscent of Fritz Leiber’s Lankhmar, or Sanctuary of Thieves' World fame. In “When the Gods Send You Rats,” a heavily tattooed midwife (inscribed with songbirds for babies delivered and crows for enemy lives taken) is attacked by a humaniform swarm of rats bearing an enchanted crown. She joins forces with the Rat-King, one of Khyber’s ubiquitous Rat-Catchers, and the pair soon discover that the rodents of Khyber are attempting to summon an extradimensional entity that threatens to devour the entire city. “Red” is another excursion deep below Khyber. When her dissolute haberdasher brother Needle is abducted under mysterious circumstances, deadly swordswoman Redala visits a string of Diviners and disreputable underworld figures in an effort to pick up his trail. While we only get a small taste of the setting, both of Ginther’s stories present Khyber as a bustling and chaotic city filled with bizarre communities, each with their own social codes and mores—fertile ground for Sword & Sorcery adventures.

Jonathan Ball’s pair of stories return to the tribal side of the setting. Both tales feature Draxas, a beastlike woman cast out from the matriarchal Shaaraka cannibals for the heresy of atheism. In “There Were Once Words,” Draxas tracks a hooded sorcerer through blighted wildernesses, eager to learn about the sleeping gods he serves. She ends up with more than she bargained for in her final confrontation with the sorcerer. “Circle of Stones” is a sequel that deals with the fallout of her fateful encounter with the sorcerer. Half of the story is a flashback dealing with Draxas’ bloody expulsion from the Shaaraka, and the remainder centers on her newfound devotion to dark gods. Ball’s entries emphasize mood over plot, and Draxas is an interesting—if challenging—character. Clad in leather of human origin and messily slurping the marrow from women’s bones, it wasn’t until a few pages into her introduction that it became clear Draxas was intended to be human, rather than a ghoul or some other monster.

Despite its regrettably bland title, Shared World is a fascinating literary experiment. The anthology was released simultaneously with Khyber, a companion collection of stories by Ginther. Although they have not yet appeared at the time of this writing, Once Lands by Chomichuk & Gillespie has been announced, as well as Draxas by Ball. The Shared World project’s website has an open call for contributors, and it will be interesting to see if the Once Lands are adopted by writers outside of this initial circle. With plenty of space for further development, Shared World offers a tantalizing look at a Lovecraftian Sword & Sorcery setting boasting a lot of potential.

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This review originally appeared in Old Moon Quarterly Vol. 6, released on January 16, 2024.

Tales From The Magician’s Skull – No. 11

Edited by Howard Andrew Jones – Goodman Publications – August 18, 2013

Review by Robin Marx

Tales From The Magician’s Skull No. 11 collects eight new Sword & Sorcery stories curated by Howard Andrew Jones. It features cover artwork by fantasy paperback master Sanjulian, and each story is illustrated by artists including Jason Edwards, Tom Galambos, and Stefan Poag.

“Test of the Runeweavers,” by H. T. Grossen, receives the cover treatment for this issue. Young Frode, a member of the Viking-inspired Aegirvarg people, embarks on his first ocean voyage as an apprentice runerikr, or wielder of spoken rune-based magic. Investigating mysterious coastal raids, Frode and his fellows encounter strangers from a far-off land with their own potent ideograph-based magic. This brisk story covers a great deal of territory despite its slim page count, and the rune magic feels flashy and novel.

“Lady of the Frost” is the latest Shintaro Oba tale by C. L. Werner, a name that should be familiar to fans of Warhammer and Games Workshop’s Black Library imprint. As with previous installments, wandering samurai Oba comes into conflict with a supernatural threat from Japanese folklore. “Lady of the Frost” is a solid example of sword & sorcery adventure in an underrepresented setting.

Trespassing in temples devoted to bizarre and malign gods is a common (and exciting!) trope in sword & sorcery, but if this issue has a flaw, it’s the inclusion of three such stories in a single installment. Bill Pearce’s “The Eyes of Rath Kanon” is the first of this issue’s unadvertised evil temple trilogy. The twisty plot and shifting loyalties intrigued, but despite a strong start and conclusion it felt like the middle portion of this contribution lacked the propulsive momentum found in the other stories.

“Ghostwise” by Caias Ward was the highlight of the issue, and a story I suspect Old Moon Quarterly readers are especially predisposed to enjoy. Dark-skinned but with chalk-white hands, gun-slinging mystic Obba Babatunde is summoned to a king’s court to attend to a haunted princess with identical markings. Like Obba himself, Princess Jansynth exists simultaneously in both the realms of the living and the dead, making her vulnerable to constant ghostly attacks unless she can build up her own defenses. As she struggles to keep her soul intact, Jansynth learns a devastating truth about her spectral tormentor and her own heritage. Cleverly plotted, “Ghostwise” reminds me of the early Witcher short stories by Andrzej Sapkowski, where the true monster isn’t always obvious at first glance. Ward’s hero and his talents are worthy of further elaboration, and I hope to see more Obba stories in the future.

Set in Earth in ancient times rather than a secondary world, Mark Mellon’s “Melkart and the Whore of Babylon” masterfully transforms antiquity into a lush and decadent sword & sorcery setting. Envious of her influence on Babylon’s populace, King Belshazzar plots to use a religious ceremony as cover and assassinate Inanna, the priestess of Ishtar, replacing both her and the goddess she serves with a more amenable sect. Unwilling to participate in such a dastardly scheme, Belshazzar’s hired sword Melkart immediately reveals the conspiracy to Inanna, offering himself as her protector at great personal risk. Just as the odds seem insurmountable, “Melkart and the Whore of Babylon” concludes with a truly epic finale.

Dawn Vogel’s “Kick in the Door and Improvise” distinguishes itself from the other stories by virtue of its humor. Unable to infiltrate a castle due to the bright moon overhead, two thieves hired to steal a king’s crown seek magical assistance. A sorcerer offers to dim the moon to hide their approach, provided they can collect all the ingredients required for the spell on a tight schedule. The final heist itself ends up almost an afterthought; most of the story concerns itself with the hunt for an elusive black pearl. The wry, freewheeling tone and focus on spell components pleasantly reminded me of the Dungeons & Dragons: Honor Among Thieves film, and the story offered a refreshing change of pace from the uniformly serious tales composing the rest of the issue.

In “The Lens of Being,” by Daniel Amatiello, a pirate queen stumbles across a menacing cult lurking in a cliff-side temple complex on the coast of India. While the heretical Buddhist sect featured in the story had great potential, its aims and methods felt underdeveloped and the climactic monster too familiar. Not a bad story, but it suffers by appearing alongside two other temple raid stories.

The issue ends on a particularly strong note with “Bound in Brass and Iron,” by Matthew X. Gomez. When partially devoured bodies start turning up at the scene of a newly constructed temple, Liam the Black is hired to investigate. The trail leads him into a deeper temple, where a forgotten demon strains against its binding. This is the best of the issue’s unofficial evil temple trilogy, with a resourceful hero, fascinating spellcraft, and tense action.

Each issue of Tales From The Magician’s Skull concludes with a brief appendix called “The Monster Pit,” featuring game statistics of the monsters appearing in the various stories for use with publisher Goodman Games’ Dungeon Crawl Classics roleplaying game. It’s a gimmick, but a fun one that hopefully encourages tabletop gamers to engage more with the literary roots of their hobby.

Since launching in 2018, Tales From The Magician’s Skull quickly established itself as a quality venue for fantasy tales written in the pulp adventure tradition, and both the fiction and the artwork in this issue maintains that high level of excellence. Tales From The Magician’s Skull benefits from a tight focus on sword & sorcery, making it a one-stop venue for fast-paced fantasy action.

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