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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This review originally appeared on Goodreads on June 18, 2012.

The Waters of Eternity

By Howard Andrew Jones – Thomas Dunne Books – November 22, 2011

Review by Robin Marx

This ebook collects most of the Dabir and Asim short stories by Howard Andrew Jones. Being a fan of both sword & sorcery (a genre Jones has made a valiant effort through articles at Black Gate, etc., to revive) and the Arabian Nights, I picked up this volume so as to learn about the characters before moving onto his debut novel, The Desert of Souls.

Dabir and Asim make an interesting pair of sword & sorcery heroes, very different from the genre's other notable duos, Fafhrd and the Gray Mouser and Elric and Moonglum. Dabir is a wise scholar, while expert swordsman Asim acts as the brawn. They're a bit like Holmes and Watson in that respect. Trusted by the caliph, they're called upon by a variety of people in need. In the stories collected, the premise most often involves some supernatural mystery or a threat on an important figure's life.

True to the genre, the stories are fast-paced, with swashbuckling action and strange creatures. The mystery elements are interesting, but Dabir often reaches conclusions with very little evidence, or at least none that's shared with the reader. As a result, these “brilliant deductions” can seem a little contrived. They'd ring a bit more true if Jones took more time placing hints beforehand.

The Arabian Nights atmosphere is a bit low-key, but there's enough flavor to distinguish these stories from standard Western fantasy. It's interesting to note that both Dabir and Asim are good Muslims, so while they encounter a variety of sword & sorcery temptresses, dancing girls, and femme fatales, there's no Conan-style wrenching to be found.

The book concludes with a sizable excerpt from the first Dabir and Asim novel, The Desert of Souls. This seemed superfluous to me, however, as most people likely to pick this book up have either read the novel and want to read Dabir and Asim's previously-published adventures, or those like me, who want to read these stories before moving onto the novel. I'll be buying The Desert of Souls, so I skipped this excerpt entirely.

I look forward to reading more about Dabir and Asim's exploits. While sword & sorcery lends itself well to shorter formats, novel-length might be a better match for Howard's style. Perhaps the extra room will give Howard more time to develop his mystery plots, as well as treat the reader to a bit more Arabian atmosphere.

★★★★☆

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This review originally appeared at Grimdark Magazine on October 13, 2023.

The City of Marble and Blood

By Howard Andrew Jones – Baen Books – October 3, 2023

Review by Robin Marx

Book 2 in the Chronicles of Hanuvar, The City of Marble and Blood picks up shortly after the conclusion of Lord of a Shattered Land. Defeated general and master strategist Hanuvar continues his undercover efforts to free his enslaved Volani countrymen from the genocidal Dervan Empire. He reconnects with old allies and gains new ones, including some surprising friends highly placed within the Dervan Empire. Early in the book a sorcerous mishap inflicts upon Hanuvar a startling transformation, however. The magical disaster provides renewed physical vigor and makes disguising his identity easier, but he also finds himself unrecognizable to longtime friends and aging at an accelerating pace. Freeing his people remains his utmost priority, but even more than before Hanuvar is confronted with his own mortality.

Like Lord of a Shattered Land before it, The City of Marble and Blood is another cycle of 14 linked stories (the final 15th chapter is more of an epilogue). Each chapter is largely episodic, making this an ideal book for short reading sessions. Compared to the first volume, however, The City of Marble and Blood holds together better as a cohesive novel. Where the installments in Lord of a Shattered Land tended to be scattered both geographically and thematically, with few members of the supporting cast returning after their original appearance, the stories here share more recurring characters and the plots more connections between them.

While Hanuvar remains as clever and driven as ever, the type of stories being told in The City of Marble and Blood have shifted slightly compared to the preceding book. Where Lord of a Shattered Land took place in the outlying provinces, The City of Marble and Blood is largely set deep behind enemy lines, either in the Empire’s central territories or the capital of Derva itself. This change in locale raises the stakes, as Hanuvar is surrounded at all times by the imperial war machine and the Gestapo-like Revenants. The capture and interrogation of Hanuvar or one of his key allies has the potential to scuttle his entire plan to liberate the enslaved Volani. And while they don’t disappear entirely, the “man versus monster” stories from the first volume mostly give way to a greater focus on mystery and political intrigue. Hanuvar finds himself in the uncomfortable position of working to foil assassination attempts on Dervans responsible for the destruction of his homeland, simply to prevent the ascension of even worse figures.

Fewer supernatural monsters appear in The City of Marble and Blood than the first book, but there is a greater emphasis on humanocentric evil. While there are a number of likable Dervan characters, it remains an empire built on slavery and Jones doesn’t shy away from depicting the brutality of human bondage. Entitled “In a Family Way,” the eleventh story in the book is an incredibly bleak look at a Dervan lordling who surrounds himself with beautiful slaves. Not only are the women mistreated and forced to share his bed, those unfortunates who fall pregnant end up being subjected to an even more sadistic fate. Hanuvar is an unambiguously heroic figure and many of his adventures have bright conclusions, but when a story wanders into grim territory Jones seems happy to rip the gloves off and bolt deeper into the darkness.

Lord of a Shattered Land marked a strong start to the *Chronicles of Hanuvar and The City of Marble and Blood makes for a compelling follow-up. The nature of Hanuvar’s exploits have changed slightly, but he remains the same cunning and cerebral character introduced in the first book. He also now benefits from an expanded roster of interesting and engaging allies and foes. The Roman-inspired Dervan setting continues to intrigue. Jones provides enough detail to paint a vivid picture of the society while simultaneously avoiding the dreaded “info-dump.” The City of Marble and Blood delivers a definite sense of forward momentum that I found incredibly satisfying. Formidable obstacles remain, but it feels like Hanuvar is making significant progress towards liberating his people. He’s winning. This makes me suspect that readers are being set up for a devastating reversal of fortune in the third book.

While The City of Marble and Blood appeared merely two months after Lord of a Shattered Land, readers will have to wait notably longer for the third volume in the series. Shadow of the Smoking Mountain is scheduled for an October 2024 release.

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This review originally appeared at Grimdark Magazine on August 31, 2023.

Lord of a Shattered Land

By Howard Andrew Jones – Baen Books – August 1, 2023

Review by Robin Marx

Lord of a Shattered Land opens immediately after the decisive conclusion of a brutal, genocidal war. After two previous conflicts were fought to stalemate, the expansionist Dervan Empire has finally succeeded in crushing Volanus. Not just content to dominate the rival city-state militarily, the Dervans exterminated nearly all the populace, razed Volanus’ iconic silver towers, and salted its fields. The handful of survivors were shipped back to the Empire in chains. Leading troops in the field, Hanuvar—Volanus’ greatest general—was absent for the obliteration of his homeland. Having witnessed him plummet into the ocean from a great height, the Dervan legions rejoiced at the death of their hated foe. But reports of Hanuvar’s demise have proved premature. After washing up on an island, Hanuvar immediately pits his formidable military mind against the Dervans anew. He vows not to rest until every Volani survivor has been freed from slavery.

First volume in a planned five-book saga entitled The Chronicles of Hanuvar, Lord of a Shattered Land has an unusual structure. Rather than a conventional novel, it’s a cycle of 14 linked short stories. Each chapter is a self-contained story but taken together they tell a greater narrative. Unlike the fix-up novels of classic science fiction and fantasy, where disparate short stories are tied together post facto, the individual component stories that make up The Chronicles of Hanuvar were intended from conception to contribute to a planned, overarching plot. This structure feels a bit like a market-driven compromise between the typical short story format of Sword & Sorcery fiction (Jones is a vocal proponent of Sword & Sorcery and also serves as editor of the subgenre’s premiere magazine, Tales From The Magician’s Skull) and major publishers’ preference for multi-volume epic fare, but in the end it works surprisingly well. Each chapter satisfies as a bite-sized piece of entertainment while still providing a sense of overall progression and forward momentum.

While many of the stories collected in Lord of a Shattered Land involve Hanuvar traveling to a new locale, encountering Volani survivors, and attempting to free them from the yoke of Dervan slavery, there is significant variation in tone throughout the book. Straightforward man vs. monster Sword & Sorcery tales are included alongside heist and espionage stories. There’s even a fairytale: “Shroud of Feathers.” While Hanuvar himself displays too much integrity to be considered a grimdark hero, his mission and the setting are decidedly grim, with the oppressive cruelty of the Dervan Empire on constant display. Depictions of violence are generally brief—Hanuvar tends to eliminate threats with cold efficiency—but graphic, and chapters like “The Eyes of the Reaper,” “The Missing Man,” and “The Light of the Lovely Ones” emphasize horrific elements, venturing deep into dark territory.

Given the nature of the book, whether Lord of a Shattered Land will be successful for a given reader or not depends greatly on how they react to Hanuvar as a character. Jones makes no secret that his hero is inspired by the great general Hannibal of Carthage, known for his strategic genius in the Punic Wars against Rome. While historically the destruction of Carthage took place decades after Hannibal’s death, Jones has Hanuvar survive the razing of his Carthage analogue, rising again as a sort of avenging angel for his people. Fiftyish and hindered by chronic war injuries, Hanuvar relies on clever tactics, decades of hard-earned experience, and steely determination. Despite all the historical flavoring, however, Hanuvar’s preternatural competence and tendency to be several steps ahead of the opposition reminded me of cinematic spy heroes like James Bond, or Ethan Hunt from the MISSION: IMPOSSIBLE series. Some of the quieter moments in the book reveal that Hanuvar carries a great deal of survivor’s guilt for not being present at the destruction of Volanus, but he never allows himself to wallow in self-pity or indulge himself in “extracurricular” revenge. The mission to free his enslaved countrymen is always first and foremost in his mind, and deep within enemy territory he frequently finds himself left with no choice but to work alongside citizens of the very Empire that destroyed his homeland.

While readers who prefer significantly flawed or morally ambiguous protagonists may be left cold by Hanuvar’s righteous certitude, Lord of a Shattered Land is ideal for fans of intensely driven, hyper-competent heroes. The episodic nature of the storytelling makes it an ideal book for brief reading sessions, and the individual chapters span a wide range of story types. The pseudo-Mediterranean setting and Roman trappings are also a nice change of pace from Northern European-inspired fantasy.

Readers who enjoy Lord of a Shattered Land will not have long to wait for a sequel. The City of Marble and Blood is set to arrive this October, with two further volumes in The Chronicles of Hanuvar scheduled for release in 2024.

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This review originally appeared at Grimdark Magazine on May 10, 2023.

Tales From The Magician’s Skull – No. 10

By Goodman Publications – April 12, 2023

Review by Robin Marx

First debuting in 2018, Goodman Publications’ Tales From The Magician’s Skull has reached its landmark tenth issue. While the arrival of new magazines dedicated to short fantasy fiction is not uncommon, Tales From The Magician’s Skull distinguishes itself from its fellows via its specific editorial focus and high production values. Directed by editor Howard Andrew Jones, the magazine is dedicated to never-before-published stories written in the classic pulp Sword & Sorcery tradition.

In addition to digital formats, the magazine is available in high-quality physical volumes manufactured via traditional offset printing (rather than print-on-demand). This tenth issue boasts a vibrant cover painting by veteran paperback cover and comic book artist Sanjulian, and each of the nine stories contained within have been given their own accompanying black and white illustration. Interior artists include Jennell Jaquays, Brad McDevitt, and Stefan Poag.

In an essay titled “Defining Sword-and-Sorcery” (collected in special issue No. 0 of Tales From The Magician’s Skull), Jones describes his vision of the S&S sub-genre and what distinguishes it from other varieties of fantasy. He highlights the outsider hero as one of the hallmarks of S&S: the protagonists often exist on the margins of society as wandering barbarians or thieves, rather than comfortably ensconced nobles and townsfolk. S&S heroes tend to live by their wits and martial ability, with magic either unreliable as a tool or outright malignant. And rather than lofty ideals or nation-level politics, these heroes tend to be motivated by earthier, more immediate concerns: the acquisition of wealth, romantic desire or lust, or the simple will to survive another day. Jones also emphasizes the breakneck pacing of S&S stories and their focus on violent action. All of the stories contained in this tenth issue demonstrate these qualities, making Tales From The Magician’s Skull an easy recommendation to readers who enjoy an abundance of action and peril in their fantasy.

The magazine’s cover art is dedicated to “The Demon Rats,” by C. L. Werner, a prolific author of licensed fiction set in the various WARHAMMER settings. The story involves Shintaro Oba, a disgraced samurai who finds himself tasked with exterminating a suspiciously coordinated horde of iron-fanged rodents intent on destroying a temple’s library of scriptures. He receives some assistance from an alluring shape-shifter with her own agenda. While Shintaro Oba has appeared in previous stories, no prior knowledge of the character is required to enjoy this adventure. Both the premise and characters are colorful, but some of the names feel awkwardly constructed in Japanese.

Perhaps the simplest story in the issue is also one of the most effective. “Green Face, Purple Haze” by Marc DeSantis is about an American soldier in the Vietnam War who finds himself magically transported to a fantasy realm with its own battles raging. Gunpowder fails to work, robbing him of the technological advantage of his assault rifle, but his modern military training and indomitable fighting spirit serve him well in the conflict between humans and the bestial urks. Although the specific words of the modern US Marine mantra “Improvise. Adapt. Overcome.” do not appear in the text, this story entertainingly celebrates that ethos. With its focus on the unchanging nature of war and visceral combat descriptions, this story in particular has a lot to love for grimdark enthusiasts.

Many of the stories collected in this issue are grounded and gritty, but others venture into much stranger territory. “The Sorcerer’s Mask” by Jason Ray Carney, managing editor of Whetstone: Amateur Magazine of Pulp Sword and Sorcery, involves an unnamed thief unjustly cast into a vast dungeon by a paranoid immortal wizard. The Rogue must rely on his wits and the aid of an enigmatic soothsayer to effect his escape, and there is a sense of grim inevitability leading up to the final confrontation. The story moves quickly despite its vivid detail, covering a surprising amount of ground in a mere six pages. “A Simple Errand” by Grimdark Magazine contributor Matthew John also involves a prison break, but one where a sorcerer (or “meddler” in the story’s parlance) frees a barbarian warrior awaiting execution in order to put him to work on a dark mission: killing an alien god on another world. This adventure is packed with hallucinatory imagery worthy of Roger Dean’s cosmic prog rock album artwork.

A surprise highlight of the issue was “The Black Pearl of the Sunken Lands,” by Cynthia Ward. In this story, a headstrong youth named Bruko vows to reclaim a legendary lost treasure to prove himself worthy of the affections of a beautiful maiden. This familiar premise is freshened by the fact that the protagonist is a nereus (aquatic humanoid) and his sidekick in the endeavor is an intelligent dolphin with blades strapped to his fins. It’s a simple thing, but the underwater setting makes a significant difference in the feel of the story. Ward’s sly humor further enhances the piece; the object of Bruko’s affections makes it pretty obvious to the reader that she’s not especially interested in marrying Bruko, and the dolphin companion proves to be more intelligent than the hero he’s accompanying.

The stories in this issue all share brisk pacing and an emphasis on swordplay, but their heroes are diverse in nature. In addition to Werner’s samurai hero, African-inspired and Native American warriors (in “Nzara” by D. J. Tyrer and “The Silent Mound” by Charles D. Shell, respectively) also have opportunities to shine. One of the toughest and most physically imposing characters herein is a woman: Dakagna, heroine of the grimdark-inflected “Dakagna and the Blood Scourge” by W. J. Lewis. At the opposite end of the spectrum is Jade, the heroine of Jeffery Sergent’s “The Eye of Kaleet,” who uses guile to survive situations where she is clearly outmatched martially.

The issue concludes with a brief appendix entitled “The Monster Pit,” giving various monsters appearing in the fiction game statistics for use with the publisher’s Dungeon Crawl Classics Role Playing Game. This is a fun addendum for players of DCC RPG or other games with systems largely compatible with early editions of Dungeons & Dragons, but the page count it occupies is minimal, meaning that non-gamer readers are unlikely to feel alienated or slighted by the non-prose content.

Ten issues and nearly five years in, Tales From The Magician’s Skull continues to deliver fantastic action-adventure tales in an appealing and polished package. Previous issues included a number of established names familiar to fans of contemporary Sword & Sorcery—Adrian Cole, James Enge, John C. Hocking, Violette Malan—but the most recent installments have also begun incorporating exciting newer voices as well. The magazine enjoys near universal acclaim among Sword & Sorcery readers and has become a sort of Holy Grail venue for S&S writers looking to showcase their work, but—like the sub-genre itself—one still gets the feeling that Tales From The Magician’s Skull isn’t quite getting the sort of wider recognition its quality deserves. Whether this is due to difficulties in promoting short fantasy fiction in today’s increasingly entertainment-saturated market is unclear. Perhaps the magazine’s association with a role-playing game publisher and each issue’s appendix of game statistics lead some fantasy readers to assume that Tales From The Magician’s Skull is an RPG magazine, rather than an original fiction magazine with some bonus RPG content. Sword & Sorcery tales are full of scrappy underdogs doing whatever it takes to survive, but like those heroes it’s nice to see the underdogs rewarded in the end with glory and gold. Other Grimdark Magazine contributors (cf. Matthew John’s Robert E. Howard: Godfather of Grimdark? and John R. Fultz’s The Mud, The Blood, and the Years: Why “Grimdark” is the New “Sword and Sorcery”) have remarked upon the considerable amount of shared DNA between Sword & Sorcery and grimdark fantasy fiction. Grimdark readers are encouraged to give Tales From The Magician’s Skull a look, perhaps it will become a new favorite discovery.

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