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.

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This review originally appeared at Grimdark Magazine on August 25, 2024.

To Walk on Worlds

By Matthew John – Independently published – June 23, 2024

Review by Robin Marx

Wizards are dicks! Or at least that seems to be the core take-home message of To Walk on Worlds, the debut short fiction collection by occasional Grimdark Magazine contributor Matthew John. This volume collects 11 works of pitch black sword & sorcery: seven previously published stories and four never-before-seen. While alternate dimensions and planets feature heavily in the collected stories, they all share the same overall setting, with a few central characters reappearing across them. Looming especially large is Maxus, a ruthless sorcerer—or “meddler” in the setting’s parlance—on a never-ending quest for arcane supremacy.

The title story “To Walk on Worlds” sets the tone for the volume, introducing Maxus and demonstrating the lengths to which he will go to further his own dominance. When he pushes his luck too far in dealings with the local king, Maxus draws the ire of the monarch’s suspicious retainer General Playsus. Suddenly besieged and forced to think on his feet, Maxus uses a series of escalating dweomers to mercilessly crush his opposition and ensure his place at the top of the hierarchy.

Previously published in the tenth issue of Tales From the Magician’s Skull, “A Simple Errand” involves a fateful meeting between Maxus and another recurring protagonist, Lachmannon the Kael. Maxus springs the barbarian swordsman Lachmannon from a prison cell, whisking him away to another world to kill an alien god as part of one of Maxus’ inscrutable schemes. This story combines savage combat with bizarre, otherworldly vistas in the tradition of the best classic sword & sorcery adventures.

“The Circle” is one of the quieter stories in this volume. Fleeing from relentless pursuers, the archer Nylas wanders into ancient ruins in search of shelter. Cautiously joining a stranger’s campfire, he soon learns he has stumbled into a chilling magical trap. Apart from one truly nauseating instance of violence, “The Circle” focuses less on action and more on horror, depicting magic as something very clearly inimical to the natural world.

“The Gift of Gallah” is another tale in which contact with sorcery has unforeseen consequences. Seeking revenge against a taunting meddler called the Hooded One, Andwin plunges through the jungle in search of a mystical source of strength. In true monkey’s paw fashion, Andwin gets what he wants, but not in the way he hoped. Wizards are dicks.

Originally featured in A Book of Blades: Volume II, “Cries from a Sleeping City” is another adventure starring the barbarian Northman Lachmannon. The wealthy ruler of Zanzara hires a tavern full of sell-swords to scour the tunnels beneath the city, searching for the mythical Queen Vashka, thought to be an imprisoned immortal sorceress. Initially skeptical of the task, Lachmannon quickly learns that the tales of Vashka are true. To survive, he must fight to escape a nightmarish subterranean hellscape filled with cannibalistic “eaters” and unseen lurkers that use body-invading tentacles to drive their victims insane with bloodlust. The story is fast paced, with a fun menagerie of monsters and a dark streak a mile wide.

“Man of Xerus” chronicles another meddler’s attempt to walk on worlds. Through intense dedication and powerful magic, the sorcerer Vulka propels himself to another realm, hoping to bargain with a demon and return to his home planet more powerful than ever. In this story’s squirm-worthy body horror-filled finale, Vulka learns that there are far more diabolical foes than demons.

“A Final Errand” reunites Lachmannon and Maxus the Meddler for one more dimension-hopping adventure. Deeply wounded himself, Lachmannon drags a nearly incapacitated Maxus through monster-filled terrain hoping to acquire the “bug juice” that will allow Maxus to regain his magical powers. Much like “A Simple Errand,” the interplay between Maxus and Lachmannon is the highlight of the narrative. Neither fully trusts the other, but there’s a grudging, semi-antagonistic respect between the two that entertains. Despite the seemingly conclusive title of this story, this reader hopes the two cross paths again.

“The Meddler” is perhaps the most horrific story in To Walk on Worlds, and that’s saying something. Bizarre parasitic creatures stalk the wilderness outside an isolated farm house in which terrified young Shel huddles with her tearful little brother. Their parents are feared dead. Who should show up at the door but an injured Maxus, promising a safe escape if Shel is willing to venture out and fetch an arcane talisman from his tower. Shel is in a desperate situation, but everyone knows that you should never trust a meddler… “The Meddler” benefits from an appealing heroine that is easy to root for, supremely creepy monsters, and a tense atmosphere. Over the course of the story Maxus also reveals an important new side of himself.

“A Fate Worse Than Exile” is another survival story, this time involving an inveterate liar and cheat named Quent. Trapped in a bone cage with a sullen warrior that hates his guts, Quent must use any means at his disposal to escape his malicious captors and ensure his own passage off the hazardous, untamed island upon which he is marooned. In addition to bloody struggle and a generous helping of moral ambiguity, this tale features one of my favorite sword & sorcery tropes: the “dragon” that the reader can plainly recognize is, in actuality, a dinosaur.

Shel makes a welcome return in “A Chance Burden,” this time older and wearier than she was in “The Meddler.” No sign of her younger brother, but no obvious hint of past tragedy, either. This time she finds herself protecting an infant rescued from the arms of its slain mother. For reasons unknown, the duo are pursued by a squad of mercenaries led by a massive warrior with glowing red eyes. To make matters worse, wolves have begun to circle in the vicinity. Where the bulk of the stories in To Walk on Worlds features characters gleefully choosing expediency over more moral options, “A Chance Burden” features a heroine doggedly electing to do the noble thing, even in the face of certain death. Most of the collected stories function perfectly well as self-contained narratives, but “A Chance Burden” feels like it could easily be used to launch a full-length novel, should John choose to revisit it.

To Walk on Worlds concludes with “Black Harvest,” a cryptic and moody vignette in which a lone farmer is subjected to ominous and portentous questions by a menacing stranger. All the while, sinister tribal drums echo in the hills. The exchange recalls Anton Chigurh’s unnerving conversation with the gas station clerk in “No Country For Old Men.” The stranger’s motives and the full nature of the titular black harvest remain obscure, but we know they can’t be good.

Matthew John’s work is becoming a frequent sight in the top sword & sorcery and weird fantasy-oriented periodicals, but To Walk on Worlds bundles it together in one convenient package, where the connections and references between the stories can more easily be appreciated. The stories in To Walk on Worlds are grim, brutal, horrific, and bleak but also contain flashes of wonder and even humor. As strong a debut collection as this is, To Walk on Worlds also gives readers a sense that Matthew John is just getting started. Just remember: wizards are dicks.

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