This review originally appeared on Goodreads on August 2, 2012.

Michael Moorcock's Multiverse

By Michael Moorcock (Writer), Walter Simonson (Artist), Mark Reeve (Artist), John Ridgway (Artist) – DC Comics – November 1, 1999

Review by Robin Marx

Beautiful art, but this comic is for the hardest of hardcore Moorcock fans only. I've read about two dozen Moorcock books and have a decent grounding in his Eternal Champion mythos, and this series was still largely incomprehensible.

The idea of three parallel plot lines linking at the end of the story is an interesting one, but things never quite mesh, and the various threads don't seem to share equal relevance to the overall story. In the end the reader is left with a host of mostly cipher-like characters shouting about how “destruction of the multiverse is imminent” without gaining any real sense of the how and the why behind the threat.

Moorcock has written many of my favorite books, but this is him at his most impenetrable.

★★☆☆☆

#CapsuleReviewArchive #ComicReview #SwordAndSorcery #DCComics #MichaelMoorcocksMultiverse #MichaelMoorcock #EternalChampion

This review originally appeared on Goodreads on August 7, 2011.

The Chronicles Of Solomon Kane

By Various – Dark Horse – December 8, 2009

Review by Robin Marx

This volume collects a two volume series called “The Mark of Kane” and a later six issue miniseries called “The Sword of Solomon Kane.”

Despite scripts by Roy Thomas, the former is a little on the cheesy side, but I was pleasantly surprised by the “Sword of Solomon Kane” series. With only six issues to work with, I found it baffling that they spent time making a few original stories (one called The Prophet was particularly sleight and disappointing, despite excellent Mike Mignola artwork) rather than sticking with adaptations of the original Robert E. Howard short stories, but the comic versions of “Red Shadows,” “Hills of the Dead,” and “Wings in the Night” were well done.

The highlight of this volume was the characterization, however. While the authors of the current Dark Horse series seem to be struggling with how to present Kane, the staff of this old Marvel comic got him right. Dour, vengeful, and above all driven.

While I wouldn't recommend this volume as an introduction to the adventures of Solomon Kane, it's certainly worth a look for those already familiar with the character.

★★★☆☆

#CapsuleReviewArchive #ComicReview #SwordAndSorcery #SolomonKane #TheChroniclesOfSolomonKane

This review originally appeared on Goodreads on June 21, 2012.

Travellers' Rest

By James Enge – Pyr – December 3, 2010

Review by Robin Marx

This sword & sorcery story plays out almost like a spaghetti western, with the moody wizard-swordsman Morlock Ambrosius and his dwarfish companion happening on a tiny hamlet with a dark secret. Both the characters and story remind me a great deal of Michael Moorcock's Elric stories, sharing driven, melancholy characters, a tense atmosphere, and weird events. This free Kindle novella was released by James Enge's publisher Pyr to introduce readers to his Morlock Ambrosius series, and it certainly succeeded in capturing my interest.

★★★★☆

#CapsuleReviewArchive #BookReview #SwordAndSorcery #Fantasy #JamesEnge #TravellersRest

This review originally appeared on Goodreads on August 14, 2012.

Wrath of the White Tigress: A Tale of Pawan Kor

By David Alastair Hayden – Typing Cat Press – June 25, 2011

Review by Robin Marx

Billed as a modern sword & sorcery tale in the tradition of Moorcock and Gemmel, this book starts with a compelling premise: an assassin tasked with killing a high priestess manages to shake off decades of mystical brainwashing. Working with Zyrella, the high priestess, he turns against the evil emperor Salahn and attempts to destroy the regime he once helped build.

I enjoyed the book, but it had a few issues. The beginning and conclusion were quite strong, but the middle part seemed to lose focus and meander a bit. I liked the main trio of characters, Jaska, Zyrella, and Ohzi, but the middle third of the book rapidly introduces a number of new faces that failed to leave much of an impression. As a result there are a couple cases of dramatic self-sacrifice that fell flat. I didn't really need the archer twins with their vague prophecy or the desert tribesmen, they were all fairly interchangeable and I would've rather spent more time with the main characters.

The prose was solid, but not particularly ostentatious. Not much time was spent on world-building, but the setting seemed interesting and a pleasant change from pseudo-Europe. The magic presented was interesting, but perhaps a little under-developed (the star-based magic was especially vague). The fast pace and action reminded me a bit of my favorite sword & sorcery stories, but the frequent divine intervention and good versus evil plot are well-trodden epic fantasy tropes and appealed less.

Hayden is a newer author, and I suspect my issues with the book are related to that. It was a fun read, though. I own another Hayden book besides this one and I plan to keep an eye out for future releases as well.

★★★☆☆

#CapsuleReviewArchive #BookReview #SwordAndSorcery #Fantasy #DavidAlastairHayden #WrathOfTheWhiteTigress

This review originally appeared on Goodreads on July 27, 2020.

He-Man and the Masters of the Universe Minicomic Collection Volume 2

By Various – Dark Horse Books – November 3, 2015

Review by Robin Marx

Like the first volume, this collection delivers a fun look at the mini comics included with the Masters of the Universe toy line. In addition to the later He-Man mini comics not included in the first volume, this book contains the She-Ra: Princess of Power mini comics, the few that were produced for the more space opera-oriented New Adventures line, and some fun fan service-filled comics that were created for the recent Masters of the Universe Classics toy line for adult collectors.

While the volume itself is assembled with every bit as much care and attention to detail as the first, it suffers a bit in that the stories included aren’t quite as entertaining as those contained in Volume One. While the entire line was conceived as a marketing instrument to promote toy sales, the earlier comics had more of a “wild and wooly” feel. As the comic line progressed, the formula became a bit more repetitive and the commercial aspect slightly more obvious. This book is still a fun read and a worthwhile companion to the first, but I missed the weirdness and mystery of the first comics, where the setting of Eternia was less developed.

★★★☆☆

#CapsuleReviewArchive #ComicReview #SwordAndSorcery #DarkHorse #HeMan #MastersOfTheUniverse #MOTU

This review originally appeared on Goodreads on July 3, 2020.

He-Man and the Masters of the Universe Minicomic Collection Volume 1

By Various – Dark Horse Books – November 3, 2015

Review by Robin Marx

The Masters of the Universe toy line was an imaginative mix of fantasy and science fiction, with wildly unique character designs. While the premise has a clear delineation between good and evil (“these guys fight those guys”), it was thought that kids could benefit from a bit more backstory. Knowing more about the characters and the setting they lived in would provide inspiration for children to come up with their own stories, and thus the bonus pack-in mini comics were born.

While the comics were quickly produced and tended to have simplistic, linear plots much like the subsequent Filmation cartoon, they have their own charm. Many of the people that worked on the mini comics were either established pros doing some quick work on the side for extra money, or newcomers who later went on to greater success and fame. It was also interesting to see how the Masters of the Universe setting developed over time. Backstories change, characters are given different roles, etc.

First of a two-volume series, this book was clearly assembled with care. The artwork is presented in a larger format than originally used, allowing the readers to see both fine details and artistic goofs. Footnotes are sprinkled throughout the book, drawing attention to trivia, errors, first appearances, and other interesting aspects of the comics. There are also a number of interviews with members of the shifting teams behind their creation.

All in all, this is a fun look at a part of many kids’ childhoods. The comics were marketing instruments thrown together in haste, but the characters and stories are enjoyable and nostalgia-filled. It’s also an interesting look at the early work of a number of comic creators who would go on to bigger and better things.

★★★★☆

#CapsuleReviewArchive #ComicReview #SwordAndSorcery #DarkHorse #HeMan #MastersOfTheUniverse #MOTU

This review originally appeared on Goodreads on October 22, 2012.

Thieves' World: First Blood

Edited by Robert Lynn Asprin and Lynn Abbey (Editor) – Tor Books – December 1, 2003

Review by Robin Marx

The volume collects the first two Thieves' World anthologies, Thieves' World and Tales from the Vulgar Unicorn. While it was great finally having a chance to read these (previously long out of print) stories, I don't think many of them lived up to the great premise.

The Thieves' World I expected was quite similar to what was described in the Making of Thieves' World essay included in the book: a massive slum various sword & sorcery heroes call home, their adventures tangentially intersecting and their paths crossing. While there are some stories that deliver—those stories tend to be the highlights—there are surprisingly few actual thief protagonists, and far too much high fantasy mucking about with competing gods. Fritz Leiber is cited as an influence, but Thieves' World's city of Sanctuary is nowhere near as lush, decadent, and dangerous as Lankhmar, and few of the adventures found here have the same kind of personal stakes and gritty, street-level action of the Fafhrd and the Gray Mouser tales. The Making of Thieves describes a teeming hive of corruption that could play home to Conan, Elric, Karl Edward Wagner's Kane, etc., but then it has too many stories about humans acting directly as pawns for interventionist, physically manifested gods. This felt like a bait and switch to me. For something called “Thieves' World” there were surprisingly few heists; perhaps “Prophet's World” would have been a more appropriate title.

Perhaps it can be said that Thieves' World shows the fantasy genre in transition. It was released in 1979, when pure sword & sorcery was on the decline and Tolkien-inspired high fantasy (as embodied by Terry Brooks's The Sword of Shannara, released in 1977) was becoming increasingly commercially successful. I suspect that's the reason for the tension between the few gritty street-level tales and the more high flying epic stories. This is interesting from a genre history perspective, but not really what I was looking for. I don't think I'll go out of my way to seek out the sequel anthologies, as it appears that the competing pantheon aspect of the stories only grows more prevalent.

As a final note, the Kindle edition of this book is probably the most poorly formatted commercial e-book I've seen to date. There are numerous cases of OCR errors (spelling errors are particularly obnoxious in jargon-prone fantasy), several instances of strangely hyphenated words, and even a few snippets of missing text. While I didn't factor this into my rating, I expect better from a major publisher like Macmillan/TOR.

★★☆☆☆

#CapsuleReviewArchive #BookReview #SwordAndSorcery #Fantasy #RobertLynnAsprin #LynnAbbey #ThievesWorld

This review originally appeared at Grimdark Magazine on December 13, 2024.

Conan the Barbarian: Battle of the Black Stone #3

By Jim Zub (Writer) and Jonas Scharf (Artist) – Titan Comics – November 6, 2024

Review by Robin Marx

Conan the Barbarian: Battle of the Black Stone #3 begins with the Heroes of Man reeling from the loss of two of their own. The giant, many-armed creature now known as the Beast of the Black Stone has demonstrated that it’s capable of pursuing and killing its victims across time and space, and that there is no safe refuge for Conan and the other gathered champions.

The Pictish scout Brissa guides them through the wilderness using a fragment of the Black Stone that harbors a remnant of the immolated Texan author James Allison’s soul. Thrown together by circumstance, the six survivors react differently to their task and their companions. Conan and Brissa relish their unexpected reunion. Dour Puritan adventurer Solomon Kane and hot-tempered swordswoman Dark Agnes de Chastillon—both displaced from the 16th century—are skeptical of their companions but face the struggle against the Beast with grim resolve. Conrad and Kirowan remain fascinated by the occult implications of their plight. A disastrous encounter with another shard of the Black Stone leads to an unplanned confrontation with the Beast, however.

From a narrative and characterization standpoint, Conan the Barbarian: Battle of the Black Stone #3 is a mixed bag. The interactions and dialogue between Conan and Brissa are well done. Years have passed since Brissa’s presumed death at the climax of Conan the Barbarian #4 (with her supernatural escape revealed in The Savage Sword of Conan #4); the two were intimate when they traveled together, but Conan is older now, battle-scarred and experienced. This story takes place after Conan has loved and lost his pirate queen Bêlit, perhaps the most impactful relationship in his life, but thrown together with Brissa again he rediscovers his attraction for the Pict. While apparently little time has passed for Brissa, for her part she finds the more mature Conan to still be “burning bright,” subtly echoing Atali’s appraisal of the barbarian’s vitality in the Frozen Faith story arc (Conan the Barbarian #16). Their scene together is a nice bit of character work in a largely rushed-feeling miniseries.

Unfortunately, the other characters in the story continue to be mishandled or neglected. While the bonding scene between Solomon Kane and Dark Agnes is entertaining, both characters’ subsequent individual portrayals either feel inauthentic or fail to communicate their appeal as original author Robert E. Howard created them. Last issue Solomon Kane attacked Conan without any real justification (apart from to provide an eye-catching cover illustration), and this issue he randomly and inexplicably accuses Brissa of responsibility for a companion’s death. Dark Agnes fares even more poorly. After being mostly sidelined for two issues she finally gets some screentime, only to make a bizarrely rash decision that has catastrophic consequences for her and her companions.

Jim Zub began the Battle of the Black Stone miniseries with eight characters and issue #3 concludes with—to the best of the reader’s knowledge—three surviving heroes. The intent seems to be to create a high-stakes atmosphere where any character can die, but so little time has been spent with the non-Conan characters that their deaths fail to have much narrative impact. Even worse, those who are killed have, thus far, not experienced the most dignified or heroic deaths. Multiple characters have been isolated in time and space from their companions and slaughtered by the Beast, and one of the miniseries’ two heroines loses her life in a situation that feels less like a desperate last stand than it does a pointless, ill-considered and avoidable fight. Put bluntly, watching classic Howard characters go out like punks hasn’t been a great time. From the beginning, this miniseries felt like a blatantly commercial attempt to launch a Robert E. Howard comic universe for Titan Comics (a solo Solomon Kane miniseries has been announced), so the likelihood of these characters’ deaths being hastily reversed in the final issue means their demises have even less weight than an X-Men hero dying in a Marvel title.

Throughout Conan the Barbarian: Battle of the Black Stone #3, the spirit of James Allison mutters portentously about “heroes and fools,” but it feels like there are more fools than heroes in this issue. There’s still time for the final issue to stick the landing, but my optimism is waning.

#ReviewArchive #ComicReview #SwordAndSorcery #JimZub #JonasScharf #TitanComics #ConanTheBarbarian #BattleOfTheBlackStone #GrimdarkMagazine #GdM

This review originally appeared at Grimdark Magazine on December 4, 2024.

The Savage Sword of Conan #5

By Jason Aaron (Writer), Geof Isherwood (Artist), Jim Zub (Writer), Roberto De La Torre (Artist), Michael Kogge (Writer), and Dan Parsons (Artist) – Titan Comics – October 30, 2024

Review by Robin Marx

While previous issues have included at least one entry spotlighting a different Robert E. Howard character, the fifth issue of Titan Comics’ bimonthly magazine The Savage Sword of Conan delivers three stories exclusively focusing on Conan at different stages in his life.

The issue opens with “The Ensorcelled” by Jason Aaron, with art by Geof Isherwood. Bearded King Conan is visiting the chaotic Brythunian borderlands, trying to help the local royalty secure their demesnes, lest their upheaval affect Conan’s neighboring kingdom of Aquilonia. While hunting with the foppish King Fabiano Conan encounters the infamous Witch of Graaskal, blamed for a host of misdeeds including child-murder. While Conan witnesses her powerful sorcery firsthand, he soon grows skeptical of the litany of crimes of which the witch is accused. King Conan intervenes on the witch’s behalf, even though it brings him into conflict with King Fabiano. “The Ensorcelled” features some interesting twists along the way, and Isherwood’s detailed artwork is pleasantly reminiscent of the classic Hal Foster Prince Valiant comics. Frustratingly, however, “The Ensorcelled” is just the first half of a two-part story. At 53 pages in length, “The Ensorcelled” dominates this issue’s 64-page page count, yet readers are still expected to wait two months for a resolution. This reviewer believes strongly that serialized stories are best left to the primary Conan the Barbarian title; The Savage Sword of Conan is at its best when it delivers standalone narratives that can be enjoyed fully by occasional readers of the magazine.

Next is a two-page vignette entitled “Damn Thing in the Water,” by Jim Zub and illustrated by Roberto De La Torre. Conan is set upon by a tentacled beast when stopping for a drink at a watering hole. While De La Torre’s John Buscema-inspired artwork always pleases, the story feels like an abbreviated retelling of Alan Quah’s “Lure of the Pit Creature” from The Savage Sword of Conan issue #3. Overly familiar seeming, perhaps the space for this micro-story could have been better occupied by a Jeffrey Shanks essay or additional full-page pin-up illustrations.

The final story is “Forged,” by Michael Kogge and Dan Parsons. Where “The Ensorcelled” depicts an older Conan, “Forged” presents Conan as a child, apprenticed to his blacksmith father in their Cimmerian village. The story shows young Conan chafing under his father’s strict guidance, but treachery by visiting Zingaran entertainers gives Conan an opportunity to prove himself. My complaint with this story is identical to my criticism of Conan the Barbarian #16: young Conan tales are profoundly uninteresting compared to those featuring the fully-fledged barbarian. Seeing Conan as a boy learning harsh life lessons does not enhance the character’s mystique. Much like a meal, Conan is better with some seasoning. Artist Dan Parsons is also capable of better artwork than what he turned in for this story.

The standard cover for this issue features amazing new Joe Jusko artwork of Conan and a panicked companion struggling to avoid being devoured by a “dragon” (likely some type of dinosaur, in classic Sword & Sorcery tradition). It was disappointing that no such scene appears within this issue. Way back in the first issue, Jim Zub’s editorial gave the impression that the creative team would endeavor to ensure that the cover artwork would reflect the contents of the magazine, and it’s unfortunate that, just five issues in, that loose assurance to the reader no longer holds. (In the interest of fairness, the alternate cover by Alex Horley DOES depict a scene from the opening of “The Ensorcelled.”)

While it’s nice to see a return to original, non-event stories after the Battle of the Black Stone prelude issue, The Savage Sword of Conan #5 doesn’t quite match the standard set by the series’ first three issues. Less devoted Conan fans might be better off waiting to see the reception to issue #6 and the conclusion of “The Ensorcelled” before going out of their way to pick up this issue.

#ReviewArchive #ComicReview #SwordAndSorcery #JasonAaron #GeofIsherwood #JimZub #RobertoDeLaTorre #MichaelKogge #DanParsons #TitanComics #ConanTheBarbarian #TheSavageSwordOfConan #GrimdarkMagazine #GdM

This review originally appeared at Grimdark Magazine on November 16, 2024.

Conan the Barbarian: Battle of the Black Stone #2

By Jim Zub (Writer) and Jonas Scharf (Artist) – Titan Comics – October 2, 2024

Review by Robin Marx

As Conan the Barbarian: Battle of the Black Stone #2 opens, a spectral vision of the Texas writer James Allison appears to Conan, Solomon Kane, El Borak, Agnes de Chastillon, and the other Heroes of Men across time and space. As his body disintegrates before their eyes, Allison provides some much-needed guidance. The strange dark eye sigil each of the heroes has individually encountered is a mark that signifies that they are hunted by the dark force that inhabits the Black Stone.

Back in The Wanderer’s Club in 1936 Chicago, Allison’s warning (and the comic’s exposition) is cut short by the emergence of the giant four-armed beast encountered by Solomon Kane in The Savage Sword of Conan #4. El Borak and the occult investigators Professor John Kirowan and John Conrad do their best to keep the creature at bay, but it’s immediately clear they are fighting a losing battle until they receive a last-minute assist from an unexpected ally from another era.

The second issue of the Conan the Barbarian: Battle of the Black Stone miniseries provides deeper insight into the supernatural struggle in which the protagonists have found themselves enmeshed, and it also brings the heroes together for the first time.

Jonas Scharf’s artwork continues to impress. His renditions of the spindly monster first shown by Patch Zircher in The Savage Sword of Conan #4 and of Conan’s Pictish companion Brissa (originally depicted by Roberto De La Torre) are both excellent, proving he can adeptly handle both beauty and the beast. His action scenes also continue to be dynamically portrayed.

Zub’s narration is appropriately portentous as we learn about the stakes the heroes are up against. The Conan vs. Solomon Kane skirmish advertised on the issue’s cover felt a little perfunctory, however, like it was inserted to fulfill comic book readers’ team-up expectations (i.e., first the heroes rough each other up a little, then they join forces) rather than anything demanded by the narrative. I was also disappointed to see that Dark Agnes was given very little to do this issue as well. Perhaps it would have been best had she been omitted from the Battle of the Black Stone miniseries entirely; the miniseries feel crowded enough as it is.

With Conan the Barbarian: Battle of the Black Stone #2 the board has been set up and the pieces are in place. Only two issues remain in the miniseries, so it appears we can expect a rollercoaster ride in the installments to come.

#ReviewArchive #ComicReview #SwordAndSorcery #JimZub #JonasScharf #TitanComics #ConanTheBarbarian #BattleOfTheBlackStone #GrimdarkMagazine #GdM