This review originally appeared at Grimdark Magazine on November 28, 2023.

Conan: Lord of the Mount

By Stephen Graham Jones – Titan Books – September 26, 2022

Review by Robin Marx

Lord of the Mount opens with Conan as the last survivor of a vanquished raiding party. Surrounded by the dead, as the battered barbarian’s consciousness returns the first shapes that come into view are that of a small group of cattle and their herder. The eyes of both the cows and the man tending them have a strange purple tinge to them, hinting at long term use of the intoxicating powder of the black lotus. Wary of the shifty lotus addict, Conan nevertheless accepts a meal of wine and steak—carved directly from the flanks of the passive, drugged cattle—from the man. Known as Jen Ro, the herdsman tells Conan of his destination: the village of Trinnecerl, where ale and women are plentiful. He warns that the mountain pass leading to the village is guarded by a fearsome monster, however, the so-called Lord of the Mount. With no better destination in mind, the rootless barbarian wanderer elects to accompany Jen Ro, hoping to indulge himself in the pleasures Trinnecerl has to offer and see this Lord of the Mount for himself. Conan soon finds himself fighting for his life against a foe unlike any he has faced before.

Lord of the Mount is the first installment in the Heroic Legends series of monthly digital short stories starring Conan the Barbarian and other pulp fiction heroes created by Robert E. Howard. While not the first piece of new Conan fiction produced via the partnership between Titan Books and Howard franchise owner Heroic Signatures (that would be the Conan – Blood of the Serpent novel by S. M. Stirling), news of the Heroic Legends series was welcomed by Conan and Howard fans for a number of reasons. One was that the Conan stories and the sword & sorcery subgenre of fantasy as a whole originated as short stories and still tend to be most at home in that format. Another reason was the roster of authors listed with the series announcement. Experienced and reliable Conan authors such as John C. Hocking and Scott Oden were present and accounted for, yes, but there were also unexpected curve-balls like Laird Barron and V. Castro. Of the latter group, Stephen Graham Jones was a particularly anticipated contributor, as not only is his star currently ascendant within the horror genre (a field with considerable overlap with sword & sorcery), but his 2021 autobiographical Texas Monthly essay My Life With Conan the Barbarian had already fostered a sense of kinship among many sword & sorcery fans. Jones gets it, he’s one of us. We wanted to see what he could do with the character.

The strong points of Lord of the Mount are its minimalist premise and brisk pace. No time is wasted getting to the good stuff. The scene is set, Conan hits the road, and a knock-down, drag-out battle with the Lord of the Mount follows.

Unfortunately, Lord of the Mount is not entirely successful. Unlike many Conan pastiche writers, Jones made little effort to emulate Howard’s writing style. But he also didn’t seem to write in the colloquial, almost folksy voice Jones used in other works like The Only Good Indians. The result is sort of a hybrid, neither fish nor foul. Dissimilar to Howard, but also not quite Jones’ natural narrative voice.

The portrayal of Conan also felt off in parts. During his battle with the Lord of the Mount, in multiple instances Conan is described as “screaming.” Conan has never struck me as much of a screamer, but even if he had occasion to scream at least some of these screams should have been changed to “bellows” or “roars” for variety’s sake. Also, when Conan reunites with Jen Ro in the story’s denouement he reacts as if he has been subjected to a betrayal worthy of violent retribution. However, at the beginning of the story Jen Ro is pretty forthright when describing the danger of the Lord of the Mount and the means he uses to evade it, making Conan’s rage feel excessive and unwarranted.

While I expected more from a Stephen Graham Jones take on Conan, Lord of the Mount is still worth the small price of admission. I appreciate Titan Books’ willingness to go beyond safe and expected Conan writers, giving readers a chance to see a variety of different interpretations and portrayals of a familiar character.

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This review originally appeared at Grimdark Magazine on November 24, 2023.

Old Moon Quarterly: Issue 5, Summer 2023

By Old Moon Publishing – August 29, 2023

Review by Robin Marx

Old Moon Quarterly has returned with its third installment of the year. Like previous issues, OMQ serves up an intriguing mix of grimdark and weird sword & sorcery fiction. Vol. 5 cover artist Derek Moore delivers the magazine’s most striking cover artwork to date: a skeleton in full plate harness equipped with a bec de corbin polearm. There are no interior illustrations or advertisements in this 89-page issue, and the text is presented in a single column layout.

After a brief Introduction expressing a desire to see more cerebral sword & sorcery tales in the vein of Robert E. Howard’s King Kull of Atlantis (as opposed to the more direct action yarns featuring Conan and his ilk), the issue opens with “Together Under the Wing,” by Jonathan Olfert. A Stone Age revenge tale with a twist, this story involves a young warrior driven to avenge the murder of his mother, the matriarch of their people. The wrinkle is that the protagonist, Walks-like-a-Rockslide, is a sentient mammoth with bladed tusks and his foe is the king of the giants. Appropriately, given the stature of these clashing titans, the struggle that follows is imbued with a palpable sense of momentum and inevitability. Mammoth and Giant King circle, close, and deal grievous wounds to each other. While the events of the narrative are straightforward, the unusual hero and heavy atmosphere of finality make this story stand out.

K.H. Vaughan’s “Champions Against the Maggot King” is another story that focuses on conjuring a very specific mood. The narrator, Grath, is a grunt in an imperial army locked in a desperate war against the monstrous hordes of the titular Maggot King. The story is presented as a series of vignettes showcasing both the formidable odds the soldiers are facing and the handful of elite heroes who may just be able to turn the tide. Sorrow Mai is a warrior woman with a massive axe and a “leather cuirass boiled in blood.” Ilhar, also called “The Raven,” is an untouchable elven duelist with a darkly poetic heart. Ko-Mon the Heartless is a scarred dwarf who wields an enchanted war chain that is powered by his pain. All these characters are anime levels of over-the-top and portrayed in a worshipful tone by Grath. Their enemies are likewise epic, especially the decomposing dragon that drips clumps of rotting flesh as it strafes the beleaguered troops below. There’s much in this story that’s excessive and even perhaps silly, but Vaughan absolutely sells it with a straight face. “Champions Against the Maggot King” is a grimdark treat that should appeal to fans of the Berserk and Bastard!! -Heavy Metal, Dark Fantasy- anime series as well as enthusiasts of The Black Company and The Malazan Book of the Fallen.

In a first for Old Moon Quarterly, issue 5 includes two poems: “The King’s Two Bodies” by Joe Koch, and Zachary Bos’ “A Warning Agaynste Woldes.” “The King’s Two Bodies” is vividly lyrical, if perhaps a bit opaque. “A Warning Agaynste Woldes,” however, was peppered with Old English and tedious to decipher. The poetry didn’t add much to this issue, in this reviewer’s opinion, but I would not be opposed to seeing more verse in the future.

“The Origin of Boghounds,” by Amelia Gorman, is another grimdark entry. Boghounds are dog-like creatures of unknown pedigree. When a bounty hunter named Samphire discovers Hum, the boghound companion of her mountebank target, she decides to use the boghound to track down its master. The pair face stiff opposition in the form of two competing bounty hunters, however, and the situation becomes even more lethal when together they all discover the monstrous and delightfully gross progenitor of the boghounds. This story is packed to the brim with entertaining weirdness. The characters are all quirky and strange, like NPCs from the Dark Souls video games, and the world is evocatively rendered despite the story’s brevity.

David K. Henrickson’s “Well Met at the Gates of Hell” is one of the more sword & sorcery-oriented tales in this issue. A nameless man awakens on a barren plain, under a starless sky. Three figures await him: a massive paladin with a glowing sword, a small dagger-wielding man with a hateful smile, and a 12-foot-tall praying mantis. The trio wish to kill the new arrival for his past offenses and have agreed among themselves to engage him in single combat, one at a time. The story that follows is a triptych of duels shot through with witty repartee reminiscent of The Princess Bride. The protagonist—I hesitate to call him the hero, his enemies seem justified in their hatred of him—and his opponents are all vague sketches, but Henrickson makes the minimalism work. The result is a completely fat-free story that gives the reader just enough to satiate them and not an ounce further. This was the highlight of the issue for me.

“The Skulls of Ghosts,” by Charles Gramlich, is another sword & sorcery adventure. The muscular warrior Krieg journeys into a plague-ridden kingdom trying to locate the malady’s sorcerous origin. While there is a lot to like about this story, it suffered by following “Well Met at the Gates of Hell.” There’s some nicely hallucinatory prose here—the story shares many characteristics with the King Kull tales celebrated in this issue’s Introduction—but “The Skulls of Ghosts” felt long and overstuffed compared to the other stories in issue #5. There were more named characters and backstory than seemed truly necessary, and the evil sorcerer’s habit of assuming other characters’ identities was confusing. The components of a good story are present, but it would have benefited from some trimming and tightening.

“Today, I met a man I had killed before,” opens “The Headsman’s Melancholy” by Joseph Andre Thomas. Set in 14th century England, the final story of the issue is related by Jack Marvell, an executioner in the employ of King Henry IV. While he professes job satisfaction, Marvell keeps a diary to help cope with his depression, and this story consists of a series of journal entries describing his encounters with a strange knave he has beheaded on multiple occasions. Bizarre and gleefully gory, with a cryptic ending, “The Headsman’s Melancholy” is oddly compelling. A fitting conclusion to a strong issue of Old Moon Quarterly.

Unlike some more generalist fantasy fiction magazines, Old Moon Quarterly gives the sense of a very specific editorial vision. A desired vibe. Their submission guidelines call for “dark and weird sword & sorcery,” and while that’s not inaccurate, it feels like it insufficiently articulates what makes a given story Old Moon Quarterly material. With the launch of their first Kickstarter campaign, however, it seems like the editors have zeroed in on a pithy way to describe the type of fiction they showcase: “Soulsborne-inspired.” In short, if you enjoy the brutal, gothic, grimdark aesthetic of From Software’s Dark Souls and Bloodborne video games, Old Moon Quarterly curates fiction with a similar feel. Old Moon Quarterly is recommended for dark fantasy fans of all stripes, but for those yearning for that elusive Soulsborne atmosphere in particular, this is the place.

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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 September 10, 2023.

The Graveyard Shift

By Maria Lewis – Datura Books – September 12, 2023

Review by Robin Marx

Tinsel Munroe is the host of “The Graveyard Shift,” an overnight horror-themed radio show on 102.8 HitsFM, Melbourne’s hottest station. Despite her best efforts she finds herself mostly treading water in her career, trapped in a dead-end time slot playing for a devoted but small following. Her life is upended on Halloween, however, when an audience member is viciously murdered during a broadcast phone call. New listeners flock to the show with ghoulish hopes for another on-air killing, and ominous messages reveal to Tinsel that she herself is a target. As the police investigation founders and the body count rises, Tinsel realizes that her continued survival depends on her ability—with assistance from her true crime blogger sister Pandora and the handsome detective Vic James—to uncover the hidden connection between herself and the unseen assailant.

The Graveyard Shift is billed as an “homage” to the slasher movies of the 1990s, and elements of the Scream series are certainly present and accounted for. While Halloween, A Nightmare on Elm Street, Child’s Play and various other slasher franchises are name-checked throughout the book, potential readers should be aware that The Graveyard Shift is more of a thriller with light mystery and romance elements than a horror novel. The supernatural is not a factor, and Maria Lewis does not devote much effort to building and sustaining an unsettling or frightening atmosphere. That being said, the murder scenes are tense and exciting and deliver the sort of gore one would expect from I Know What You Did Last Summer or similar slashers.

The Graveyard Shift’s greatest strength is its characters. Tinsel is a likable, smart, and resourceful heroine. True crime blogger Pandora and police detective Vic James are likewise appealing, and even the minor supporting characters come across as distinctive, well-rendered individuals. While it feels a little convenient that Tinsel’s sister happens to be a serial killer expert with police connections and a ready supply of murder factoids, Pandora is given enough fleshing-out to make her more than just a convenient plot device. Dreamy, stubbled protector Detective James also seems more like a Hollywood cop than somebody one would encounter on a real world police force, but he is given enough depth to transcend his primary function as hunky daydream fodder for readers. The characters are fun, and it’s enjoyable spending time with them.

In The Graveyard Shift, Lewis writes in a breezy, thoroughly modern voice. The book is fast-paced and engaging, but I struggled a bit with the tone. At no point in this book does someone narrowly escape from a knife-wielding maniac and then brush it off with a quippy “Well, that happened,” but if a scene like that HAD been present it would not have been out of place with the rest of the book. Plucky bravery is one thing, but Tinsel comes off as remarkably unflappable for someone being actively stalked by a serial killer. She shows occasional moments of fright or doubt, but is otherwise largely able to go about her life in good spirits, mostly covering her regular shift at work and putting in appearances at social functions. The constantly shifting tone threw me off, but it feels significant that a main character is a true crime enthusiast. True crime podcasts and blogs are often accused of trivializing real world brutality and murder for the sake of salacious thrills, and similarly the fictional crimes depicted here aren’t always handled with the utmost gravity. Tinsel is appropriately devastated when people she knows are attacked, but at times it feels like the deaths of unacquainted victims are treated more like a fun puzzle to be solved by Tinsel and Pandora: Taskforce Laurie Strode.

The Graveyard Shift is an energetic and stimulating thriller. Readers hoping for grit and angst are better off looking elsewhere, but this book serves well as a refreshing palate cleanser after finishing weightier fare.

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This review originally appeared at Grimdark Magazine on September 8, 2023.

A Book of Blades: Volume II

Rogues in the House Presents – June 28, 2023

Review by Robin Marx

Sequel to 2022’s A Book of Blades, A Book of Blades: Volume II is the second anthology of fiction curated by the crew of Rogues in the House: The Ultimate Sword & Sorcery Podcast. It includes 14 Sword & Sorcery-themed short stories by as many authors, with striking cover artwork by Jesus Garcia and internal illustrations by Gilead. Writers featured here have appeared in the pages of short fiction venues like Tales From The Magician’s Skull, Old Moon Quarterly, and Savage Realms Monthly, so this anthology also serves as a broad survey of more than a dozen authors active in the indie S&S scene.

As a Sword & Sorcery anthology, most of the stories deal with either lone heroes or small bands (here frequently drifters, tomb raiders, or mercenaries between jobs) thrust into deadly situations, relying on their wits and weaponry to defeat supernatural threats. The protagonists generally aren’t embarking on epic quests, they’re seeking riches, revenge, or simply attempting to survive. The tone is almost universally gritty and violent across the collected stories, with several selections comfortably grimdark in everything but name. This review focuses on A Book of Blades: Volume II’s darker entries.

“Breaching Earth’s Womb” by S.E. Lindberg is one of the most grimdark and all-around weirdest stories included in A Book of Blades: Volume II. When tainted pregnancies result in several expectant mothers being eviscerated and consumed by insectoid parasites, golem midwife Nurse Leech must leave the relative safety of home to ward off a larger disaster. Her desperate journey takes her across a blasted land ravaged by an ongoing struggle between immense, godlike beings. Lindberg is fascinated by the concept of the ancient Greek bodily humors and the maladies thought to result from imbalances between them, and this story shows the same bizarrely compelling gooey, squidgy body horror of the other tales in his Dyscrasia Fiction line.

“Beasts of Waste & Desolation” features the Viking-era orc hero of Scott Oden’s grimdark Grimnir trilogy (A Gathering of Ravens, Twilight of the Gods, and the forthcoming The Doom of Odin). Back in Jutland after slaughtering “whiteskin” humans abroad, Grimnir encounters a crone doing her laundry in a shallow pool. Recognizing her as a deadly water spirit in disguise, he helps himself to her banquet while participating in a high-stakes game of riddles. The story that follows is an entertainingly predatory tête-à-tête in which two lethal killers circle each other, simultaneously probing for weaknesses and coiling to strike.

“Cries from a Sleeping City,” by Grimdark Magazine contributor and Rogues in the House podcaster Matt John, is another adventure featuring barbarian mercenary Lachmannon (previously seen in issue 10 of Tales From The Magician’s Skull). 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.

John R. Fultz’s “Return of the Quill” is another moody standout in A Book of Blades: Volume II. The necromancer Grimsort, one of eight Sorcerer Kings ruling a conquered city policed by revived corpses, is persuaded to allow a traveling acting troupe to stage a play in his domain. His fellow tyrants plan to sacrifice the massive audience as fuel for a demonic summoning, but Grimsort finds himself unexpectedly swayed by the actors’ bravura performance. While not particularly lengthy, this story is rich with gothic imagery and fascinating characters. Its celebration of the power storytelling can have even over the most hardened heart also appealed.

A Book of Blades: Volume II concludes with “The Horror from the Stars,” by Steve Dilks. Like Charles Clark’s “The White Tower” at the very beginning of the anthology and “The Geomancer’s Son” by J. Thomas Howard, this story involves a close encounter with a threat from outer space. (The Sword & Sorcery subgenre predates the firmer separation of fantasy from science fiction to which modern readers have grown accustomed, and I have a particular soft spot for warrior vs. alien stories.) “The Horror from the Stars” begins with Bohun arriving in the city of Ibn-Shahk, determined to reclaim his abducted wife from the sultan’s harem or die trying. He’s warned of a string of mysterious disappearances since the sultan’s retrieval of a “fallen star” from the desert, and soon comes face-to-face with the sadistic otherworldly intelligence behind the throne. While Bohun’s final triumph felt a little too easily attained given what we’re shown of the alien’s capabilities, both the action and horrific elements are exciting and cinematically presented.

While some contributions are reprints from other venues and I was slightly disappointed that the artwork didn’t directly tie to the included stories, A Book of Blades: Volume II feels like an enthusiastic labor of love. Brisk action is the hallmark of these stories, and there’s more than enough here to justify the purchase for fans of grimdark fantasy.

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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 July 4, 2023.

Boys in the Valley

By Philip Fracassi – Tor Nightfire – July 11, 2023

Review by Robin Marx

Boys in the Valley immerses the reader in the harsh, prison-like environs of St. Vincent’s Orphanage, deep in the hills of rural Pennsylvania, 1905. Here Peter Barlow and 31 other boys spend monotonous days working the fields and participating in church services under the watchful gaze of a handful of Catholic priests. Any perceived infraction or impiety is met with withheld meals, corporal punishment, or a trip to the dreaded “hole”: a subterranean cell dug into the grounds outside the dormitory. The boys’ already grueling situation goes from bad to worse with the midnight arrival of the local sheriff and his deputies with a grievously wounded suspect in tow. The injured man is combative and raving, with the sheriff evasive about the circumstances of his arrest. Former military medic Father Poole attempts to provide treatment, but what begins as first aid soon devolves into a harrowing exorcism that the wounded man does not survive. After the man’s death and interment in the orphanage grounds Peter notices an unsettling change come over a number of his fellows, beginning with one just returning from an overnight stay in the hole. Formerly cheerful boys have become inexplicably malicious and conspiratorial. They huddle together, darkly plotting and recruiting others, while the priests refuse to acknowledge that anything unusual is occurring. Violence seems imminent, and as the oldest boy with a strong sense of responsibility it’s up to Peter to protect his comrades. Assuming, that is, he can distinguish friend from demonic foe.

Like Fracassi’s previous novel, Gothic, Boys in the Valley involves devil-worship and demonic possession. The publisher’s pithy tagline describes Boys in the Valley as “The Exorcist meets Lord of the Flies, by way of Midnight Mass.” Similarities to The Exorcist are obvious, and both the absence of effective adult supervision and the pervasive child-on-child brutality certainly bring to mind Lord of the Flies. But despite being—at its heart—a religious horror novel, I would also recommend it to fans of John Carpenter’s The Thing (1982). Isolated and snow-bound, the orphanage may as well be as remote as an Antarctic research station, and its immediately clear that no outside help is forthcoming. Unlike many horror stories, where a singular devil flits from one host to the next in serial fashion, possession is treated here almost like an infection. Some demonic hosts are more insidiously subtle than others, engendering a heavy atmosphere of paranoia as alliances shift and former friends become lethal enemies.

Despite the claustrophobic setting of Boys in the Valley, Fracassi effectively manages a large cast of characters. The various boys are all named and given evocative quirks. The lion’s share of characterization is given to the oldest two boys, the noble aspiring priest Peter and his cynical counterpart David, but through brief passages and conversations Fracassi manages to communicate each boy’s essential nature with surprising economy of words. With the end goal, of course, of making the reader really feel the blow whenever a particular boy meets a savage end at the hands of his fellows.

The pacing is another highlight of Boys in the Valley. Many authors would be tempted to prolong the first third of the novel, after the first boys start to change. Those authors would drip-feed the reader a series of unsettling events over several more chapters before the first murder takes place. Fracassi’s demons are impatient and ready to get to the carnage, however, with the whole sequence of events escalating very quickly. I appreciated the apparent confidence Fracassi had in the strength of his basic premise and his scene-setting ability. Rather than dragging things out unnecessarily, all hell breaks loose within the orphanage soon after Peter uncovers the demonic threat.

Previously published in 2001 as a 500 copy limited edition by Earthling Publications, Boys in the Valley is now being released by Tor Nightfire. Hopefully this mass market edition from a major publisher will introduce Fracassi to a wider audience of readers. After reading both Gothic and Boys in the Valley I am firmly convinced that Philip Fracassi is a name worthy of being included alongside other contemporary horror greats like Paul Tremblay, Nick Cutter, and Stephen Graham Jones. Boys in the Valley is a tense page-turner, absolutely gripping.

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This review originally appeared at Grimdark Magazine on June 21, 2023.

The Vessel

By Adam Nevill – Ritual Limited – October 31, 2022

Review by Robin Marx

The Vessel opens with protagonist Jess McMachen in a desperate situation. Having separated from her violent husband, she supports herself on meager wages earned weekly as a caregiver for the elderly. Her primary school-aged daughter Izzy is mercilessly bullied by her classmates, but Jess’ irregular work schedule prevents her from being as available for her daughter as she would like. Her ex-husband is also constantly lurking around the periphery, paying surprise visits to their daughter that violate the terms of their divorce agreement. A new job opportunity offers a chance to escape this tenuous situation, however. If Jess can stick with it, avoiding a repeat of the vaguely hinted-at disaster that spoiled her previous posting, she could earn enough to move into a new house in the countryside, far from her ex-husband, where her daughter can play outside and get a fresh start at a new school.

Upon accepting the new job, however, the situation quickly goes from bad to worse. Her client, Flo Gardner, is in the late stages of dementia. She lives in Nerthus House, a once beautiful mansion that (mirroring its owner) has deteriorated over the decades, dimmed by unreplaced burnt-out light bulbs and crammed with a lifetime of clutter. Jess soon discovers that—during those fleeting moments when Flo isn’t completely catatonic—she’s verbally abusive without provocation and unpredictably violent. Flo also proves surprisingly mobile for a supposedly frail wheelchair user, appearing in unexpected places in the dead of night. Jess keeps discovering strange shrines in neglected corners of the house. Birds act strangely in the surrounding woods, and ominous shapes move in the overgrown garden at night. There is a sense that both Nerthus House and its resident are awaiting something. The eerie events Jess experiences escalate even further when, after her babysitting arrangements fall through, she finds herself with no choice but to bring her daughter into Nerthus House and into contact with Flo.

Much like Nevill’s The Ritual and No One Gets Out Alive, The Vessel deals with an isolated protagonist trapped in a simultaneously miserable and threatening predicament. “Why don’t they just leave?” is a question that horror writers and filmmakers frequently have to grapple with, and Nevill always has a ready and convincing response. He combines empathetic character portrayals with a singularly claustrophobic atmosphere, effectively immersing the reader in his beleaguered protagonists’ shoes.

Apart from its sudden and intense finale, The Vessel is more about inevitability than surprises. Rather than blindside the reader with twists and unexpected reveals, the events of the story seem to follow an inexorable, perhaps even preordained sequence. The reader is kept one step ahead of Jess throughout the story, enhancing the feel of dread.

Only slightly longer than a novella, The Vessel is a short novel intended by the author to be read in one or two sittings. While I appreciated that it wasted no time getting to the exciting supernatural bits, it also felt like the novel would have been perhaps even more effective with some more meat on its bones, so to speak. In the book’s enlightening back matter, Nevill reveals that the narrative’s leanness and almost stage-like presentation were an intentional experiment on his part. Ultimately, whether that experiment was successful will depend on the perspective of each individual reader, and I will refrain from spoiling Nevill’s stated goal for the book.

The Vessel is a taut little exercise in folk horror. Reader’s familiar with Nevill’s other work will find his strengths on display, and newcomers with a taste for folk horror in the tradition of Arthur Machen (slyly referenced in Nevill’s heroine’s surname: McMachen) and The Wicker Man are sure to enjoy this tale. The old gods of Britain may have faded from sight, but that doesn’t mean they have disappeared.

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This review originally appeared at Grimdark Magazine on June 9, 2023.

Maeve Fly

By CJ Leede – Tor Nightfire – June 6, 2023

Review by Robin Marx

With Maeve Fly, debut novelist CJ Leede wants to introduce readers to a new breed of serial killer.

Maeve Fly, the eponymous protagonist (not to be confused with “heroine”), is living her best life. She resides rent-free in a palatial mansion owned by her grandmother Tallulah, a former actress from the Golden Age of Hollywood. She has a job that she loves, working as a costumed princess at the Happiest Place on Earth. She has a best friend, Kate, who is literally the Anna to her Elsa. She amuses herself watching VHS pornography and inciting online hate mobs. Oh, and she indulges in a little murder sometimes, as a treat.

But, as she is intensely aware, cracks are beginning to appear in Maeve’s cushy lifestyle. The grandmother that Maeve idolizes has been comatose for some time, and is receiving in-home hospice care. Her aspiring actress friend, Kate, is one successful audition away from stardom and an inevitable separation from Maeve. And despite their popularity with amusement park visitors, both Maeve and Kate are being subjected to increasing scrutiny by their employer. If all that weren’t enough, an unpredictable new element has arrived on the scene: Kate’s handsome and cocksure brother. A professional hockey player, Gideon both attracts and repels Maeve in equal measure. At any moment her house of cards could collapse, leaving Maeve rootless and adrift. And when Maeve Fly feels threatened, people die.

Written in the first person predatory perspective and peppered with pop culture references, American Psycho is the most obvious point of comparison for Maeve Fly, but there’s a fair amount tonally of Fight Club in here, too. Both Bret Easton Ellis and Chuck Palahniuk are directly referenced within the narrative, name-dropped alongside a number of outre authors, perhaps a self-aware bit of judo intended to disarm critics. Maeve herself has read the books her story is likely to be compared to, and she even glances at a copy of American Psycho before embarking on her final killing spree. But there’s more of interest to be found within this slick serial killer story than a simple gender swap. While habitual murderers are commonly portrayed as aloof, Maeve is anything but detached. She needs the grounding and stability that her grandmother and best friend provide. While she constantly strives to hide her murderous compulsion, at the same time she has a powerful desire to be understood and accepted. Ironically, to be seen. The way that ambivalence is handled is what distinguishes Maeve Fly from other serial killer stories.

With its uncompromising tone and unsettling main character, Maeve Fly is destined to be a divisive book. The violence is graphic, and Leede does not shy away from depictions of sexual assault or animal abuse. Maeve is a forceful and liberated woman, but she’s simultaneously a black hole of need and dependence. She’s a fascinating character, but also an unrepentant monster. There’s no inciting incident from her past that turned Maeve into a killer, she’s a monster with no origin story. The people she kills and mutilates generally aren’t deserving of their fates. They don’t “have it coming.” There’s some sparse and under-cooked commentary about misogyny and gendered violence, but it’s undermined by the fact that Maeve acts more savagely towards women than any of the male characters in the book, and her brutality has a relentlessly sexual component. Maeve is not the subversive feminist icon some prospective readers may be looking for.

Maeve Fly is a pitch black character study. Leede promises a monstrous woman and she delivers with gusto. While full-on splatterpunk horror fans might be let down (Maeve tends to describe in detail the torments she’s about to unleash on her victims, with the actual execution taking place between chapters), the level of gore still feels a few notches above the mainstream horror novel average. With its strong characterization and compelling exploration of dark themes, Maeve Fly is an uncommonly aggressive and confident debut novel, and CJ Leede is an author to watch.

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This review originally appeared at Grimdark Magazine on May 26, 2023.

Die By the Sword

Edited by D.M. Ritzlin – DMR Books – April 28, 2023

Review by Robin Marx

DMR Books has quickly established itself as one of the premiere sources for new and reprinted fiction written in the pulp sword & sorcery and science fantasy traditions. They’ve released a number of anthologies in recent years, including the Swords of Steel series of dark fantasy stories written by heavy metal musicians and the horror-themed Samhain Sorceries. Rather than reprints or specially solicited authors, Die By the Sword is intended to be the first in a series of anthologies featuring all-new sword & sorcery tales gathered via open calls for submissions. This initial volume includes eleven stories by both previous DMR contributors (Howie K. Bentley, Matthew Knight, etc.) and newcomers. The gorgeous cover artwork is provided by underground comix and paperback veteran John Pound, who may be most well known among readers of a certain age for his work on Topps’ Garbage Pail Kids line of trading cards. Alas, the cover is a reissue of a painting from 1980 and no lion-headed warriors appear in this book.

Die By the Sword starts off strong with “Ardax in Antillia” by Dariel R.A. Quiogue. Hailing from the Philippines, the prolific Quiogue has been popping up frequently in fantasy and adventure-fiction venues, including the first installment of Rakehell magazine and issue zero of New Edge Sword and Sorcery Magazine. As with those outings, Quiogue blends historically-inspired settings with swordplay and monsters, creating stories that bring to mind the classic Ray Harryhausen fantasy adventure movies. “Ardax in Antillia” involves a pair of gladiators who, after their escape from a Roman arena in Iberia, encounter a beautiful maiden condemned to be sacrificed to the cruel Atlantean gods. The fast-paced tale that follows is packed with visceral combat and fun aquatic monsters.

“Rites of the Black Goddess” by Paul D. Batteiger is another outstanding story. Fresh from the Crusades and Jerusalem, war-weary lord Morcar returns home to find his domain usurped by an arrogant Norman count. Through the aid of steel and decidedly unchristian magic, Morcar immediately sets about regaining his birthright. While most of the stories in Die By the Sword pair gritty combat with a dark outlook, this violent and moody piece is especially likely to appeal to grimdark fans.

Sharing a setting with the author’s 2022 novel Frolic on the Amaranthyn, Chase A. Folmar’s “The Sorcerer’s Scion” is another tale that emphasizes shadowy atmospherics. The bulk of this short chronicles the final hours of sell-sword Kulvrak—found killed under mysterious circumstances at the story’s outset—hired to rescue the daughter of a deranged herbalist from a nightmarish garden in squalid Old Iskalruun. Folmar cites classic Weird Tales scribe Clark Ashton Smith as an influence, and this story similarly delivers both lush prose and tense strangeness.

Inevitably with anthologies, some stories are less successful than others. Neither Howie K. Bentley’s “Secrets Only Dragons Know” nor “The Key to the Blood Pyramid” by Matthew Knight quite worked for me. The former involves Eldol, a warrior Briton who joins forces with a tribal witch in a quest for revenge against treacherous Saxons. The witch is demonstrated to have an agenda of her own, but muddy storytelling and an overly cryptic ending ensured that the titular dragons kept their secrets to themselves. “The Key to the Blood Pyramid” holds together better as a narrative, but the over-the-top vampyre-slaying magical armor-clad dimension-crossing protagonist (previously seen in 2019’s Karnov: Phantom-Clad Rider of the Cosmic Ice, by Knight, Bentley, and Byron A. Roberts) reminded this reviewer of a well-meaning but over-exuberant guy at a game store telling everyone within earshot all about his “cool” high-level Dungeons & Dragons character.

Among many strong stories, the highlight of Die By the Sword for me was Gregory D. Mele’s “The Heart of Vengeance.” Like Mele’s previous contributions to Tales From the Magician’s Skull No. 6 and Whetstone: Amateur Magazine of Pulp Sword and Sorcery issue 5, “The Heart of Vengeance” takes place in the Aztec-inspired setting of Azatlan. After warrior lord Helomon Twelve-Vulture loses his kingdom to a treacherous cousin, he embarks on an epic quest of retribution. He gains the mystical assistance of the skull-faced priesthood of Xokolatl, Lord Death, but is left with a troubling prophecy: all other victories will be Helomon’s, but should he seek the life of his usurper cousin he will not live to see the completion of his revenge. This central tension—is revenge worth one’s own death?—plus the intriguing setting combine for a very compelling dark fantasy tale.

Also worthy of note is the final story in Die By the Sword, “The Sacrifice” by Elias Varsity. Deceived by an alluring woman of the night, arrogant Greek wanderer Cleofas finds himself pinioned by a marble statue in an isolated ruin. His arm trapped in an unyielding stone fist, the harsh Mediterranean sun threatens to drive him delirious before an ignominious death of thirst. His only possible salvation lies with a cloaked, misshapen lurker that speaks in riddles. The shrouded figure offers him escape, but at a terrible price. A nasty little grimdark fable that deals quite directly with hubris and the punishment thereof, “The Sacrifice” lingers in the brain.

Die By the Sword is a strong collection of stories from fascinating newer voices. While not every story hit the mark with me, it is important to emphasize that NONE of the stories in Die By the Sword are boring. Violent action and fast-paced storytelling are ubiquitous, there is a generous serving of horror, and the stories are peppered with crowd-pleasing operatic themes like self-destructive revenge, desperate rescue missions, and rulers in exile. In addition to its reprints, DMR Books has devoted a great deal of effort to showcasing newer pulp sword & sorcery and dark fantasy authors. It’s exciting to see DMR casting its net even wider with open calls for submissions, and it is this reviewer’s hope that the proposed series continues.

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