This review is a Writing Repository original.

Old Gods and Other Tales

By Scott Oden – Independently Published – August 28, 2025

Review by Robin Marx

Old Gods and Other Tales is an independently published collection of eleven short stories by Scott Oden. While he has attracted a following in the Sword & Sorcery scene for fantasy work including the occasional Conan the Barbarian pastiche (i.e., the “Conan the Unconquered” novelette that accompanies Funcom’s video game of the same name; Conan: The Shadow of Vengeance, part of Titan Books’ Heroic Legends line) and his outspoken admiration of Conan’s creator Robert E. Howard, Oden’s first love is the “Heroic Historical.” Some of his creations are straight historical fiction (e.g., Men of Bronze, while others marry Earth’s distant past with the fantastic (e.g., the Viking orc trilogy THE GRIMNIR SAGA). Pulse-pounding action, particularly against overwhelming odds, is a prominent element in Oden’s work and Old Gods and Other Tales offers readers a representative look at the thrills he has to offer.

The collection opens with “The Prince of Cups,” one of the more overtly Sword & Sorcery-oriented stories. Tisias the Crow, a flamboyant gambler/thief/duelist is hired by the playwright Barzentes to steal back a seditious play ill-advisedly given to the elite courtesan Pythonike and seal her lips permanently. Tisias is reluctant to resort to murder, however, and decides to put another one of his specialties to use in assisting Barzentes. Tisias is a rakish and fun character, and the glimpses readers receive of both the magic and Old Stamboul city setting are intriguing.

“The Lion of Montgisard” is a straight historical fiction tale, recounting the Battle of Montgisard between Saladin’s army and the vastly outnumbered forces of the leper king Baldwin IV. Set in the same historical period and sharing several historical personages, fans of the 2005 Ridley Scott movie Kingdom of Heaven are likely to enjoy this story; it’s even narrated by Balian, who was portrayed by Orlando Bloom in the film. “The Lion of Montgisard” delivers the sort of desperate, against all odds, stirring adventure that is Oden’s forte. While certainly authentic for the period, the frequent “God wills it!” battle cries land a little uncomfortably in 2026, given the attempts of Christian nationalists (notably US Secretary of Defense Pete Hegseth, who has a “Deus Vult” tattoo) to revive it as a racist, far right rallying slogan. Oden is obviously not responsible for America’s current debased political climate, however, and what we see of the Crusaders’ opposition feels as humanizing as space and the intense life-or-death circumstances allow.

Three of the included stories in this volume focus on Martin Kestrel, a playwright in a fantasy-tinged Elizabethan London in which the Queen has diplomatic relations with the fey folk. As “A Stage by Any Other Name”—Kestrel’s first appearance—begins, one of Kestrel’s scripts has gotten him into political trouble with Gresham Drake, an influential moneylender and occultist backed by a secret society called the Brotherhood of the Silver Thorn. Drake hopes to eliminate the thorn (no pun intended) in his side by selling off Kestrel’s considerable debt to Lady Ravenna, the cold and intimidating Faerie Ambassador to Queen Elizabeth’s court. Kestrel must use his wits and silver tongue to keep his demanding new patron happy while outmaneuvering his foes. While the premise is interesting, “A Stage by Any Other Name” ends incredibly abruptly, feeling more like a chapter than a complete story. Fortunately, the dangling plot threads are taken up again in the two follow-up stories later in the book, “The Wordsmith’s Gambit” and “The Final Performance.” Across both stories, Kestrel works to foil the Silver Thorn Brotherhood while keeping Lady Ravenna placated.

According to their introduction, the Martin Kestrel stories were born out of Oden’s desire to create a Sword & Sorcery protagonist who is a creative artist by trade. Elizabethan London with a cutthroat occult underground is a fascinating setting, and while Kestrel is an interesting and cerebral hero, the three stories felt like they didn’t quite live up to their full potential. It also seemed like Oden struggled a bit giving trying to end these stories without violent climaxes. “The Wordsmith’s Gambit” ends with Kestrel cleverly talking himself out of a dangerous situation, but the most exciting part of the story—a daring heist—takes place off-screen, handled by his associates. As a reader, that’s the bit I most want to see! While the Kestrel stories aren’t quite up to Oden’s usual standard, they’re an interesting experiment. It also feels significant that he chose to write three stories with this protagonist. Perhaps, rather than as short stories, Kestrel’s exploits would work better expanded into a full-length novel.

“The Bones Remember” starts with a wild, original, and fun premise: essentially “Whatever happened to that skeletal warrior with the octopus-emblazoned shield from Ray Harryhausen’s Jason and the Argonauts?” The story that follows is surprisingly emotional, however, as the skeleton (whose name was Meriones, we learn) reflects upon memories of the past and situations and sensations from his former life as he embarks on a mission of revenge for the theft of the Golden Fleece. I appreciated the artistry on display here, how Oden took a slightly goofy idea and made something unexpectedly moving out of it.

The collection’s title story, “Old Gods,” is another historical fantasy, this time starring a wandering 6th century Vandal named Athalaric. Athalaric violently intervenes when he encounters a beautiful woman being accosted by a mob accusing her of witchcraft. While his initial rescue is successful, the locals return later in greater numbers. Athalaric soon learns that the claims the woman Nikaia possesses preternatural powers are not unfounded, and that she comes from a very unusual bloodline. While the action and romantic elements are satisfying, the dreamy interlude felt like an awkward infodump of exposition that could have been shared more elegantly. Taken as a whole, however, “Old Gods” is still an entertaining example of historically anchored Sword & Sorcery, featuring perhaps the most Conan-like protagonist in the book.

“The Purple Shroud” takes inspiration from a fantastic situation, Conan violently seizing the throne of Aquilonia from King Numedides, and relocates it to the Byzantine Empire, with historical figures in the starring roles. Ioannes Tzimiskes infiltrates the quarters of Emperor Nikephoros Phokas with designs to assassinate him and replace him on the throne. Complicating matters is the fact that the pair were once close friends, and Ioannes is also being pressured to slay the guiltless Empress Theophano or risk losing the support of powerful allies. The meat of the story centers on the duel between Tzimiskes and Phokas, with the two crossing blades while conversing. Tzimiskes attempts to justify his betrayal, and Phokas warns him of the countless burdens of statesmanship while still selling his life dearly. Heavy is the head that wears the crown. “The Purple Shroud” boasts exciting swordplay and court intrigue, all set in a historical period mostly unfamiliar to this reader.

“The Unburied” is an ancient world zombie yarn, involving soldiers from Alexander the Great’s army struggling against the living dead upon returning to their home village. The story is well-executed, but as it boils down to bog-standard traditional zombie tropes paired with one of Oden’s trademark desperate last stands it feels distinctly familiar.

Described in somewhat unconfident terms as a “strange and experimental piece” and as preliminary work for an as-yet embryonic novel on the 12th century siege of Acre, “The Eternal Jest” consists of three linked episodes. The first centers upon Templar Jean de Montluc, one of seven men tasked with defending a gate from an army of 10,000 invaders, buying time until ships can evacuate the falling city of Acre. Ten years later, the second episode introduces us to Raoul de Montjoie, a jocular leper knight who, upon hearing of their plight while visiting a tavern, immediately takes it upon himself to rescue a group of children taken by local brigands to be sold into slavery. As with Jean de Montluc a decade earlier the odds prove insurmountable, but Raoul de Montjoie again demonstrates the amount of good a dying man can accomplish. A decade after Raoul’s death, the final episode returns to a supporting character from the first segment: Jean de Montluc’s squire and bastard son Guillaume. Now a lord in his own right, Guillaume is crippled by survivor’s guilt over his inglorious escape from Acre, bereft over the loss of his wife and sons from plague, and stricken with a chronic wasting disease. Aimless and bitter, he has a chance encounter with Miriam, one of the children freed by Raoul de Montjoie’s suicide mission a decade ago. Hearing her tale inspires Guillaume to similarly dedicate himself in service to others. The overarching core of the three-episode cycle is stated quite openly: “The strong die so the weak might live, and the weak grow strong so that they might die for others in turn.” It’s a powerful theme and one affectingly delivered. In recent years there has been much hand-wringing discussion of “masculinity in crisis,” and so many of the men most vocal about masculinity absolutely should not be listened to. They sell a profoundly insecure, intolerant, and superficial conception of masculinity that diminishes women, promotes pointless aggression, and pushes an infantile zero-sum view of society and interpersonal relations. In contrast, “The Eternal Jest” is a showcase for healthy masculinity. What can be manlier than being a protector? A steadfast bulwark shielding those in dire need? The world isn’t divided up into Alphas and Betas, heroes and zeroes. Guillaume is weak and powerless when we first meet him, but through Jean’s sacrifice (and former victim Miriam’s sage guidance!) Guillaume is allowed to grow into a hero himself. “The Eternal Jest” is the most moving and impactful tale in the book. It should have been the title story.

Have you ever been talking with a friend and, out of the blue, they say something incredibly revealing, vulnerable, and poignant? And then that friend, realizing that they may have gotten a little too real, rushes to defuse the moment with a joke? That’s what readers get with the final story in the book, “Three-Tabbed Doom.” Chad of Poughkeepsie, employed at Mediocre Mutual Insurance, frees his comrades from tyranny by striking down (in Office Space fashion) the evil HP LaserJet 4200 that oppresses them. It’s a silly bit of fluff. Not unentertaining but placing it immediately after “The Eternal Jest” feels like an act of self-sabotage on Oden’s part. Come on, man. You were real with us readers for a moment there, and this is how you’re going to leave us?

Minor quibbles aside, Old Gods and Other Tales is an excellent microcosm of the work of an underacknowledged author. While his Sword & Sorcery stories are entertaining, he seems most confident with the real world as his foundation; historical fantasies and the more grounded Heroic Historicals are where he truly shines. Adrenaline, overwhelming odds, and desperate last stands are his forte. Old Gods and Other Tales was awarded the 2026 Costigan Award for Literary Achievement by the Robert E. Howard Foundation.

Old Gods and Other Tales is available as an ePub directly from the author, and in Kindle and paperback formats from Amazon.

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