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REVIEW: The God King’s Legacy by Richard Nell

Not so much a novel as a collection of two novellas that are only distantly related, The God King’s Legacy serves as an excellent introduction into the as yet unreleased God-King’s Chronicles series.

Rebellion of the Black Militia, the first novella, is about an apprentice Scribe that is being assigned to work with a legendary Knight to weed out a rebellion that seems to have a demon behind it. In this world, demons can be captured and held by magical markings on the body of the holder, with Scribes as the experts in such castings. The God-King himself has done this, and it appears that this is what keeps the demons at bay for the most part. If a Scribe or Knight holds the demon, it is neutralized and kept from hurting the population at large. A nice bonus is that the holder gains powers directly from the demon possessing him or her.

The second story, Devil of the 22nd, follows a rogue soldier that has taken control of his army that has been all but forgotten by the Emperor after years of service in the borderlands. Kurt isn’t particularly liked by his men, but they follow him because with smoke and mirrors he is able to keep them thinking that it is in their best interests to do so. Kurt has his hidden agenda though and is playing a larger game for bigger stakes.

These two stories happen on the same continent but are very far apart and set in different countries. The tone is different in each, but we see some common elements. The demon-Scribe dynamic reminds me of Peter V. Brett’s The Warded Man (or The Painted Man outside of the USA). Meanwhile, the extensive use of guns fit the flintlock sub-genre of fantasy that’s been more popular in recent years thanks to the likes of Brian McClellan and Django Wexler. Combine these with the dark grit of Mark Lawrence’s Broken Empire and you get a good feel of what to expect. Perhaps…

These stories are both self-contained and satisfying on their own but give us an excellent teaser to what might be coming when Nell releases his longer works set in this world. He takes elements we might have seen in different places and blends them together in a unique presentation which fully engages the reader and drops the occasional surprise or WTF moment here and there.

When the longer story is out there, I’ll be looking into it with anticipation.

Oh, and that cover by Shawn King just screams “take my money!”

Check out an excerpt of The God King’s Legacy.

Buy The God King’s Legacy

The post REVIEW: The God King’s Legacy by Richard Nell appeared first on Grimdark Magazine.

EXCERPT: Chains of Blood By ML Spencer

Chains of Blood by ML Spencer is the first book in The Chaos Cycle, a standalone series set in the same world as The Rhenwars Saga. Chains of Blood features a new generation of heroes and demons charged with defending the Rhen against an ancient collective society. New readers will enjoy the depth of the world without feeling lost within it, while fans of the original saga will appreciate the familiar setting.

In Chains of Blood, Rylan Marshall discovers his entire life has been a lie. Recipient of a legacy he never knew existed, Rylan is attacked, his young daughter taken from him. His assailant leaves him with two gifts: the gift of magic and an unbreakable oath to Chaos. Rylan blames himself, even though he knows it wasn’t his fault. The life he knew was over, and war is coming. A new enemy, stronger and more cunning than any his people have ever faced, threatens his already war-torn homeland. Will Rylan use his newfound power to make a stand? Or will his oath to darkness turn him into an adversary?

Below, check out the first chapter of this hotly anticipated book by ML Spencer. Make sure to add it to your Goodreads list!

Chapter One

Gift of Darkness

The inn’s door blew open with a shriek.

Rylan Marshall flinched at the noise, his hand moving to the hilt of the sword resting at his side against the table. One of the inn’s customers bolted up, trudged across the room, and slammed the door shut. Rylan’s fingers loosened on the hilt, eventually retracting. The tension that gripped his shoulders took longer to go away.

Seated across the table, his father offered a sympathetic smile. “Can always tell when a man’s served time at the front. The nerves get stretched, like catgut. It took me four years before I stopped jumping at every barking dog.” He drained his whiskey and let out a slow sigh. “Some men never lose it…” He set the spent cup down on the table, then scratched his head. His auburn hair was cropped shorter than he usually liked to wear it, peppered with far more grays than Rylan remembered.

“I’m just glad to be home,” Rylan said with a sad smile. He raised his cup to his lips and drained the last of his whiskey.

Outside, the wind gave a ghoulish moan.

He poured himself what was left of the bottle and tossed it back in one swallow, setting the cup down harder than he’d intended. He ran a hand through his thick black hair, then cast a sideways glance at his father. “You should have seen what they did to their own vanguard at Edden’s Ford. We had them trapped against the water, so they turned their weapons on their own men. They forded the river on a bridge of corpses. Walked right over them.”

His father shook his head. “Desperate men do desperate things,” he muttered. For a moment, his eyes grew haunted. He stared down into the shadows of his cup, absently sliding a fingernail along the rough grain of the table’s surface. The air moving in under the door fanned the table lantern, bringing Clemet’s mind back from whatever hell it had wandered into. He took a measured sip from his cup, then signaled the inn’s proprietor for another bottle.

Rylan raised his hands in defeat. “No more for me,” he said, then pushed his chair back. “I’ve got to be heading back. Korey’ll be up waiting for me, and we’ve got an early day tomorrow. I’ve decided to take him into Auberdale. Get him a good pair of shoes,” he added with a smile. “The ones he’s got have holes in them.”

“While you’re there, get yourself a pair,” his father said, gesturing down at Rylan’s worn boots, which had seen many miles and many battles. He dug a small handful of coins out of his pocket and slid them across the table. Rylan opened his mouth to protest, but Clemet cut him off before he could get the words out.

“Go on, now,” he insisted, waving him away. “I’ve still got another round left in me. I’ll walk you out, though.”

“My thanks,” Rylan managed, knowing that arguing wouldn’t get him anywhere. He pocketed the coins then stood up, taking a moment to stretch his legs and gird his sword belt. The Farlow Inn hummed with the sounds of subdued conversations. Only a few patrons were gathered in the common room, all locals. A haze of pipe smoke fogged the air, the aroma combining pleasantly with woodsmoke coming from a river-rock hearth on the far wall. Rylan pulled on his coat and followed his father out the door.

The smell of the hearth trailed after them into the night. Outside, Clemet embraced him and clapped him on the shoulder.

“It’s good to have you home, son,” he said with a sincere smile. “Tell your mother I’ll be along in a bit.” He gave him another squeeze, then turned and walked back into the inn.

Obscured by clouds, the moon was reduced to a thin yellow haze that shed an anemic light over the town. Rylan thrust his hands into his pockets and strolled with his head bowed, enjoying the warmth of the liquor in his belly. The dust-paved streets of Farlow were quiet, almost ghostly in their stillness. Not a soul was about.

A building across the street gave a sharp crack. “Settling,” as his mother would call it. The noise startled him. At the front, he’d learned not to trust sounds he didn’t expect. He glared at the house, resenting it, and forced his hands back into his pockets. He walked on down the street, his right hand fingering the coins his father had given him. Another gust of wind came up, ruffling his hair.

Up ahead, a shadow crossed his path and disappeared down a side street. Human-shaped. At least, he thought it looked human. It could have been anything. Something about it tugged at the hairs on the back of his neck. Rylan paused and brought a hand up, scratching the week-old growth of whiskers on his face. He shrugged off the feeling and walked on.

He left town on a narrow, gravelly path leading through acres of cornfields toward his own homestead. Tall stalks rose around him, walling the path to either side, swaying back and forth between gusts of wind. Overhead, the moon dodged in and out of the clouds, the path ahead alternating between silver and shadow.

A scratching noise like metal against metal came from the field to his right.

Rylan stopped, frowning, and turned in the direction of the sound. He could make out an opening in the rows of corn, as though someone had left the trail and carved a path through the stalks. He started toward the opening, then stopped himself. Whoever was out there, it wasn’t his business. He had a family to get home to. He turned and continued on.

The cornfield ended with a long row of sycamores, a windbreak that wasn’t doing much of a job. On the other side, Rylan could make out the lights of his parents’ farmhouse glowing warmly through a lacy silhouette of leaves. His mother was still awake.

The scratching noise came again.

Rylan whirled toward it.

Behind him was another human-like shadow, only this time standing in the center of the path.

It was gone as soon as he saw it.

Rylan blinked. His stomach tightened, and his brow broke out in a sweat. A feeling came over him in an icy wave—one he recognized. It was the same feeling he got when staring across a battlefield at enemy lines.

“Who’s there?” he called into the darkness, taking a step forward.

Nothing.

A rush of wind trilled the leaves of the sycamores.

Whoever it was, he didn’t want them near his home. Hand on his hilt, he started back toward the cornfield. The night grew alarmingly quiet. The sounds of his boots crunching on gravel rang much louder than they should, echoing through the darkness in the absence of other noise. The wind had stopped. The limbs of the trees swayed to a standstill.

Rylan walked back out into the field, the moon casting his shadow ahead of him. His eyes scanned the path to either side, seeing only tall walls of cornstalks. Until he came to the opening in the rows. He stopped, considering the trail. A stale breeze wafted past him, carrying a rank odor. Rylan drew in a deep breath, gathered his courage, then walked into the corn.

Following a dark and narrow path, he had to fight with the rough stalks, pushing them out of his way as they raked his skin. Part of him didn’t want to keep going. But another part of him did. From ahead came the scratching sound again, louder this time. It scraped like a dull knife down his nerves. He pushed aside the last row of stalks.

Another shadow streaked across his vision.

It lunged for him.

Rylan’s reaction was primal and automatic. He bared his sword and swept it around in a two-handed arc. The blade parted the shadow without connecting with anything.

Startled, Rylan took a jolting step back. The shadow swept forward, reaching out for him. He spun back around—

—and cried out, stumbling away from the face of a man standing only inches from him. His fingers opened on their own, and the sword fell from his grip.

The man reached out and caught his arm. Rylan stood frozen, the fear in his gut a paralyzing venom. The hand tugged at his arm, and he walked woodenly forward, his feet moving of their own accord. The shadowy man led him back into the ring of trampled cornstalks.

Rylan’s eyes went to the remains of a good-size fire that had been built in the center of the circle. He recognized the smell now: burnt human flesh. He’d smelled that stench before on the battlefield. His gaze was glued to the pile, unable to look away. Before him, the blackened flesh took on definition. Thin arms, twisted legs, distorted face. Small, like a child.

He flinched away, his gaze settling on a small leather shoe with a hole in the toe.

Rylan collapsed to his knees, throttled by horror. A soul-wrenching cry welled up from his depths, twisting his guts.

His assailant stepped forward out of the shadows. The man had a gray and angular face. His piercing eyes bored into him through a mat of long, oily hair. He reached out his hand, as if offering to help him to his feet.

Rylan dodged past him and scrambled toward the charred remains of his boy. But the gray-skin man sprang in front of him, cutting him off. Rylan sank to his knees, all his strength pouring out of him in a flood.

“Why?” was all he could get out.

“Because it is your fate.”

The words were meaningless. None of this was happening. He must have been asleep. Dreaming. More human-like shades slid forward to encircle him. Rylan’s stomach heaved, and he vomited. He sank back, drawing his legs up to his chest and smothering his face with his hands. His cheeks ran with tears, his body wracked by sobs.

“Why?” he moaned again.

“Because of who you are.”

He looked up at the man through thick layers of incomprehension. “Who I am…?” He shook his head. “I’m nobody…”

This wasn’t real. This wasn’t happening.

The thin lips drew back in a smile, baring teeth. The gray man knelt before him, staring into his eyes.  “We bring you a great gift, Gerald. Think of it as your inheritance.”

Rylan’s thoughts lurched. His brain jammed like stuck gears. “Who’s Gerald…?”

They had the wrong man, the wrong family. This was all a mistake.

But his boy lay smoldering in front of him, and the devil-bastard who’d killed him wasn’t going away.

Rylan’s anger exploded, wrenching fear aside. He struck out with a fist and hit a wall of solid air. The bones snapped in his hand. He opened his mouth to scream, but something slammed him to the ground, knocking the air from his lungs. The gray-faced man stalked toward him, his face frozen in a look of intense calm.

Gasping, Rylan rolled over and pushed himself to his feet. He backed away from the man, circling the edge of the clearing. His assailant pursued him, maintaining his distance, his flat expression never faltering.

Rylan sprang for his sword. His hand closed on the hilt, and he brought the blade up.

The weapon dislodged itself from his grip and flew back at him, the pommel driving hard into his temple. Dazed, Rylan staggered.

Something knocked him off his feet and hurled him to the ground. Rylan lay there, blinking slowly, as the demon-man came to stand over him. Gritting his teeth, Rylan forced himself to move, pushing himself to his hands and knees. A foot shot out, taking him in the ribs. Another kick knocked him back to the ground. Rylan glared wrathfully up into the man’s stone-calm face.

“You son of a whore!” he rasped. Spitting a mouthful of blood, he pushed himself upright.

The gray-faced man knelt in front of him, staring into his eyes with an infinite glare.

Rylan brought his hand up to throw a punch at the man’s windpipe. The gray man moved with the speed of a snake strike. He caught Rylan’s fist and gripped it hard. Then something struck him, and he gave a grunt.

Rylan felt a stirring in his fingers. A strange power flowed into him from his assailant’s body, moving through his hand, washing up his arm, flooding into him. It swept through him, engorging him, awakening every fiber of his being with an exhilaration that transcended anything he’d ever known. The energy swelled, rapturous, until the ecstasy became unbearable.

Rylan screamed.

The flood of energy ceased.

He collapsed, falling face-first onto the trampled cornstalks. He lay there for several minutes, twitching and gasping. When he could finally open his eyes, he saw the gray-faced man lying dead beside him. With a cry, Rylan jerked back.

Another man appeared, taller than the first, stepping into the circle through the ring of shadows. This man wasn’t gray. He had olive skin and a hawk-like nose. He wore his long brown hair pulled back from his face. The man stooped in front of Rylan and peered at him. The shadows in his eyes were endless and harrowing.

“You will repeat after me,” he said calmly. “I commit my soul to Chaos.”

Rylan gaped up at him, shaking his head. “No.”

The man leaned closer. “Yes. Or I swear by Xerys, your daughter will meet an excruciating end.”

Amina…

Rylan shook his head, unable to draw breath through his horror.

The man’s eyes narrowed. “Say it!”

Not Amina too. Not my baby girl…

Trembling, he whispered, “I commit my soul to Chaos…”

“From this day forth, I will be the obedient servant of Xerys.”

Rylan stared at his son’s charred body, trembling in revulsion. He shook so hard it was difficult to get the words out. “From this day forth, I will be the obedient servant of Xerys…”

“And may not even death release me.”

“No…” Rylan wheezed.

“Say it!” the man hissed.

Rylan sucked in a long, shuddering breath, then whispered, “And may not even death release me…oh, gods. Please help me…”

“Only one god can help you now,” the man assured him, straightening.

Rylan collapsed, wracked in sobs.

Behind him, he heard footsteps walking away. “I’m taking your daughter back with me,” the man informed him. “Someday I will call, Gerald. And you will come.”

The man-like shadows swirled away into darkness. The olive-skinned man disappeared with them.

Check out more ML Spencer action!

Excerpt: Darkrise

Interview with the author

Review: Darkstorm

Five female authors smashing grimdark right now

 

 

The post EXCERPT: Chains of Blood By ML Spencer appeared first on Grimdark Magazine.

REVIEW: Wraith Knight by CT Phipps

Wraith Knight, by C.T. Phipps, asks a Tolkien-inspired what-if: After Sauron fell, what would an out-of-work Nazgul do with the rest of its eternal lifespan? In this book, readers follow Jacob Riverson, an undead warrior in similar straits coping with his recent emancipation and newfound free will after the downfall of his own dark lord, the King Below.

Wraith Knight is a tale told in first person, narrated by Jacob himself. On the whole, I found him well suited to the task with an enjoyable narrative voice, a dark sense of humor, and a refreshingly pragmatic outlook in dealing with his friends and enemies. His death and necromantic resurrection leave him with a 252-year gap in his memory—but this is helpful from the reader’s perspective, as Jacob’s ignorance of a changed world allows us to smoothly learn about the state of things along with him.

After his awakening, Jacob soon finds purpose and a righteous use for his dark powers in two secondary protagonists: Regina and Serah. Regina, an elfblooded warrior with a strong sense of justice, is on a crusade against the Empress and so-called Nine Heroes who murdered her family. Serah, by contrast, is a gifted witch with a talent for the darker side of magic and a significantly more cunning outlook on life. Together, the pair act as interesting (and often humorous) character foils to one another and form a sort of angel-and-devil dynamic. Other standout characters include the charismatic voice of the King Below’s lingering essence, ever tempting Jacob to take up his old mantle as the god of evil, and Creature, a former priest of the dark lord reluctantly drawn into Jacob’s service.

The world Jacob and his companions inhabit is less grimdark in the low-fantasy Abercrombie tradition and more grimdark in the vein of Warhammer Fantasy, with spiked leather gauntlets, a host of fantastical races and beasts, and countless soldiers ground to mincemeat by battlefield sorcery. Spellcasters make use of a wide range of magics (light, dark, noon, twilight, blood, true-name, etc.), and the killing fields are littered with enchanted swords and sorcerous engines of war. At times, the setting feels a little overstuffed with so many fantasy elements, but Phipps does some neat subversions of traditional genre tropes (the idea of certain races and types of magic as purely good or evil, for example) that keep things fresh. If the author ever translates this series into a tabletop RPG, I’d be the first to buy a copy.

In terms of plot and pacing, Phipps keeps things moving at a timely clip. While the events of the novel sometimes feel like a series of boss fights, increasingly epic action and a few solid (and genuinely surprising) plot twists keep the pages turning. Readers will also appreciate a few well-placed nerd jokes (like references to Sir Terry Pratchet).

While I found a lot to enjoy in this book, Wraith Knight also had a few elements that didn’t work as well for me. One among these was the staggering power level of Jacob and friends. Between the skills he learned in life as a knight and the secrets he gained in undeath, Jacob is an expert swordsman, powerful necromancer, and master blacksmith capable of crafting magical wonders. Regina is even better with a blade, and Serah’s shadow magic is capable of laying waste to scores of soldiers. With a plot that relies so heavily on action, the borderline godlike strength of the trio paired with a loosely defined magic system sometimes made it difficult to build suspense or tension. This, combined with dialog and behavior that didn’t always feel natural made it hard to connect to the characters at times.

Issues aside, this book was still an action-packed page-turner with a unique premise and a solid narrative voice. Fans of similar content in Tolkien, the Overlord anime/manga, or the LitRPG genre (although this novel leans more toward dark fantasy) should give Wraith Knight a read. I would give this one a strong 3.5/5 stars. While one doesn’t simply walk into Mordor, the Kindle store is only a click away.

Buy Wraith Knight

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REVIEW: The Buried Dagger by James Swallow

After well over a hundred novels, novellas, short stories, and audio installments, The Buried Dagger brings the Black Library’s flagship series, The Horus Heresy, to a close…of sorts. Yes, there is no way that a review of the final book in the HH would be complete without some commentary on the state of the series in general, and the fact that this last book is by no means the ‘end’. As we all now, a few months ago, BL announced that a new series would be introduced to cover the climactic battle for the very salvation of the Imperium–The Siege of Terra. Siege of Terra was proclaimed to be a lean and mean, focused 8 book series dedicated to telling the story that the HH should have told, had it not been subjected to sprawl and bloat. Of course, it has also already been announced that the core Siege of Terra novels will be ‘enriched’ by a slew of ancillary novellas; with, I’m sure, more short stories and audiobooks in the works as well.

One of the points to all this is that, no matter what, The Buried Dagger is predestined to suffer somewhat simply due to the fact that it is such an odd choice of subject matter–being a chronicle of Mortarion’s embracing of Nurgle’s ‘Gift’–to ‘close’ the series out with. It seems to me that the HH should begin and end with the traitor named in the title; ergo, it should not end until we see the traitor Warmaster dead at the mortally wounded Emperor’s feet. It also reminds us what happens when what should have been a focused series becomes the very antithesis of such. We’ve seen author(s) stating that the sprawl was a good thing–allowing us to view the multitudinous parallel storylines transpiring during the HH–and, while this is true in theory, would not the wisest choice have been to simply create a Warhammer 30,000 novel line from the get-go, so we might see those stories, while allowing the Heresy to stay on track? I believe so; but I am also acutely aware of the brand value associated with the Horus Heresy name. Yes, one can never avoid the business side of business.

With that rant, I mean observation out of the way, it’s time to get to the review of The Buried Dagger. Just to mention, before getting into it, I have not read every Horus Heresy book or story, so I’m sure some of the Easter Eggs may have flown over my head. The short take of this book is that it is very well done; I am aware that many in the fanbase have, ah, varying opinions on James Swallow. I’ve always enjoyed his writing style, and think he’s in fine form here; although, of course, there’s some issues throughout. Let’s take a look at the blurb, and then the book itself.

For long years, the Horus Heresy has ground on. Now, the Death Guard have been sent to begin the final battle. But Mortarion and his sons must face their gravest challenge first – for Nurgle has claimed them as his own, and he will not be denied…

The skies darken over Terra as the final battle for the Throne looms ever closer… As the Traitor primarchs muster to the Warmaster’s banner, it is Mortarion who is sent ahead as the vanguard of the Traitor forces. But as he and his warriors make way, they become lost in the warp and stricken by a terrible plague. Once thought of as unbreakable, the legendary Death Guard are brought to their knees. To save his Legion, Mortarion must strike a most terrible bargain that will damn his sons for eternity. Meanwhile, in the cloisters of Holy Terra, a plot is afoot to create sedition and carnage in advance of Horus’s armies. Taking matters into his own hands, Malcador the Sigillite seeks to put a stop to any insurrection but discovers a plot that he will need all of his cunning and battle-craft to overcome.

We can break The Buried Dagger down into two core storylines: Mortarion’s story, and what’s happening on Terra, in these final days before the armadas of the Warmaster arrive. Examining Mortarion’s tale, which is the core arc of The Buried Dagger, we see that it is woven of two elements: the immeasurable amount of time Mortarion and the Death Guard spend in the limbo of the Warp, and the chronicle of the young Reaper of Men on his adopted homeworld Babarus.

The story opens with the brutally efficient cleansing of a random planet by the Death Guard, upon orders from the Warmaster. At the resolution, Mortarion is given his marching orders to lead the attack on the Palace at Terra. After a fated rendezvous with Typhon, his first Captain and longtime friend, the ships of the Death Guard enter the Warp…and remain.

Meanwhile, on Terra, Malcador and Dorn make their last minute defensive preparations; preparing the planet for the onslaught to come. However, into this hectic schedule, a mystery had arisen, which takes the efforts of the Sigillite’s dedicated Knights-Errant to solve. The discovery of numerous fallen Sisters of Silence; found in states of distress, babbling incoherently in violation of their vows. Further confounding matters, all of these lost Sisters have long been recorded as dead. The race to unravel the mystery runs Nathaniel Garro and the rest of the Knights afoul of the Ruinous Powers of Chaos at every turn. This gives the reader a good perspective of the pervasive state of unrest already palpable on Terra…well before the arrival of Horus’ ships.

So, do these three storylines (Mortarion then, Mortarion now, and the Terra arc) come together in a satisfying confluence? At the risk of sounding terribly ambiguous, I’d say yes…and no. While each aspect is well-written, the blending of them is not so seamless, leading to an experience more akin to having two novellas and a short story jammed together.

Mortarion Then

Possibly the best arc of the book, Swallow paints a sympathetic portrait of the sullen young Reaper. We see the blighted, brutal world of Barbarus, the cruel, twisted Overlords who rule over it; and, in the midst of this perennial misery, the foundling Mortarion, who is little more than a killing tool, earning the endless derision of his Overlord stepfather.

A chance meeting with a clever halfbreed (half Overlord, half “lesser”, or human) youth named Calas Typhon sets the Reaper on a new moral trajectory–instead of being an unappreciated tool, he would set to map his own destiny. This leads the young Mortarion to become a leader of men, a leader of armies, and finally, it delivers him to the two hated paternal entities in his life.

In my opinion, one of Swallow’s greatest strengths is his worldbuilding, and he is in top form here. The Barbarus he crafts is thoroughly bleak and literally toxic; permeated throughout with cruelty, utterly bereft of love and kindness.

The action scenes throughout are well done as well; showing the young Reaper honing his killing craft, allowing the reader to see him first pick up his signature weapon; the scythe, with which he harvests lives wholesale.

The scenes with Calas Typhon are done well; allowing us to see the calculating youth who, under the guise of friendship, has been leading Mortarion down the road to Damnation from the moment their paths first crossed.

Perhaps the only fault one could find with this segment of The Buried Dagger would be in some stilted dialogue; and that’s an issue that runs throughout the entirety of the novel. Nothing dreadful, but it’s not the greatest.

However, an issue (but not necessarily a problem) that presents itself is this–the chronicle of Mortarion’s youth is arguably the longest thread in The Buried Dagger. We are yet to see the Mortarion Primarch novella; it seems to me that the existence of this portion of the book will make that novella redundant. Plus, it remains to be seen as to whether the author of that book will be able to match the quality of the chronicle presented in The Buried Dagger.

Events on Terra

Well, a lot of your enjoyment of this arc is contingent on your feelings for Swallow’s pet character, Nathaniel Garro (and I’ve seen quite different opinions across the board on him). The entire subplot involving the ‘found’ Sisters was quite compelling, and tied deftly into a larger plot involving the hand of Horus himself.

Again, world-building here is a highlight. There are some dynamic setpieces upon which the action takes place; and copious amounts of blood are spilled. Of note is a segment which unfolds against the backdrop of a tropical graveyard of ships (the seafaring type, not the space variety). With toxic flies humming Nurgle’s dark message under a morbid canopy of dangling corpses, it sets a truly grim stage for the action.

The scenes on Terra are also extremely action-heavy. Swallow is a capable writer of action; although neither as dynamic nor flamboyant of some of the other BL authors. While these scenes excite, I can’t help but think some of the hack and slash word count might have been better utilized on describing some of the more advanced defenses and countermeasures which Dorn was overseeing.

Also, the Terra scenes allow us to witness the ‘next step’ for the Knights-Errant; something which long-time fans have been waiting for. While we all know what was coming, there was a twist or two which did surprise me here.

Mortarion Now

Honestly, what should have been the best section, the glorious payoff, was a bit of a letdown. There just wasn’t enough here; and what there was, it lacked in conveying the true stakes, and sense of loss.

Being adrift in the Warp should have served as prime, fertile ground for atmospheric scene-building. Seriously, of all the Chaos gods in the Warhammer mythos, Nurgle has to be the most fun to write about. An author has carte blanche to slather every page, every paragraph, with foetid rot, pus, sickly-sweet corpse aromas, and ever-present buzzing insects. Now, we do get this, but to a degree. There should have been much, much more. Where Mortarion finds himself, his entire Legion decaying around him; some by choice, some against their will, while agonizing over the decision to forfeit his very soul, this was Ground Zero for Grandfather Nurgle. Each page should have been an uncomfortable, stomach-churning experience for the reader; soaked in foulness, drowned in the inherently wrong. The horror of the surroundings should have been trumped only by the horror of what Mortarion was wagering, what he was compelled to place on the line. What he had been flirting with in the dark hours, what thoughts he had entertained as they danced maniacally in the periphery.

Instead of Mortarion being coaxed by Nurgle, instead of this utter pragmatist weighing the pros and cons, we simply get Typhon’s rebirth, some more action scenes, and the acceptance of the Gift as a foregone conclusion. Yes, there are some effective, genuinely scary moments; but the horror should have been pervasive throughout. So, what should have been the thesis of the book comes off as a bit of a rushed afterthought.

Final Thoughts

Again, in The Buried Dagger, three ‘independent’, well-written stories did not necessarily come together to form a singular, effective narrative. Many scenes, while enjoyable, could have been truncated, or altogether eliminated, to add to key areas which were lacking. While I won’t say that the novel feels rushed; I will say that there is definite padding taking place, stretching out scenes with flashbacks within flashbacks; interspersing overlong action scenes where more pertinent action is required.

I guess, in the end, for a warrior of Mortarion’s magnitude, I expected a greater war within for the sake of his very soul. Instead, it all came down to taking a handout from grandpa to help kill your absentee father because you’re pissed he offed your abusive stepfather before you could.

In closing, The Buried Dagger is a good book, and a fine episodic installment in The Horus Heresy. As a ‘close’ for the HH; well we’ve already established that it’s getting a re-name rather than a ‘close’ for the time being. So, while The Buried Dagger is a good book on its own, it will forever remain a mystery why Black Library chose to end their cash cow at this narrative juncture.

Buy The Buried Dagger

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REVIEW: The House of Sacrifice by Anna Smith Spark

Anna Smith Spark’s The House of Sacrifice is one of the most emotionally tolling pieces of fiction I’ve ever read. It completes Empires of Dust, one of the best fantasy trilogies in recent memory. I’m equal parts shattered and satisfied. I want a hug. Or a whiskey. Or something. Anything.

The House of Sacrifice wraps up the downright bloody tragic stories of Marith and Thalia, Orhan and Bil and Darath, and Landra and Tobias. We follow the army of Amrath as it smears blood and death and destruction across the land, unstoppable in their march to conquer the world for their god king. Marith is as self destructive and tragic as ever, Thalia is torn between having enough of her addict and the deeply-rooted love she has for just about the worst bloke on earth, and the rest of the cast are either in the way or riding the coattails of the army of Amrath.

Now, let’s get into the best part of Anna’s books: her magnificent characters.

In the brief calm before the storm that is Anna’s writing, we are gifted a brief insight into Thalia’s mind—her questions on why she shouldn’t be happy. Why should she murder Marith for the greater good, when he is the person who makes her happy? Why should she break herself and her happiness to murder the god of death when most won’t even give a copper to a beggar? Why is hers the greater evil?

And just like that, we are thrust back into the butchery, the almost mythological descriptions of Marith as he bleeds the world. The break-neck speed storytelling that somehow manages to be both so beautiful in prose and visceral in its depiction of the land is just magnificent—easily the most unique voice in fantasy at the moment.

Marith’s fear and want for his incoming child is amazing and sickening and terrifying to behold. And his wrestle between his impending fatherhood and the needs of an insatiable army who won’t be dismissed is massive—a roller coaster he one second can’t find a way to get off, and the next second wants to go faster.

And amongst all this, there is a traitor in his ranks, maybe in his inner circle…

Our man Tobias is still with the camp followers of the army of Amrath. Still dirty on himself for not killing Marith when he had the chance to stop this wave of bloodshed before it grew into a tsunami. His inner monologues provide a refreshing bit of humour away from the unbelievable level of grit and horror in this book, and his character development is a thoroughly enjoyable part of the book. (I may have been fist pumping as he comes into his own at then end…)

Landra wanders in the wake of the army of Amrath, watching beauty spring up in the wake of devastation, seeing ruins of once populous cities, almost like a spiritual pilgrimage—or investigation—into the godhood of Marith. Trying to find a crack she can expose, somewhere to drive a killing blade into Marith. Vengeance is what she seeks, at any cost.

Orhan has spent four years in poverty. Servants gone. Wealth gone. Titles gone. All he has left is his wife Bil, who he cannot love, his lover Darath whose spirit clings by the slightest sliver of strength (or desperation), and his son, who isn’t his son, and the ongoing lamentation of all that he has lost. Once the nithique and second most powerful man in all of Sorlost, he is now but a forlorn shadow wandering in a city where all his greatest fears have come true but perhaps aren’t as bad as he feared when he fell from favour.

Smith Spark continues to paint such beautiful and vivid scenes–it’s like watching music. The opening 20% is an absolute fever dream experience with all the above twisting into an experience like no other series in fantasy. Her pace builds and builds throughout and the last hundred pages disappear like you ripped them from the spine and threw them into the wind. It’s visceral and engulfing and I honestly need a mental break after it. Holy shit.

I cannot recommend this series enough. Pick up it. Love it; don’t love it; just experience it.

If you haven’t started the series, check out The Court of Broken Knives, and The Tower of Living and Dying.

Buy The House of Sacrifice

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4 Grimdark Shows to Watch After Game of Thrones

“The night is dark and full of terrors,” especially now that HBO’s long running show, Game of Thrones, has come to a conclusion. The series finale premiered on May 19th to an audience of 13.6 viewers, capping the show off at a total of 8 seasons, 73 episodes, and 176 on-screen character deaths. The Emmy award winning series first premiered on HBO back in April of 2011. The first five seasons adapt author George R.R. Martin’s books in his A Song of Ice and Fire series, with the last three moving beyond Martin’s published work. Though many characters appear (and die) throughout the show, the main plot centers around three powerful houses in Westeros, the Lannisters, Starks, and the Targarians, in their fight for the Iron Throne and dominion over the Seven Kingdoms.

Both the show and the books are full of all things grimdark, with the many houses declaring war on each other, grey character morality, and satisfying revenge. Now that Game of Thrones’ “watch has ended,” you might be looking for something to fill the void the turbulent series has left behind. While these options are not exclusively considered fantasy, they are most definitely grimdark.

Here is a list of shows filled with dark characters and dark worlds that you might enjoy after watching Game of Thrones.

Death Note

The first entry in this list strays away from the medieval and fantasy style of Game of Thrones in favor of modern Japanese animation. Death Note, based on a manga of the same name, is a popular anime in both Japan and the U.S. The show follows high school student Light Yagami as he finds a powerful supernatural item known as a ‘death note,’ a book that grants him the ability to kill a person by writing their name in its pages. The ‘death note’ belongs to a Shinigami named Ryuk, a death god who has become bored by life in his realm and is looking for a way to be entertained. Light ultimately makes a deal with Ryuk, where he gets to use the death note, thus becoming a form of entertainment for the Shinigami. Taking up the mantle of Kira (Japanes transliteration of ‘killer’) in an effort to cleanse the world of crime by causing mass executions of criminals. His actions soon attract the attention of an elite law task force led by a detective named L, whose goal is to find and put a stop to Kira.

This anime is dark and gritty, combining both thriller and horror aspects to create the world Light and Ryuk inhabit. The colors of the anime, for the most part, are very muted, with whites, greys, blacks, and browns becoming the main palate for the show. Pops of color however are used to emphasise the distinction between “good” and “evil”, with Light often appearing in shades of red, and L appearing in a blue. The character of Light is also an interesting example of grey morality. Light gradually develops a God complex over the course of the anime as the power of the death note goes to his head, his ultimate goal being to create a utopia without violence. Though he believes that his motives are for the good of the world, as crime rates rapidly decline once he beings using the death note, he himself becomes the biggest criminal of them all by using it.

Penny Dreadful

Next on the list is a show that is much more similar to that of Game of Thrones. Penny Dreadful is an American-British series that originally ran on Showtime (it can now be streamed on Netflix). The series consists of three seasons and contains versions of literature’s greatest characters such as Dr. Frankenstein, his Monster, and Dorian Grey, and appearances of famous monsters like vampires, werewolves, and witches. Taking place in 1891 London, the central story revolves around Vanessa Ives, a troubled woman, who struggles with her own, very real demons. A dark force known only as “The Master” is after her in order to complete a prophetic ritual. The title is derived from the 19th century British publications of the same name, that showcased sensational and lurid stories.

As with the Victorian literature that the show draws from, the London that is used as the setting is filled with shadows and death, and you can never be certain what you will find after turning a dark corner. The grim atmosphere is intensified by the show’s characters, as all of them can be viewed as anti heroes in their own right. Ethan, an American cowboy and potential suitor for Vanessa, struggles with his own darkness. A beast lies within him and it is hungry for any blood it can find, and to his credit, Ethan does his best to cage his darkside, though it leads you to wonder if he carries the guilt of his sins with him. Lord Malcolm Murry is another interesting subject. He acts as a father figure towards Vanessa, Ethan, and even Frankenstein, though he is truly concerned with his own hidden motives by assisting Vanessa. The good Dr. Frankenstien is a morally grey character as well, as he previously abandoned his very first creation, the original Monster, and turned to morphine as a way to cope with his sins, as well as committing several other atrocities over the course of the series for the sake of helping another.

The Expanse

Third up on the list is a show that is out of this world; literally. The Expanse is an American sci-fi series originally distributed by the aptly named SyFy channel. The sci-fi show is based on the novels of the same name by author James S. A. Corey (beginning with Leviathan Wakes). The series takes place in a future where humanity has ventured out into the Solar System, colonizing Mars, the asteroid belt, and several moons, splitting into three factions–Earth, Mars, and the Belt. The central story revolves around a differing cast of characters: UN Security Council member Chrisjen Avasarala, detective Josephus Miller, and Captain James Holden and his crew. Forming an unlikely band of antiheroes, the show follows these characters as they inadvertently find themselves at the center of a conspiracy which threatens the System’s fragile peace, the class balance, and the survival of humanity. The Expanse ran for 3 seasons on SyFy before it was dropped network. All was not lost however, as Amazon Prime Video has picked up the series, renewing it for a fourth season that will be premiering later in 2019.

Since its premiere, The Expanse has been referred to as “Game of Thrones in space.” This observation most likely stems from the overarching similarities between the two shows, such as violence and the ideology that “anyone can die.” Another angle that aligns it with Thrones are the many antiheroic characters. Many of these characters, such as Captain Holden, do not have a clear moral alignment, causing audiences to cheer for them one minute and seriously question their judgement the next. The three factions could double for the various houses within the Thrones universe. Earth, Mars, and the Belt exist in a delicate balance of peace, and it would only take one event to catapult the factions into war. And as with the houses in Game of Thrones, viewers might be more inclined to root for one more than another, while also leave audiences to ponder which of the factions is the true villain. Though The Expanse and GOT share many of the same aspects, the one that shines the brightest is the grey morality. The antiheroes in The Expanse are nothing more than Grimdark space rogues, doing everything they can to survive in the vastness of the galaxy.

Westworld

This list’s  fourth and final entry is another cinematic spectacle from HBO. Though it has never become “the next Game of Thrones,” Westworld has left audiences captivated, and completely confused. The two, going on three, season series is a sci-fi western, roughly based on the 1973 film of the same name. The main plot of the show takes place in Westworld, a technologically advanced ‘vacation world’ similar to a theme park. It is here that guests may choose to play on the side of good by donning a white hat, or the side of deviance with a black hat. All of the citizens that reside in Westworld are highly advanced robots called “hosts,” who offer different story lines that guests are able to play while visiting. Though the hosts are meant to be incapable of causing intentional harm, a small group of them begin to retain memories from previous encounters with guests, allowing them to begin learning that the world they live in is a lie.

While you might have to choose between a black or white hat to enter Westworld, grey is the true color of morality when it comes to the various humans and robots in the show. Dr. Robert Ford is an intriguing character to apply this to. Being one of the founders of Westworld he is one of the few people who realize how human the hosts can be to some. However, Ford is often quick to tell his staff not to treat them as humans in anyway, even going on to perform dehumanizing acts on them himself. Similar to Light in Death Note, Ford sees himself as somewhat of a god, as he helped create all of the hosts and he has the power to determine what they say or do by introducing new narratives to the park. The narrative he attempts to introduce however may have ulterior motives behind it.

Go on, get your post-Game of Thrones fix

Whether it’s Japanese death gods or robotic cowboys, these shows are sure to excite and pull you into their turbulent worlds. Grey morality not only adds significant depth to a character, but it also challenges the viewer to decide whether they lean more towards evil or good. Though winter came and went, Game of Thrones will still live on to challenge our own moral decisions, and the shows on this list will do the same. Grimdark can be found in all kinds of places, not exclusively in a world with knights and fire breathing dragons, as more often than not, we can find it in places similar to our own.

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REVIEW: Three Crows Magazine issue 4

This is the third (out of four) issue of Three Crows Magazine that I’ve had the privilege to read to date. And although they have already published some really great short stories in previous issues, so far this one was my favourite. Three Crows Magazine‘s team really outdid themselves with this one.

This magazine, similar to Grimdark Magazine is published quarterly, featuring short stories, interviews, reviews, and other articles related to all things SFF. As their staff is pretty diverse, they represent this diversity in their content—be it an established author or a debuting one, be it grimdark, sci-fi, magical realism, be it an Asian, Western, Eastern-European setting, everything can find its place within these pages.

In the fourth issue you can find three short stories by Avra Margariti, Stephen Couch and Eliza Chan—find my mini reviews below—an interview with G.V. Anderson and Evan Winter, reviews of: A Collection of Obsessions by Michael R. Fletcher; Children of Ruin by Adrian Tchaikovsky; A Ritual of Bones by Lee C. Conley; Engraved on the Eye by Saladin Ahmed and an essay on the development of desert narratives from the Dune to Empire of Sand.

I highly recommend checking Three Crows Magazine #4 all out, and in case you need further encouragement, here is what I thought of the short stories published in this issue:

Little Bear by Avra Margariti

Little Bear is what I would call atmospherical—if there is a word like that. It gripped me right from the first sentence and never let go. It doesn’t have much of a world building or intricate plot, but its simplicity, and the hinted brutality of the world works pretty well together. I don’t want to reveal anything about the story, because it’s beautiful, heart wrenching and brutal which you have to experience for yourself, without expectations and knowing what hit you. Little Bear reads a bit like a fable of old times, a myth, which doesn’t necessarily have a happy ending, but tells how the world really is, instead of dressing it in pink and sprinkling glitter on it to be more acceptable. There is nothing explicit in the writing, no gruesome scenes, and still, at the core there is something really dark. That kind of darkness that’s part of life, the darkness that dwells within.

I definitely will take a look at Margariti’s other work.

In Cube Eight by Stephen Couch

It’s not much of a secret that me and sci-fi aren’t really on the best of terms. Anything about A.I.s, spaceships, advanced technology just makes my head spin and I just blink like a fish thrown on land suddenly. So, that said, it’s really hard to win me over with anything sci-fi related. Maybe that’s also why I rate harsher works like that. I promise it’s nothing personal, just my own preference, really. I always tried to be as objective as I can be though. And the reason I got into explaining all this is, that I absolutely have no idea where to put In Cube Eight. As short stories go, it’s a good one. A bit mysterious and leaves you wondering which of the three dreams were true—I have a pretty good idea myself.

In Cube Eight is kind of a psychedelic UFO hunting story while not only people but the A.I. gets high too. It’s an interesting idea. I didn’t really understand what was going on until about the halfway mark, and then I got interested. It didn’t blow me away as Little Bear did (which affected me more emotionally), but got me thinking instead. I would have liked to learn more about the characters, to be able to connect them in a way, but other than that, I can see why this one was chosen for the magazine.

Knowing Your Type by Eliza Chan

Whoa. I really dig Knowing Your Type. It’s creepy and has a twist that I’m really not sorry about. Actually, I kind of waited for it to happen and would have been disappointed if it didn’t. There is something satisfying reading about justice served. I’m trying hard not to go into details so I won’t spoil it for you, but let me just say this: Karma is a bitch. And has a sadistic sense of humour. I recently read a novel with a plush toy as the main character, and that story made me all warm and fuzzy, this one made me keep my distance from them… Read it, you’ll understand. I liked that it had an Asian-like setting—I mean, one of the main characters were a Japanese girl, duh—and I’m inclined to find out more about the author’s other works.

Buy Three Crows Magazine #4

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COVER REVEAL: Smoke and Stone by Michael R. Fletcher

Books are weird.

This isn’t my first. It is, in fact, the fifth, and I’ve written two more since this one (you’ll see those next year). And yet every time is a surprise. Every time is like the first. Though perhaps that has something to do with how bad my memory is.

Writers often say that books are never really finished. It’s true. You don’t so much finish a novel as reach a point where you don’t know what else to do with it. That’s the point at which you stand up and say, “I think I just wrote a book.” And every time that, too, is a surprise.

The weird thing is that for something you never really finish, you finish writing a book many times.

That moment when you complete the first draft.

The third draft.

When you get the feedback from your test readers and have cut out two POV characters and rewritten everything in a different tense.

When you’ve finished the ninth draft.

When you’ve gone through all your editor’s comments and changes and fixed everything.

Each of these feels like finishing a novel.

But yesterday the Smoke and Stone author proofs arrived with Felix Ortiz’s art and the final typography. I sat at my kitchen table staring at the book. I picked it up, turned it in my hands, read the back-cover copy, and put it back down. I picked it up again and cracked it open to stare blankly at the words within.

“I wrote a book,” I said to my wife, in wonder.

She stared at me like I was a lunatic. It’s a look I get a lot.

But now it was real. Now it was a book.

Now it was finished!

And I think I came awfully close to not having that experience.

You see, I wasn’t going to hire an artist. I couldn’t afford one. My budget being limited, I’d decided to spend it hiring Sarah Chorn to edit. I made my own cover, a cool looking black and white Mandelbrot fractal. I splashed some typography on it and was pleased with the result. But when the Advanced Reader Copies with my cover arrived, I didn’t have that It’s finished! feeling. I didn’t realize it at the time.

So there I was with my book and a cover I was reasonably happy with that cost me nothing and that evil genius Felix Ortiz posts a link to his Artstation page (https://www.artstation.com/felixortiz).

He’s good.

He’s really good.

So I drop him a message complimenting him on his work and we’re chatting and he innocently says, “I want to try doing a fantasy city sometime.”

Smoke and Stone is the first book in the City of Sacrifice series. The whole story quite literally takes place in a city.

I looked at my Mandelbrot cover.

I knew then my budget was blown to hell.

Now, picking my book up off the kitchen table, I know I made the right choice.

For the first time I really am finished this novel.

Grimdark Magazine.

REVIEW: The Black Hawks by David Wragg

I received an uncorrected proof copy of The Black Hawks in exchange for an honest review. I would like to thank David Wragg and Harper Voyager for the opportunity.

Chel is from a minor noble house and is bored to death working for his step-uncle. He has no real ambitions. He misses his family and cannot wait until he can see them again. The city Chel now resides within is attacked by the Norts with their giant black ships that fling fireballs and huge silk birds who breathe flames on the unfortunate. During the destruction and uncertainty, Chel escapes the city and appropriates an abandoned horse and carriage to direct himself to his freedom. However, as it transpires Tarfal, the prince of Vistirlar is hiding in the carriage and commands Chel to deliver him safely to his brother. This is where The Black Hawks really begins.

I’d describe Wragg’s debut outing as being like an accomplished and engaging mixture of Nicholas Eames and Joe Abercrombie. The mercenary crew The Black Hawks were an absolute joy to follow and I haven’t read about as kooky, diverse and humorous a group since Kings of the Wyld. As fate would have it The Black Hawks cross paths with the “wayward prince and reluctant knight” and following the combined ensemble throughout ambushes, skirmishes, betrayals, alliances, etc… make up for the lion’s share of the novel. We don’t meet the titular gang until about seventy pages in.

Wragg has constructed some exceptional characters here. Chel is the only point of view perspective and he is addictively likable. He is not an overpowered, chosen one who will banish evil from the world. He’s presented as quite the opposite. He is lucky and that is his saving grace. He ends up battered and wounded in every confrontation. He is extremely headstrong and resilient though. I couldn’t help smile when I was following some of his martial exchanges. One example is when he is supposed to save the day and skewer an assailant with a javelin, misses completely and the javelin just bounces off the floor. Although obnoxious at first the prince is also highly likable and as the story progresses I just wanted to reach through the pages and give him a hug. The chemistry between these two main players is truly enjoyable to follow.

The Black Hawks themselves shine. The banter, camaraderie and internal politics/ relationships are well created. The standout members for me were Foss – the affable man-mountain, Spider – the extremely talented assassin who seems to despise Chel, and Loveless – the beautiful, graceful, sex-addicted warrior. There is also a member of the crew called Lemon. Boy, does she know how to swear!

As the first entry in the Articles of Faith series, The Black Hawks isn’t going to reinvent the fantasy scene. Wragg utilises quite a few tropes but he does it skilfully so it never feels dull or like a carbon copy of what has come before in the genre. The pacing of the narrative is frequently breathtaking however it unwinds occasionally at quieter times where we get to learn more about the characters.

The world crafted has a pretty deep history with reference to past battles, religions and races but is never overwhelming. My proof version didn’t include a map but I hope the book will when it is released. The build-up to, and the book’s finale are fantastic and include a huge twist. Also, it concludes on a giant cliffhanger. One of the only negatives about getting to read books early is that I have to wait longer for the sequels and I need to know what happens next! The Black Hawks is an extraordinary debut that is as humorous as it is dark. I’d rank this middle of the grimdark scale and believe that Wragg has a winner on his hands here. Highly recommended.

Buy a copy of The Black Hawks by David Wragg

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REVIEW: Faithless by Graham Austin-King

Faithless, from Graham Austin-King (The Riven Wyrde Saga), is an intelligent, complex, exciting, dark, and somewhat transgressive story about a young man’s journey from poor son of a farmer to, well, you’ll have to read it to find out. It is an enjoyable, if not perfect, read that is chock full of clever ideas and resonant themes delivered passionately by its author. The e-tome we received at Grimdark Magazine, weighing in at a hefty 136,000+ words, is labeled as a draft, so I will not be directly quoting from the text in this review. It is the hope of this reviewer that the book that Austin-King ultimately publishes will be significantly shorter.

The story follows parallel narratives. First, we are introduced to the boy Wynn via the obligatory scene in which the child of a family too poor to nurture him is sold into a brutal life at a dreadful institution (Blood Song, Red Sister, etc). In this particular case, Wynn is sold into the service of the temple of the Forgefather and relegated to the work in the mines, breaking rocks and mining ore for the temple Forge. Wynn’s narrative takes turns with the narrative of Kharios, a young man, novice of the temple, caught between a rock and a not-so-hard place. (You’ll get the joke when you read it.) These two narratives are both told in very close, limited third-person and converge somewhat late in the novel, but the whole ploy is cleverly planned and deftly handled.

Neither Wynn nor Kharios is an exceptional character and both seem a bit like milquetoasts for most of the story until the final climactic challenge. Similarly both characters are do-gooders, for the most part, though they occasionally regret having to leave friends behind on their way up the temple’s political/religious ladder. Near the end Kharios develops a relationship with Leesha, a girl his own age, and some YA romance is implied (though this is, thankfully, not a YA story. Sorry, kids.) Wynn also has a few friends in the mines and eventually the temple, but no one of special interest to this reviewer, other than Brial, his partner at the forge, who is of limited interest in and of himself but is essential to the plot and the characterizations of the other characters. As such, the characters in Faithless would have been somewhat ho-hum were it not for the Priest, Ossan, who pretty much steals the show.

Austin-King keeps his cards close with Ossan, revealing him at times to be a kindly old Priest, supportive of the boys’ efforts to master the various chants and strokes required to earn their rings of mastery for forging special metalworks inscribed with questionably magical glyphs. At other times, Ossan is a brutal taskmaster, a mean and nasty paternal figure, and much, much worse.  Austin-King must have loved creating this character, and it shows. Ossan is deep and dark, yet fatherly and wise, and he speaks beautifully and ponderously, reminding me of old Ultan, the librarian in Gene Wolfe’s Book of the New Sun. It is a beautiful job of characterization, and almost had me rooting for the old Priest despite his numerous egregious faults.

The plot of Faithless takes a while to unfold, perhaps slightly too long. It revolves around Wynn’s episodes experiencing the extremely harsh life of the mines and his wondering what the hell he is doing there when he is supposed to be serving the temple. This is interwoven with Kharios’s search for artifacts related the Fall of the Forgefather and his religion from great mythical power to sniveling servants and peddlers of material goods, metalworks, etc. There has been a physical Fall as well, as we find out that the temple itself was a massive structure before the religion and the building imploded. It’s a clever backstory, and well developed, with a beautifully realized setting, but at times I felt I was reading a Scooby Doo novel in which Shaggy and Scooby are trapped in the mines with scary creatures while Fred and Velma search the library for clues to the mystery. Fortunately, Austin-King turns the action up to eleven as the story rolls toward its frantic, harrowing climax, and ferocious ending.

Adding depth to this overall intelligently constructed story is its main theme, which can be described in a nutshell as Do We Serve God or Does God Serve Us. The question is adeptly presented albeit conclusively answered without much room for speculation, but it does form a solid, thought-provoking glue that holds together the action, suspense, and delightful mayhem in the second half of the story.

The other main element that holds this story together is the very creative and vivid setting Austin-King has created, where most of the action takes place. It’s an underground dystopian city, Aspiration, built in a huge cavern with only a small crack at the top to let smoke out and occasionally a few drops of rain in. The characters must access the cavern through a series of ladders or a makeshift elevator, and from there they can access the mines below, and below that… who knows what lurks? It’s at times claustrophobic, but also gritty, dark, and exceedingly grim. Not only does it serve to set an appropriately hopeless, moody background setting, but it also serves to contain what is often a meandering story. If the old cliché is true that the setting should be a character in the story, then that job is done well here.

While there are many good (and some really good) things going on in Faithless, there are still some things that give me reservations about giving it an unqualified recommendation. I hope some of these things will be addressed before it is released. First of all, it’s way too long for what it is. There are elements that probably could be cut, perhaps even one whole narrative strain could have been folded into the other. It is also riddled with bloated narration in which the author reveals the characters thoughts excessively about things we already know from the action and dialogue. At times, lots of times, I found myself skimming the text in between patches of dialogue since much of it seemed excessive and self-indulgent. The dialogue, other than the speeches made by Ossan, is dull and lifeless and seems to exist only to dump information and plot clues. Some matters of craft also twisted my nipple, such as forced simultaneity, pronoun-antecedent ambiguity, and lack of sentence structure variation, among others—stuff you don’t see as much in fiction published by the big houses, I’m sorry to say. Hopefully, these few little things will be ironed out in the final edit, and even if they are not, only the most knit-picking of dickheads will probably notice them. Hey… wait… a… minute.

Anyhow, for those of us who press on to the end of Faithless, the payoff is big, and overall, it is an intelligently conceived, exciting, and passionately told story.

But is it grimdark? There is certainly no moral ambiguity in the main characters, with the possible exception of Ossan, but despite his split personality, I think it’s a stretch to say that even he is a morally grey character. Yep, there are good guys and bad guys here—and more morally right and wrong situations than you can even guess. So, despite its violence and its persistent and overwhelming grimness, I’m not sure it doesn’t fall more toward heroic fantasy than grimdark. Not that there’s anything wrong with that. Nevertheless, I guess readers should decide for themselves whether this fits into their category of grimdark. For me, it doesn’t really matter. It’s a delightfully grim and dark story that, despite a few minor hiccups, should be a crowd pleaser. Check it out.

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Originally published in Grimdark Magazine #12.

Grimdark Magazine #12 is available for purchase from our catalogue.

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