Adrian Collins's Blog, page 38

An Interview with Steven McKinnon

Steven McKinnon is a Scottish author best known for his novel Symphony of the Wind, the first book in The Raincatcher’s Ballad series, which made it to the final round in Mark Lawrence’s SPFBO competition in 2018. It’s a criminally under-read novel, epic in scope and with some of the best characters in fantasy. His most recent book, Order of the Shadow Dragon, was published last year and it was great catching up with him to talk about magic, the writing process, and the struggles of being a self-published author.

[GdM] Congratulations on your newest novel, Order of the Shadow Dragon. Can you introduce your book in a sentence or two for our readers?

[SM] Thanks, Emma! Order of the Shadow Dragon is an epic military fantasy concerning the titular order of knights, who are sworn to protect the world from mystical threats.

The Order is on its last legs because magic has long died out—but after a mystical cataclysm decimates a nearby country, the Order’s single adherent suddenly becomes the last defence against dark forces…

[GdM] I’d love to know more about the inspiration for Order of the Shadow Dragon. Were you always planning on setting the story in the same world?

[SM] Yeah, that was always my intention. There are many corners of The Raincatcher’s Ballad world that I still want to explore. I wanted to visit a kingdom that we’d heard about but never seen. Readers don’t need to be familiar with that series to get stuck into this one, though. After the epic madness of the previous trilogy, I wanted to go back to basics and write something shorter, sharper, and more intimate in its scope.

[GdM] How does the writing process work for you? Does it make it easier or harder to set a new series in a world you have already explored previously?

[SM] Easier in the sense that much of the worldbuilding is already in my head, including the general geography of where the locations in OOTSD are in relation to the places we saw in the previous books.

I still need to build up character and plot for any new book, which always starts with a general theme; I don’t think I’ve ever written a book that didn’t massively differentiate from the plan I originally set out… But that’s part of the fun!

[GdM] Can you talk a bit about the role of magic in your novel?

[SM] Magic exists in the background of this and the Raincatcher books, though its slowly bleeding back into the world…

Ignicite (the primary fuel source and a natural barrier to magic) has suddenly dried up, plunging the world into a fuel crisis as well as resulting in a surge of magical energy flowing through the world. Some individuals are sensitive to this energy and can manipulate it in various ways, which causes problems for the Order.

[GdM] Adrian goes through a lot of change during the story and it seemed to me that so much of his character was framed through the trauma of his father’s death. Is that something you wanted to examine in the novel?

[SM] You know, I wasn’t entirely conscious of it, but yeah, I think you’re bang on the money there. My own dad died in 2016 following a stroke, which of course had a profound effect on our family. It was actually his second; prior to that, he was making a fast recovery, so to suffer a second one was a horrible shock.

I had (and still have) recurring dreams about that happening to him and not being able to stop it; it’s a horrible thing and can happen at any time, which makes it all the more terrifying. There’s a tremendous sense of powerlessness that comes with knowing that, and Adrian’s situation absolutely mirrors that feeling.

[GdM] One of the most appealing elements of your writing is the way you manage the dialogue. It’s incredibly funny without edging into caricature and I’ve laughed out loud numerous times. How hard is that to get right? And why is it important to you to include the humour?

[SM] Ah, Emma, that’s wonderful to hear, thank you! Humour is subjective (maybe more so than anything else?), so I go with what comes naturally in the moment. Sometimes I’ll work on making a humorous exchange land better, sometimes it pops out of nowhere, fully formed. Occasionally, in scenes where characters are talking about their situation or making plans, I like to include some jokes to lighten the mood and make it feel less like an infodump.

I think the whole human spectrum of emotions and experience is important to touch on in some way; going back to the question of death and grief above, I was distraught when I left my dad’s room in the hospital but by the time I reached the car park, I was laughing with my brothers. Grief, joy, everything in between—it all comes in ebbs and flows. There’s no such thing as a normal reaction—just a natural one.

In cases like Adrian’s, after witnessing a parent’s death at such a young age, the impact on how they grow and mature will be immeasurable. But even within that framework of trauma, there’s scope to grow, and change, and laugh.

I guess the short answer to your question is, “You can’t have darkness without light,” which is very much the theme of Order of the Shadow Dragon.

[GdM] As a self-published author, what are the greatest challenges you face?

[SM] Finding an audience big enough to sustain a career.

The indie writing community is great, including authors, readers and reviewers. The sheer volume of works being published every day on Amazon means it’s pretty much pay-to-play to get your book in front of readers. The algorithm can help but it’ll only take notice of you if you make a big splash from the outset.

My fantasy books are generally well received, which I’m immensely proud of, but I’ve never made a penny from my writing. Right now, it’s an expensive hobby; it took me a long time to admit that to myself, but numbers don’t lie. (This month, I spent £285 on Facebook ads, which resulted in a return of £90—not a sustainable business model!). I appreciate that the Raincatcher books are hard to market because they don’t fit into any one niche that might be crying out for new books; Shadow Dragon is much easier to identify as a fantasy book just by looking at the cover!

[GdM] The self-serving nature of politicians and how their actions can have horrifying consequences for ordinary people is redolent of contemporary concerns. To what extent did you draw those parallels on purpose?

[SM] I often wonder that if we lived in a utopia, would our fiction still hold a mirror up to everyday issues we face? What would those issues be? Where does the conflict lie if those in power haven’t rigged the game against you?

There’s always going to be good guys and bad guys on every level of society. When I was writing Shadow Dragon, our country was rotating prime ministers faster than the symbols on a slot machine. We went from a botched response to the pandemic and straight into fuel crises, a cost of living catastrophe and wars breaking out elsewhere on the continent. Through all that, our leaders didn’t have the sense to reflect and own their crap, instead pointing the finger at various groups of people in an attempt to shift the blame.

I like holding a mirror up to that. Who knows? Maybe in a future work, a politician might be a good guy!

[GdM] One thing I particularly enjoyed about Order of the Shadow Dragon is how the story dares to be slow at times. A lot happens, but to me, it felt like you really gave the characters space to develop. Was this a deliberate choice?

[SM] Yeah, 100%—for the first time in my fantasy books, I devoted each chapter to a single character’s PoV (with one exception…). I wanted to spend a bit more time in the characters’ heads and—going back to what I said earlier—sit in their evolving emotions and mental state from scene to scene.

[GdM] And finally, can you tell us anything about what comes next? How many books do you plan on writing in the Legacy of Light & Shadow series and do you know the end yet?

[SM] Good question! Book Two is coming soon—it’s called In the Shadow of the Black Flag, and as its name implies, pirates will feature quite prominently. I wanted to release it at the end of this year but it’s been a turbulent few months, so I put it on the back burner for a bit. I’m now looking at an early 2025 release.

I have many stories bouncing around in my head; I think the Legacy of Light & Shadow Books will be longer than a trilogy, though the focus on specific characters and plots may shift as time goes by—the war between light and darkness is a never-ending one, after all…

Thanks, Emma, to you and the GdM team for talking—it’s been a blast!

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Science Fiction and the Dark Side of the Future

Science fiction is one of the most popular genres in literature, film, and TV. It’s easy to see why: aliens, space exploration, time travel, parallel universes, advanced technology; there are endless possibilities within the genre and freedom for writers to share their hopes or concerns of today’s world through their stories. Often, sci-fi will overlap with fantasy and horror, and whilst the genre allows for hope and excitement as we think about the endless possibilities humans may be capable of, there is a flipside that I enjoy even more: what horrors may await us in the future? What dangers do we need to be concerned about as we push technology further and further? There are many great pieces of science fiction that have been written as warnings about what may come to pass as humanity progresses as a species. What can we learn about them whilst watching with a bucket of popcorn?

What makes us human?

What makes us human? This is a question that has become more prevalent as technology has advanced. Robots are steadily getting more lifelike while games and films are using CGI that get closer to reality than many thought possible, and writers have pondered what may happen when our eyes are unable to distinguish the difference between humans and their creations. Arguments have overtaken the internet about AI-influenced illustrations and writings as some feel the soul of humanity is being lost in such create explorations whilst others feel that the speed of the work (and cost) gives weight to its future use. Do we have to be worried about the realism found in AI? If we pay attention to sci-fi, then perhaps we do.

The Matrix is one of the most critically acclaimed pieces of science fiction ever created. In a world where most humans live in a simulation created by intelligent machines to distract them whilst using their bodies as an energy source, a few humans become aware of the true world and fight to save humanity. The machines had won the war against humans after humans had tried blocking out the sun and then created a world where humans were unable to distinguish what is real and what isn’t. They were unable to process earlier versions of the world which were more like a utopia (fans of grimdark will definitely understand this!).

Ridley Scott’s Blade Runner is a science fiction classic that has the audience (and its characters) questioning who is human and how can we prove it. Harrison Ford’s Decker is tasked with killing a group of violent, lifelike androids. As he progresses with his mission, he begins to question his own identity. It is a powerful story with superb acting and some of the best cinematic lines in history (lost like tears in the rain…) and designed in a way that makes the audience sympathise with the plight of the androids and question the actions of the humans. The danger of AI is part of pop culture now with most people recognising HAL 9000 from 2001: A Space Odyssey and Arnie’s Terminator from James Cameron’s brilliant films—I wonder if we will heed their warnings.

Are we alone?

Space… the final frontier. Star Trek showed us a universe where we are but one of many species scattered around space. War of the Worlds, Star Wars, Men in Black, ET, Independence Day, A Quiet Place, Predator; all these films and shows examine whether we are alone in the universe. In some, the aliens we meet are friendly and warm, in others… not so much. We have sent robots (them again…) out into space in search of life and it’s exciting to think of the possibilities. But what would happen if we found something out there? If you want sci-fi horror, then look no further than Alien. Directed by Ridley Scott (him again…) it follows the story of a crew on a commercial space shuttle who accidentally discover and let loose the titular beast on their spaceship. The horror builds beautifully with scenes meant to scar even the toughest of audience members. Chest-busting, acidic blood, narrow corridors, and terrifying practical designs by Swiss artist H. R. Giger will make most people wish that maybe we are alone after all. Sigourney Weaver as Ripley is often heralded as one of the great female leads in all film, not just science fiction as she acts with common sense and bravery seemingly not found in many sci-fi or horror films.

It is a genre that has displayed powerful women for longer than many others: Sarah Connor (Terminator), Uhura and Janeway (Star Trek), Louise Banks (Arrival), Buffy Summers and the rest of the gang (Buffy), Scully (X-Files), among others. Science fiction has, at times, been a genre (especially with TV and film) that is forward thinking not just in terms of story but diversity as well. Many fans of the genre argue for the title of Mother of Sci-fi to be attributed to Mary Shelley, the author of Frankenstein in 1818 when she was only eighteen years old. Writing a tale of a scientist obsessed with his work and ignoring the ethical and social consequences has almost become a blueprint for others (just take a look at Jurassic Park, Westworld, etc.), and it kickstarted a genre filled with powerful women.

A Dystopian Future

Actions undertaken today will impact the future. Yet, we still make mistakes such as pollution, global warming, advanced weapons. The pessimist in some writers can only see this leading humanity into a dark future with pain and suffering. Last year’s blockbuster hit was Christopher Nolan’s brilliant Oppenheimer. The difficult aspect of watching that film was knowing that the story it was telling was true and understanding that it was not the end of war but the start of something that could be much more dangerous. Weapons advance at a startling rate and threaten the existence of life as we know it. Since the Cold War, writers have warned of the dangers of what may be before us. Fallout shows a future where nuclear bombs destroyed much of the known world. A few rich people were able to hide in vaults whilst survivors on the surface lived in a harsh wasteland with little rule and monstrosities seemingly around every corner. Even more terrifying is the fact that humanity didn’t seem to learn anything—they continued hurting one another in the same ways.

Fallout, Mad Max, The Walking Dead, and The Last of Us are cautionary stories are cautionary tales about what could happen when everything we know is stripped away from us.

At its core, sci-fi explores humanity and its actions through the lens of unparalleled possibilities. Sometimes, the tales are too close to home (watching Contagion after living through a pandemic was eye-opening) and we are able to recognise the people and actions as ones that we have seen before. District 9 may use aliens for entertainment value but the documentary style and actions of the characters shine a light on South African history and makes for some uncomfortable viewing.

Science fiction gives us both the brightest lights and the darkest depths. The stories show us the best of what we may become and warn us of the dangers if we follow certain paths. These themes allow us to take a good hard look at ourselves as we dream of the future. For fans of grimdark who haven’t dipped their toes into the dark depths of science fiction, now might be the time.

This essay was originally published in Grimdark Magazine #39.

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REVIEW: Alien Romulus

For long-time fans of the Alien franchise, a new movie is always approached with equal parts excitement and trepidation and Alien: Romulus is no exception. From the almost universally beloved horror/action one-two of the first pair of films, every sequel has promised big and under-delivered, whether due to studio interference, flawed scripts, Ridley Scott wanting to change the whole message of the franchise or any other of a laundry list of ‘development hell’ issues.
Alien: Romulus thankfully breaks this trend by providing a tightly scripted horror experience that embeds itself in the franchise’s lore, adds to it and gives us plenty of tension and jump scares along the way.

That was to be expected as director Fede Álvarez has built his reputation on respectfully handling remakes of big name horror titles such as Evil Dead and Texas Chainsaw Massacre as well as the acclaimed Don’t Breathe films. He helms Alien: Romulus admirably with a slow burn build allowing us to empathise with our protagonists and anticipate the cosmic horror to come and then unleashing the face-huggers, explosions, the full grown xenomorphs and more later on.

One consistent criticism of the film seems to be that it’s just fan service, but to be honest there’s only one or two moments that feels egregious. Almost every other reference to other parts of the franchise serves a purpose, it explains to us how we (and as importantly, the Aliens) got here, this story’s place in the wider universe and at the same time, because WE know that, we also know what is coming in a way that our protagonists don’t which leads to some delicious tension.

The plot is very simple, our protagonists are indentured miners on a Weyland-Yutani colony and it’s clear that none of them are getting out except through death. I got serious Outer Worlds vibes from this – less the faux-cheery 50s imagery. Some of them discover what they think is a derelict ship in orbit and hatch a plan to steal it’s cryo-pods and zoom off for a better life. They pull in Rain and her adopted brother Andy – a damaged Weyland-Yutani android to help with accessing the ship and off they go. Unsurprisingly, things do not go well.

This film has what looks like a very young cast (although that might be because I’m getting old, twenty somethings look like children to me)  but they all play their parts beautifully and their tender years adds to the sense of their naivety and desperation – they’ve all seen their parents die young on this benighted mining rock and they want off.

Our main protagonist, Rain is played by Cailee Spaeny with a sense of weight that belies her years and stature. We can feel the pressure on her – to escape, to care for her damaged robot brother but also her cynicism and intelligence shine through. She is the sensible, good girl dragged into dubious adventures somewhat against her better judgement.

David Jonsson plays Andy, the damaged synthetic, repaired by Rain’s father and told to do what’s best for her. Unfortunately, his damage means he presents almost like a child with profound autism, complete with physical twitches and simple, repetitive thought patterns. Suffice to say that he has a tremendous character arc throughout the film which draws on some established franchise themes about responsibility, what the ‘right’ thing is at any given time and what constitutes a person.

Jonsson’s performance as a synthetic, effectively with a learning disability (and slight spoiler, later without one) is outstanding and believable. You really feel for the cowering, stimming Andy at the start and want so desperately for him to be OK, to be a hero.

The rest of the cast all play their parts well, evoking sympathy and distaste exactly when required.

A huge part of any Alien film is the aesthetics and Alien: Romulus absolutely nails that. The mining colony feels like the worst place in the world, wet, muddy, lit by inconsistent work lights and clearly a place that people worked until they got sick and died.

This contrasts with the sequences in space – still industrial but beautifully clean and crisp, evoking the differences between the aesthetics of Alien and Aliens. The familiar monsters come along in due course and are suitably terrifying, with facehuggers stalking and skittering and the xenomorphs seeming like an inevitable and unstoppable monster. There are some new iterations in the film as well, which I’m a little torn on but the execution of the designs is excellent.

The big panning shots of ships in space, explosions and the nearby rings of a planet are stunning and the docking sequences feel suitably tactile – all of which is to be expected when Ridley Scott is still on board as a producer.

The accusations of fan service can mostly be explained by how Alien: Romulus embeds itself in the lore of the series, placing it in a direct chain of events from both Alien and Prometheus and embedding the series long message that Weyland-Yutani are the real villains of the piece.

This film might not have someone as massively punchable as Paul Reiser’s Carter J. Burke from Aliens to give that point a human face but the impersonal way it is applied is all the more scary in an age where the algorithm decides if you get to make rent this month.

Alien: Romulus is great. It’s easily the best instalment in the franchise since Aliens and possibly since the first film. It’s a tight, atmospheric movie that blends cosmic and body horror with relatable concerns about your life prospects and unscrupulous employers. It looks great, it sounds great and you will cringe and jump at the right moments, guaranteed. It’s fantastic, go see it.

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REVIEW: A Good Deliverance by Toby Clements

In Warwick, 1468, Sir Thomas Malory is seized and taken from his garden to Newgate Prison for reasons unknown. Toby Clements’ (Kingmaker Series) latest novel spins a web filled with facts and fiction to tell the exciting tale of the author of Le Morte D’Arthur and a man who was a knight during The Hundred Years’ War and The War of the Roses.

A Good Deliverance plays on both the known and unknown of Sir Thomas Malory. His work is known as the greatest work relating to the Legend of King Arthur and is seen as one of the first great western pieces of literature. Some claim he was a brave knight of The Hundred Years’ War and The War of the Roses whilst others speak of his time in jail for horrendous crimes. Toby Clements uses the mystery to stunning effect. A Good Deliverance begins with Sir Thomas seized and thrown in prison. He retells his life story to a young lad whilst sitting in his cell, waiting for his day of execution. It is a thrilling setup and one that Clements executes to perfection. It allows Sir Thomas to give his side of the story, blending fact and fiction in this fascinating historical novel, playing on both the known and unknown with its audience. It allows for Sir Thomas to speak to his sceptical jailor about the coronation of Henry V, the Battle of Verneuil in Normandy, and even throw in a mention of Joan of Arc. It brings to life what is a very brutal and chaotic time in history in Britain, and one which other authors have used as inspiration for their own work and fantasy worlds (hello George RR Martin). There is political intrigue, great battles, rivals in love, and much more to keep grimdark fans happy.

Clements’ dark humour shines through the story and the back and forth between the proud, and sometimes arrogant Sir Thomas and the low-born, sceptical jailor’s son listening and not entirely believing his story. It is a story written as well as any I have read in the past few years and it made me want to dive into the history further. With jousting competitions and the War of the Roses written with such great skill, it reminded me of how inspirational this brutal era has been for many writers (A Knight of the Seven Kingdoms and Fire and Blood especially popped up in my mind). Sir Thomas Malory is an absolute delight to read in this story due to Clements’ expertise. He is lecherous, cowardly, loses in tournaments, and causes the death of friends but he is a master storyteller and Clements allows this to really stand out in the way the novel is framed and that is one of the best aspects of the story.

An expertly written tale full of humour and interest regarding a mysterious historical figure. A Good Deliverance is a stunning work of historical fiction from Toby Clements that brings to vivid life a story of Sir Thomas Malory – the not-so-chivalrous knight who wrote Le Morte D’Arthur. An excellent read!

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REVIEW: The Savage Sword of Conan #3 by Frank Tieri (W), Cary Nord (A), John C. Hocking (W), Patch Zircher (W, A), Alan Quah (W, A)

The Savage Sword of Conan returns for its third issue with another eclectic selection of black and white comics, prose, and full-page pinups.

The cover story for this issue is “Wolves of the Tundra,” written by Frank Tieri with art by Cary Nord. After Conan stops to rest at the wrong tavern, he finds himself afflicted with an unfortunate case of lycanthropy. Enraged by the curse, Conan immediately dedicates himself to wiping out his fellow werewolves. Despite its extended page count, the plot is very straightforward, even simplistic. The idea of Conan as a lycanthrope is goofy fun, but I can’t help but feeling that garden-variety werewolves are a bit too banal to serve as stimulating Hyborian Age monsters; Conan is usually pitted against more unique threats. It’s nice to see Cary Nord work on Conan again, however, as his work was one of the highlights of the 2004 Dark Horse Comics Conan run. Perhaps it’s due to the monochrome presentation, but his art feels like it has evolved since those days. His rendering of Conan’s face is pleasantly reminiscent of Ken Kelly’s depictions: scarred, squarish, and mean.

The opening comic is followed by an excerpt from the prose novel Conan and the Living Plague by John C. Hocking, published as part of the recent Conan: City of the Dead omnibus. The included passage follows Conan and his companions as they seek entry to a barricaded city via its ghoul-infested catacombs. Accompanying the prose is a brief autobiographical section by Hocking detailing his early encounters with the character and how he came to write his two Conan novels. His enthusiasm for the character is palpable and his journey to publication (particularly for Conan and the Living Plague) a rocky one. While one could dismiss it as mere cross-promotion between Titan Comics and Titan Books, publisher of Conan: City of the Dead, I applaud the inclusion of prose works in The Savage Sword of Conan. It’s entirely plausible that Conan comic readers outnumber those of the prose stories and more crossover in readerships should be encouraged whenever possible. Conan comic fans are potential Conan prose fans in the making, and vice versa.

With this issue, Patrick “Patch” Zircher’s three-part Solomon Kane tale “Master of the Hunt” comes to a close. Searching for an abducted boy, Kane is confronted by the youth’s supernatural captor. The artwork for this miniseries has been fantastic; Zircher’s visual presentation of the fanatical Puritan Solomon Kane is perfect, no notes. I was left disappointed by the narrative, however. The climax leaves Kane a passive bystander in his own adventure, which is a major sin. And where earlier in the issue werewolves felt too prosaic a menace for Conan, “Master of the Hunt” has the opposite problem. “Welsh mythology is literally true” feels too high fantasy to comfortably fit with Solomon Kane’s relatively grounded milieu. While I was ultimately let down by this miniseries, I absolutely want to see Zircher return to the pages of The Savage Sword of Conan.

The final comic contribution to this issue is Alan Quah’s “Lure of the Pit Creature.” This is a wordless Conan adventure, in which the barbarian follows an alluring temptress underground only to be set upon by an immense chitinous beast. Like “Wolves of the Tundra,” this is another straightforward entry that boils down to a single extended fight scene. Inoffensive, but not particularly memorable, either.

Bonus materials include a King Kull pin-up by Alex Horley and a Conan-themed poem by Jim Zub accompanied by a striking Roberto De La Torre illustration. The King Kull pin-up is fantastic, but would have had even more impact in color. Zub’s poem “Call Thee to Crom” is brief, but succeeds in evoking a nicely grim mood. This issue does not feature a Jeffrey Shanks essay or the Chainmail letters page.

While The Savage Sword of Conan #3 is the weakest issue so far, it’s encouraging to see the bimonthly magazine continue to experiment and take risks that we would be unlikely to see in the pages of the flagship Conan the Barbarian comic title. Not every sword swing strikes its target, but The Savage Sword of Conan remains one of the most exciting dark fantasy comics around.

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REVIEW: Order of the Shadow Dragon by Steven McKinnon

Order of the Shadow Dragon is the latest fantasy novel by Steven McKinnon, set in the same world as his completed trilogy, The Raincatcher’s Ballad. McKinnon might be known to readers from his 2018 SPFBO entry, Symphony of the Wind, which made it through to the competition’s final stage.

As with his first books, this opening instalment in McKinnon’s new Legacy of Light & Shadow series is brimming with complexity. Confident in the world he has created, McKinnon deftly sets up a conflict of epic proportions, a hero’s journey with a grim twist. McKinnon’s greatest skill is being able to weave flawed characters, a surprising plot, high action, and snarky humour into a stunning tapestry filled with both the deepest of dark and brightest of light moments. That there’s definitely more of the former than the latter means there’s lots here to appeal to the grimdark reader.

Only one thing drives Adrian Navarro: revenge. They say it’s a dish best served cold, but Navarro burns with the need to find and destroy whatever the hell is was that killed his father. Watching him twisted and broken by a shadowy visitation was the defining moment of Adrian’s childhood – his father’s screams and the monstrous laughter ringing from the darkness has echoed in Adrian’s mind every moment since. Magic is the enemy. And it’s not just his. This is a world being destroyed by dark sorcery and he’s been assigned the job of assassinating the White Death, a mysterious woman who seems to be at its heart. As the last knight in the Order of the Shadow Dragon, a military organisation dedicated to neutralising the threat of dark magic, this task is certainly in his wheelhouse. A pleasure, even. But he’s about to find out that everything he’s been told is a lie, and if that’s the case, there’s only one question that matters: who is really responsible for his father’s murder?

The most immediately appealing aspect of Order of the Shadow Dragon for the grimdark reader is the lived-in world, intricately detailed and layered with gritty realism. Part of this comes from the recognisable imperfections of our society writ large. From the smaller interactions to the overarching themes, McKinnon holds a mirror up to the darkness of the human condition: the pre-eminence of greed and self interest, the cynical use of hatred and racism for personal gain, the vilification and brutalisation of refugees, the idealisation of money and power. All of humanity is here – and most of it is ignorant  or immoral.

That’s not to say that there is no hope, Adrian and his collection of companions have the fate of the world on their shoulders, and they’re prepared to risk it all to prevent disaster. But this is not a merry band of friends off to save the world with nothing more than a few magic tricks and a plucky attitude. At best, they’re a tenuously connected bunch of eccentric individuals with competing resentments and at times it seems like they’re just as likely to kill each other as the bad guys. For many, Dante – thief, con artist, entertainer – will be the standout. His pessimistic quips and self-depreciation offered some real gallows humour: ‘His cellmate wailed like an infant. Dante cleared his throat. “Begging your forgiveness, friend – but could you shut up? Some of us intend on dying quietly. Thanking you.”’ This is precisely the attitude I’m looking for from someone about to die, especially when added to the ongoing world weariness of an actor gone to seed. In contrast, Adrian’s journey, from a loner consumed by vengeance to someone having to work with others and make difficult, morally complex decisions, was subtler but engaging – I like him much more now that his world has been made more complicated by uncomfortable truths. Perhaps my one complaint would be that, for me, neither he, nor the others have the immediate appeal I’m used to with McKinnon’s characters, especially when compared to those in Symphony of the Wind. For all that each had an individual voice, with real humour and more than a little snarky commentary in their conversations (which I love), I wasn’t rooting for anyone. Saying that, the events in this novel acted like a scouring, shearing off the outer elements of each person’s character until all that’s left was heart and bone. It made them that much more interesting and I have hopes for what comes next (for those that survive).

Overall, Order of the Shadow Dragon was an engaging opener in a new story, a worthy read for a grimdark audience, and something that’ll keep you turning the pages well after bed time. If you like a story with real pace, action set pieces, and a generous dose of darkness, give this a go.

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REVIEW: A Savage Moon by Theodore Brun

A Savage Moon is the latest book in Theodore Brun’s The Wanderer Chronicles starring Erlan Aurvandil, a crippled warrior weary of war and currently in the service to the Byzantine Emperor. Set in Byzantium 718 AD to start with, A Savage Moon is a fast-paced historical fiction novel set in the Middle-Ages and lands full of conflict and battle.

My bar is high with historical fiction. Bernard Cornwell, Matthew Harffy, Ian Ross, and others have produced great works set in the same era as A Savage Moon but Brun’s work still managed to capture my attention and keep me going with this gripping tale. Following a messy heist, Erlan and his allies travel north towards home in the hope of reclaiming a stolen kingdom from his lover Lilla Sviggarsdottir. Crossing Europe at a time of conflict and change with clashing religions and ideologies allows for plenty of meat on the bone for Brun to play with. Add in a darker element focusing on Werewolf Mythology and you have an intriguing tale and something that feels fresh and unique. It is fascinating to see Brun’s historical knowledge shine through the story with the grounded wolfmen twist being something that I had not read in any such novel previously. The clash of old and new religions and the uncertainty that arises from it also adds a further element of intrigue. With a dark pagan cult, wolf warriors, and the demands of an ocean of blood, this is certainly one for grimdark fans.

The characters in A Savage Moon feel real and fleshed out. Erlan reads as a weary warrior who has been through much but still finds himself dragged into further battles when perhaps a moment or two to relax and think about the next steps would be worthwhile but fighting seems to come naturally to him. He reminded me of Uhtred from The Last Kingdom at times, no longer a fresh-faced young warrior but one who has seen much and can’t find a way out. As with all good historical fiction, the characters feel as though they are living and breathing in their times and not modern folk dropped into the past. There is enough description to put the reader in the setting but not so much that it feels forced and takes you out of the scene. The story moves along at a fast pace and there is action aplenty.

A superb historical fiction tale to add to the list of greats. A Savage Moon is a dark historical tale full of intrigue, betrayal, and blood. A journey worth taking for both new and old fans of Theodore Brun and I am already waiting for the next book in the series!

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REVIEW: Conan the Barbarian #14 by Jim Zub (W) and Doug Braithwaite (A)

When we last left young Conan (Conan the Barbarian #13), he was alone in the frozen north on a warrior’s retreat, testing his mettle while searching for meaning. In Conan the Barbaraian #14 we find him threatened by a pair of Aesir warriors hoping to kill the Cimmerian and steal his bear-flesh supper, and Conan demolishes his opponents with his bare hands. The would-be bandits’ leader intervenes before the conflict escalates to a lethal conclusion. He offers safe passage through Aesir lands in exchange for a week’s worth of service and meat from Conan’s kill, a proposal the barbarian readily accepts. Conan’s martial prowess and confident self-carriage quickly earns him a place among the rugged warriors. He rewards their acceptance by fighting back against encroaching Vanir raiders with the same intensity as he would avenging his own countrymen. Throughout the unfolding drama, a strange, nearly naked woman watches from the shadows, seemingly unaffected by the cold.

Part II of the “Frozen Faith” story arc, “The Daughter’s Gaze” is narrated by this mysterious woman rather than the usual omniscient Conan the Barbarian narrator. Her running commentary is full of contempt for the mortals, dispassionately observing their struggles and deaths, but she also reveals her own ambivalent fascination for these inferior creatures. She is especially taken with the “black-hair,” Conan, sensing some unique spark within him that separates him from his companions.

The identity of this nymph-like woman is, of course, immediately clear to anyone who is familiar with the Robert E. Howard stories or their earlier comic adaptations. While I will not reveal her identity so as to avoid spoiling the surprise for newcomers, I will say that her inclusion marks an intriguing development in the Titan Comics incarnation of Conan the Barbarian. When asked by interviewers if he had plans to adapt the original Howard tales, comic writer Jim Zub has repeatedly stated that he doesn’t want to become a “cover band,” performing renditions of the old hits, and that he wanted to focus on new adventures. While the events of this arc are—thus far—original, this prequel’s plot is so closely tied to that of the second Conan short story ever written that it’s difficult to see how Zub can deliver a satisfying conclusion without retelling the Howard story.

This issue includes a brief interview with colorist Diego Rodriguez, and it feels appropriate because the color in this issue is especially worthy of note. Panels alternate between frigid snowstorms and warm firelight, and Rodriguez’s tones subtly and effectively communicate the temperature of a given scene.

With Conan the Barbarian #14 the plot thickens. Conan has won allies and embroiled himself in the conflict with the Vanir, and it seems like his beguiling watcher will reveal herself soon. I look forward to see how Zub weaves his story with the classic Howard tale that serves as its inspiration.

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REVIEW: House of the Dragon Season 2 Episode 8

House of the Dragon 2×08 “The Queen Who Ever Was” is an extremely controversial episode that has been the subject of weeks of speculation as well as discussion. If it’s not as controversial as the finale for Game of Thrones, it’s because this episode isn’t bad so much as frustrating. Indeed, the general issue that most audiences have is the fact that this House of the Dragon season doesn’t feel poor so much as unfinished. Speculation abounds that it was originally supposed to be a ten-episode season that, instead, was cut to eight episodes due to the infamous attempts to saving money from HBO’s executives. Sadly, I’m inclined to agree with the detractors.

House of the Dragons‘ season finale is under baked. It’s a fine episode eight but only if there’s two more episodes in the season. The fact we’ll have to wait two years for the next instalment and possibly another two years after that feels like the series has incredibly poor management behind the scenes. Much of the season is devoted to the build up for both the attack on King’s Landing as well as the Battle of the Gullet.

In “The Queen Who Ever Was”, we get a great deal of focus on Rhaenyra’s controversial choice to make bastards into dragon riders. She has only had two successes with her actions: Ulff the White and Hugh the Hammer. Ulff is an individual who is clearly way over his head among the rich and powerful as well as frequently offending them with his poor manners. Hugh Hammer is more concerned about the fact that Rhaenyra seems very happy to burn entire cities now if it “avoids war.”

Daemon Targaryen has his “come to the Old Gods” moment when he has a vision in the godswood that shows him the coming of the Nightwalkers as well as Daenerys Targaryen. This has been criticized as well because it keeps reminding viewers of Season Eight. The thing is that George R.R. Martin has made it clear that this conflict is a central element of his mythology and it’s not going to be any less prominent in future material. Also, I feel like the show is showing the respect Daenerys Targaryen deserved even if the show did her dirty.

The big consequence of Daemon’s vision is that he finally gets over himself. Swearing public allegiance to Rhaenyra Targaryen, he renounces his ambitions to be king in his own right. Rhaenyra doesn’t seem to fully embrace him, though, and that’s interesting given her relationship with Mysaria.

On the Green side of things, we have Aemond Targaryen having a slow breakdown as he realizes he’s not nearly as in control of things as he wants. He desires to get his sister, Helaena, to ride with him but she has no interest in using dragons as weapons. This is the final straw for Alicent, who realizes that her family is beyond salvation.

This probably leads to the second most controversial element of “The Queen Who Ever Was”, which is the fact that Alicent Hightower agrees to betray the Green side as well as give up her son to death in order to secure the safety of her son. House of the Dragon has drifted very far from Fire and Blood, but this is perhaps the biggest change. Unfortunately, for Rhaenyra, it’s unlikely that Alicent will be able to deliver her son due to the fact he has fled to Essos with Lord Strong.

One thing I do like about the finale is the fact that it does imply that Rhaenyra is rapidly losing her moral high ground. Not only is she quite happy to burn Lannisport and Oldtown but she takes a special delight in taunting Alicent with the prospect of her son’s death. I hope this is the direction they’re taking her character as the “nice” Rhaenyra of the show is a less interesting character than the one in the show.

There’s a humorous part of this episode for House of the Dragon. Tyland Lannister is forced to seek the help of the Triarchy and ends up going through a bunch of humiliations to win them over to their side. This includes dealing with Admiral Lohar, who is an in-universe transwoman according to showrunners and does provide a lot of much-needed levity.

But none of this alleviates the biggest flaw of “The Queen Who Ever Was”: it just ends. Everyone is preparing for war at the start of the season, and they pretty much end up preparing for war at the end of it. There’s been some big battles, but they’ve been mostly offscreen like the Battle of the Mill. It’s unsurprising that the most popular episode is the one that averts this. Unfortunately, we’re not going to see any more big battles until 2025–if even then. It just all feels like…filler. House of the Dragon can do better.

 

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REVIEW: To Walk on Worlds by Matthew John

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

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

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

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

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

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

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

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

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

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

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

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

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

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