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REVIEW: House of the Dragon Season 2 Episode 5

House of the Dragon 2×05 “Regent” is the fifth episode of the second season of House of the Dragon. It follows up the incredible episode, “The Red Dragon and the Gold.” That episode was, justifiably, viewed as one of the best episodes of the series and was the highest rated one of the season. Unfortunately, House of the Dragon has slipped this episode as the incredible escalation in scale and spectacle is followed by a bunch of meaningless naval gazing.

Basically, not much happens in this episode and what does happen is of questionable storytelling merit. If that sounds like I’m being extra harsh on this episode, I am. It’s slow and reminds me that we could have used some of this time to expand on the previous season’s hefty-duty politics that were rushed through. House of the Dragon is still one of my favorite shows on television but is something that still deserves the occasional bit of criticism.

This episode primarily deals with Rhaenys’ death and the reaction to it. Ser Criston Cole parades the head of Meleys through the streets of King’s Landing, expecting it to bring praise and glory to the King. Instead, the Smallfolk are horrified and think that this means the Targaryens are not as powerful as they claim to be if dragons are vulnerable to being killed. A few have died before, it should be noted, but seeing is believing. The only thing that bothers me about this is that Meleys killed a bunch of Smallfolk in 1×09 and the show has studiously ignored that event ever since.

Alicent Hightower makes her play for power when Aegon II is returned, horrifically injured and perhaps crippled for life. Unfortunately, she finds that she has no allies. The Greens made their claim that Rhaenyra was unfit for the throne because of her sex and it would be hypocritical to put Alicent up as regent now. That would be bad enough, but Aemond is the child of hers that has only contempt of her for her friendship with Rhaenyra. Also, both of Alicent’s boy toys, Larys and Criston, side with Aemond for the regency. This would be interesting if not for the fact there’s never been any indication Alicent would ever be able to wield power as regent or Hand.

Daemon Targaryen is still trapped in Castle Ravenloft, err, Harrenhal and making an absolute hash of things. There is a humorous element to the fact that he spends some of his time chopping wood and this is the universe “bro woodsman” sign that someone has no idea what to do but at least he can chop wood (don’t believe me, watch The VVitch). He is determined to become King of Westeros with Rhaenyra by his side instead of his liege but utterly makes a hash of everything. Seriously, Daemon is terrible at leadership and it’s kind of hilarious to watch people repeatedly choose death over submission.

The problem is, while Daemon and Alicent are shown to be incompetent, the show does a poor job of making Rhaenyra look any better at ruling. She’s shown to have no ability to command strategy or tactics but still wants to oversee the army. She cheats the Arryns of a promised dragon and sends hatchlings instead. She doesn’t make any deals like her son Jace does with the Freys (giving the latter Harrenhal of all things). Plus, she refuses to just go meet with Daemon and ask what the hell is going on in that head of his. Basically, Rhaenyra has given no sign she should be queen unlike Daenerys.

In conclusion, this wasn’t my favorite episode of House of the Dragon. I would say it’s one of my least favorite, actually. House of the Dragon thrives on being intricate in its character relationships, politics, and world-building. Unfortunately, “Regent” shows everyone being an idiot at politics and that doesn’t make me think any of them should be on the throne. Which is fine for your villains but not so much for your heroes. Tywin, Littlefinger, Varys, Tyrion, Daenerys, and Jon Snow, except for Season 8 Jon Snow, would have these characters for breakfast.

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Mythology’s Impenetrable Heroes: A Good Defense is the Best Offense?

Stop me if you’ve heard this one before: a great character, warrior, god or demigod, is nigh impervious to all forms of harm. Except…well, okay, ­almost all forms of harm. Almost impervious. User terms and conditions apply. And, well, wouldn’t ya know it, the hero has succumbed to the most unlikely of deaths due to an injury somewhere they probably weren’t as impervious as everywhere else. Or they were missing their impenetrable macguffin. So let’s break apart the history and myths of the unbreakable heroes as it were and see what’s what!

HERO 1: ACHILLES

You’ve probably heard of him, famous for his mommy dipping him in the river Styx (record scratch). Except…that’s a myth on top of the myth that’s been around for a long time and constantly retold until it’s been believed. In the original Iliad, Achilles bleeds. And, if it bleeds, you can kill it! Wait, wrong franchise. But anyways, in the earliest version of the Iliad, his mother, the witch Thetis, wants to try to drown Achilles in a cauldron to test his immortality, but his father Peleus forbids it.

So, what’s a mother to do? Well, one of the most common beats throughout the versions of the Iliad is that he has a suit of armor that is given much attention and poetic heaping upon by Homer. In most versions, the armor is made by Hephaestus, god of the forge and smithing, to be impenetrable. This will protect Achilles. In fact, in most of the original Greek artwork, Achilles is shot or pierce through the torso sideways, not from in front, meaning the gaps in his armor and puncturing most of his vital organs. That makes a lot more sense than a shot to the heel.

In fact, the Iliad originally never shows Achilles’ death. It’s only foretold.

In another write up, I mentioned how Hercules had the pelt of the Nemean lion (impenetrable skin) fashioned like a cloak to protect himself. Why does it matter though?

Well, psychologically, a sense of wonder. As a species, we love our super heroes (and make no doubts about it, our earliest mythic heroes were our super heroes) well, to be super. Impenetrable skin sans one condition? That sound familiar today? Superman has entered the chat.

It’s a very visible and testable power. The hero immune to most harm, or any that can fell them. Gilgamesh’s original quest was to seek immortality and find a way to keep from falling to harm and death.

So, how do you make a badass killing machine and soldier all the more awesome? You equip him in armor to keep him safe until the moment the story necessitates he falls for (some moral reason usually in the old epics as they were meant to teach as much as entertain) some plot reason.

I suppose you can call the impenetrable—until they’re not—hero the original plot armor. At least, after a fashion.

But, judging by the history of heroes, it’s almost always in fashion.

HERO 2: KARNA

Now interestingly enough, he’s a character who is similar in many regards to Achilles. Or perhaps it’s Achilles who’s similar to him. Jury is out.

Karna is the son of Surya, the sun god of the Vedic and Hindu tradition, and princess Kunti, making him a demi god like Achilles. In the case of Kunti, however, Karna is born in a virginal birth as she is given a boon by Surya which results in Karna. If the story of a virginal birth sounds familiar, just wait, because in the case of fearing societal backlash over her premarital pregnancy, Kunti sends Karna downriver in a basket, sending her princely son away.

Sound familiar?

Anywho. Karna is born to be an extraordinary warrior with all the qualities a character in epics should possess. This includes a suit of divine armor, bright as the sun, with all its qualities (courtesy of his father) that renders him nigh impervious to harm. He is warned however that he cannot lose these gifts (the breastplate and a pair of magic earrings).

But Karna, who has a reputation for being a generous giver, lives up to his name and does not heed his father’s warnings. His reputation for generosity means more to him, and so, he parts with his armor and earrings.

In the end, he is shot through the back and killed. A once impenetrable hero felled.

HERO 3: Sigurd or Siegfried the Dragonslayer

He’s a legendary hero from the Germanic poems. Much like the aforementioned mythic characters, he too is someone that has acquired ALMOST invulnerability and then felled by a single weakness.

In this case, it comes from living up to that mantle of Dragonslayer. Siegfried battles and slays the dragon most commonly named Fafnir (in the some of the Old Norse sources). After doing so, he bathes in the dragon’s blood to attain the same hardness in his skin as dragon’s scales. Only, this wouldn’t be an epic story if the hero didn’t have some weakness, right? In some sources, it is a Linden leaf (or the leaf of a lime tree) that sticks to the small of his back, preventing the rest of the dragon blood from touching that spot and making him invulnerable.

From that point, he’s almost invulnerable. But of course, someone must learn of his weakness. And it is his eventual wife Gudrun or Kriemhild, who does. Sadly, she is later tricked in divulging Siegfried’s vulnerability.

Alas, the dragonslayer is stabbed in the back—that very weak spot of his—by a spear used by the character Hagen.

Impenetrable heroes 0 for 3 so far.

HERO 4: Baldr/Balder/Baldur

Baldr/Balder/Baldur, stemming from the Proto-Germanic Balðraz – meaning hero or prince. You might familiar with this one. Baldr is prophesized to die and that death is the harbinger of Ragnarok—the Norse “apocalypse” as it’s often called. Though, that’s slightly incorrect as it’s a burning of the world and its subsequent sinking underwater to eventually be cleansed and restarted.

Norse mythological time is like Vedic and Hindu time in that it’s viewed as cyclical.

But, moving on. Fearing her baby boy’s death, Frigg or Frejya, takes oaths from all things not to harm her son. Only, mistletoe was deemed too young to swear such an oath, so it’s overlooked. In end the, Loki (that uppity mischievous shit) decides (when not off getting impregnated by horses) to fashion a magical spear out of mistletoe (in some versions/later ones, an arrow). The gods were hurling objects at Baldr, a favorite pastime of theirs because, well, nothing can hurt him right? Pretty fun to chuck whatever you want at the guy who can’t be harmed. Only, well, like the myths we’ve discussed, certain terms and conditions always apply.

Loki gives the spear/arrow to the blind god Höðr. Not sure why they decided it was okay for the blind god to be throwing anything, but, gods are wild. You can guess what happens next. The blind god’s shot/throw proves true (not surprising when you take into account his name actually means warrior, stout in war, brave, and of battle. And perhaps the rather telling, slaughter). Baldr is struck down by that one weakness.

Awkward.

HERO 5: Shoshlan

Shoshlan of the Ossetian culture is a similar character. Someone who, while being tempered in fire by the god of the forge, was held at either the knee joints, or the legs (sources vary), and thus left untampered there. So, a weak spot in his otherwise invulnerable body. Oddly, or if you’ve read till here, predictably enough, he’s shot—you guessed it—through the knee. That very weak spot and he’s killed.

That Skyrim guard may have taken an arrow to the knee and been able to walk it off, but this god couldn’t.

HERO 6: Samson

The biblical hero of the Hebrew people who had superhuman strength and could take on an army singlehanded. He had one weakness, the cutting of his long hair would nullify his abilities. He would eventually be betrayed by his lover Delilah, in another mythic beat/trope known as the Temptress, and his weakness taken advantage of and leading to his downfall.

HERO 7: Esfandiar

Esfandiar is an Iranian hero out of the Shahnameh (an epic poem). He was the crown prince and a divine warrior of ancient Iran. A Zoroastrian priest gives the crown prince a chain and armor made from heaven that makes him invincible, and the chain with the powers to bind anyone (no matter their station/birth/powers), making them unable to escape. In some versions of the story, Esfandiar is bathed in magical water that imbues him with the powers of invulnerability, only, he shuts his eyes in this version, making them his weak spot.

In either version, his eyes are a weak spot. Sound familiar? Whether bathed in water or magical armor, a weak spot remains, and one that, of course, will be taken advantage of.

In his battle with the character Rostam, he withstands all the blows that are rained down on him. Rostam eventually withdraws from the battle only to return after learning from Simurgh, the legendary bird, that the only weapon that can kill Esfandiar is a shot to the eyes from a magical arrow made from the branch of a specific tree.

It shouldn’t take many guesses to know what happens next and what befalls Esfandiar.

Loving the almost untouchable hero or antihero

The impenetrable or invulnerable hero hasn’t stopped. It’s a trait we love even today. Whether our characters are protected by their sheer physiology (sometimes alien—oh hi, Superman), or plot devices (but have that one or few foibles of character that are their undoing), we love our heroes to be ALMOST untouchable. Perhaps it’s because we’ve just become used to so many stories of that being the case, so the continued trope resonates, or perhaps the old writers just got something right about us. And, then, we just haven’t been able to let it go.

It’s a trait we love to even see in our villains.

Smaug, a very direct inspiration out of Fafnir. The nigh impenetrable dragon…but for that one weak spot.

There is Hiranyakashipu out of Hindu mythology. A character who could not be killed by a human, deva (god), or animal. He could not be killed during morning or night. Or by godly/mortal weapons. He could not be killed indoors or outdoors. Neither on earth or in the air.

Except… as infallible as catch-all coverage seems to be, like more insurance policies, there always seems to be an exploitable loophole when it comes to the customer side of things for the company to hammer you with.

In the case of Hiranyakashipu it’s in the form of Narasimha, the man-lion form/avatar of the god Vishnu. In this form, Vishnu is no longer man, animal, or only god. He is an amalgamation. All in one case, or none at all depending on how you want to read it. Regardless, that condition is satisfied. He takes Hiranyakashipu and places him on his lap during twilight, so it is neither morning light or nor day. On his lap, he is neither on earth or in the air, and neither outdoors or indoors, but on a lap. Then he is torn apart by Narasimha’s claws—his nails, which are neither mortal nor godly weapons. The asura is disemboweled.

Sauron has his remaining life force bound in the One Ring. Destroying it, destroys what’s remaining of him. Though, it’s important to note he first also fell when the One Ring was cut from his hand through the severing of his fingers. It was a singular weakness then, and later on.

Until that point, Sauron had escaped or overcome everything, even the destruction of his own first beautiful body with the downfall of Numenor.

For the same reason we love heroes that are almost unstoppable, just that hint from being too perfect—too untouchable—we love our villains to have that same one weakness. How do we defeat them? They’re too powerful…but for that one spot we pick out JUST AT THE RIGHT TIME to win the day.

The Death Star is indestructible—capable of holding the galaxy hostage one planet at a time with its awesome power to reduce worlds to dust in a single blast.

Except for the odd exhaust port design that, you know, lets in one single shot to blow up the whole thing. Kinda like a chink in the ole armor or dragon’s scales.

Wow.

I mean, it’s not like the Death Star is symbolically a dragon, functioning as the big bad of an epic operatic story that also happens to have a princess captured on board and has a single weakness for the plucky hero to use to defeat it and save the day.

Oh…

Huh, look at that.

Anyways, this functioned as a small primer to the idea of the almost invulnerable/impenetrable hero, and obviously villains (the archetype–depending on usage).

They’ve been around forever, and often some very similar/nigh identical ways in the telling. Much like a lot of other myths and stories that often feel isolated, but in reality, and upon further inspection, they seem to mirror one another.

But, the point here is: sometimes a great defense isn’t all it’s cracked up to be. Because you’ve usually left yourself one weakness for someone to exploit. Just ask any pvp’er in any video game. Please don’t, they’ll have pages of how to one-shot your build ready.

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REVIEW: Lair of the Crystal Fang by S. A. Sidor

Lair of the Crystal Fang is another entry in the excellent series pulpy novels based on the board game adapted from Fantasy Flight games’ Arkham Horror as well as the works of H.P. Lovecraft. It is the third of the “Andy Van Notwick” books by S.A. Sidor. The Last Ritual and The Cult of the Spider Queen loosely follow cub reporter Andy Van Notwick in his attempt to find the big scoop that will propel him to fame as an investigative journalist. These stories inevitably take him into Arkham, Massachusetts’s seedy occult underbelly and are unprintable by the end.

Lair of the Crystal Fang deals with Andy having gotten his employment terminated after his attempt to sell his story with insufficient evidence. He’s now reduced to cleaning up dirty apartments in the worst part of the city. His former associate, Jake Williams, has lost one of his legs and is struggling to recover as a former adventurer. Maud Brion, former actress turned director, has been assigned to an asylum but finds herself a subject of investigation by unscrupulous doctors. There’s no sign of Ursula Downs, though. Lair of the Crystal Fang introduces several characters from the board game as regular characters. Wendy Adams, the amulet wielding street urchin, is one. So is Doctor Fern, the only Arkham medical professional who deserves their license. Mayor Sinclair also shows up, being more concerned with trying to repair the city’s sewer system despite being aware of the existence of the supernatural.

The premise for Lair of the Crystal Fang is that there is a serial killer stalking the streets of Arkham. It hasn’t killed many people, only a handful, but it has already caused a panic in the streets. The Lamprey, as he’ll eventually be known, uses the city’s sewer system to carry out its
assassinations while collecting blood for a mysterious crystal formation underground. This crystal is tied to the city’s history of witches and may contain an imprisoned elder god. I think the serial killer is perhaps a bit obvious for Arkham Horror, being less odd than the previous two stories. However, the story is competently told, and Lair of the Crystal Fang uses its villain well. The thing is that the Cthulhu Mythos isn’t really about villains and more cosmic
impersonal forces. While cultists and bad guys do exist, especially in the Arkham Horror series, it is a bit removed from the more cosmic horror of other works.

In conclusion, this is a solid example of horror adventure writing. Lair of the Crystal Fang is a work that has a lot of appeal for a grimdark fan. Its characters are heroic but flawed and believable with a world that has no forces of “good” to counterbalance the evil. I recommend the Arkham Horror books overall and this.

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REVIEW: A Dirge for Cascius: Part 1 by Calum Lott

Calum Lott pushes boundaries and shatters expectations in A Dirge for Cascius: Part 1, a dark, mind-bending and emotionally challenging epic sci-fantasy murder mystery that is somehow both wildly alien and relatably human.

Stricken with grief and completely in the grips of his crippling addiction to reliving his trauma and sorrow, 200-year-old Cascius Carcyde is not the fearsome scrutineer he once was. But when a new string of murders starts threatening the entire Valsollas Galaxy, he is forced to pull himself back from the ever-tempting brink of death one last time. Together with his reluctantly assigned new partner, Cascius is thrown headfirst into a harrowing journey full of ancient schemes, deadly action, and devastating revelations, yet ultimately his own inner demons might just be the most dangerous threat in the universe.

Now, I have no shame in admitting that A Dirge for Cascius challenged me in ways that I could never have anticipated. Lott takes a very bold sink-or-swim approach to his storytelling that shouldn’t feel unfamiliar to fans of Malazan: Book of the Fallen or the Dark Souls video games. And honestly, with the help of the extensive glossary and some skillful context clues, I somehow (if a bit ungracefully) doggy paddled my way to the end without drowning, and the pay-off was more than worth it.

On top of that, Lott doesn’t shy away from exploring the darkest depths of the mind, tackling heavy topics of depression, addiction, grief, (war) trauma, and suicidal ideation. Even though I personally always felt a slight emotional disconnect from the characters, I did really enjoy how intimately familiar we got with both the bloody history of this world as well as with Cascius’ devastating personal backstory through flashbacks (Recalls) and metaphysical visits to the past (sceluspaces). Especially Cascius’ rough mental health struggles are almost too frighteningly well written, and I deeply appreciated the authentically messy depiction of his attempts at healing; the back and forth, the self-sabotaging, the desperate hope, the inevitable relapses… it all hit scarily close to home for me.

And yet, for all that this story is so dense, complex, bleak and heavy, I was surprised at how easily I found myself blazing through the pages. From the very first chapter, there’s just this alluring sense of mystery and intrigue, and Lott’s excitingly wild imagination immediately had me completely enthralled. A Dirge for Cascius is just exploding with inventive concepts, unique races, and shocking revelations, which is exactly what makes it such a dangerously addictive pageturner.

Moreover, I really enjoyed the unconventional and weirdly amusing dynamic between our main detective duo of Cascius and the Illuavan Kirella, who are both way too cunning and smart for their own good. In a way, they almost have a bit of a grumpy/sunshine vibe going on between them, and I loved how their culture clashing and razor-sharp snarky banter added some much welcomed levity into the narrative. Their slowly (and begrudgingly) developing friendship ends up becoming such a strong grounding force throughout this increasingly insane journey, which I personally really latched onto amidst all the chaos and destruction.

Though speaking of chaos, I do have to admit that there were points in A Dirge for Cascius where I almost lost the plot. This entire whirlwind of a story takes place over a day or two (though, there is some time fuckery because *sci-fi*), and sometimes the pacing and character/relationship development felt a bit off to me. Also, while I think it is incredibly admirable how Lott balanced and interwove the core murder mystery with all the inventive futuristic concepts and the intricate history of this galaxy, some of the revelations admittedly fell a bit flat for me because I couldn’t grasp the full implications.

All that said, there is no denying that A Dirge for Cascius is one of the most ambitious and impressive debuts I have ever read, and I think any struggles I had with it were more a case of ‘it’s not you, it’s me’. This is simply not an easy breezy popcorn read, but it absolutely shines in its bold uniqueness if you are dedicated to putting in the brain power, trust, and patience. And after that pulse-pounding and revelatory ending, I’ll bet you’ll feel utterly gratified and start desperately counting down the days for the conclusion to this insanely epic duology.

While A Dirge for Cascius: Part 1 is absolutely unlike anything I have encountered before, I think fans of Christopher Ruocchio, James S.A. Corey, Robert Jackson Bennett, and Pierce Brown (in the second era of Red Rising) will find much to love here. It has both exhilarating action and stirring emotion, it perfectly balances horror with heart, and the jaw-dropping cool-factor is truly out of this world; so yes, please go ahead and judge this book based on its cover, because I guarantee that the story inside is even better than its stunning outsides might have you believe.

Thank you to the author for providing me with an eARC in exchange for an honest review. All opinions are my own. A Dirge for Cascius: Part 1 is scheduled for release on August 2nd, 2024.

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REVIEW: These Fragile Graces This Fugitive Heart by Izzy Wasserstein

In These Fragile Graces This Fugitive Heart by Izzy Wasserstein governments have collapsed alongside post-capitalism and the wealthy have created havens for themselves while the historical outcasts—the poor, the different, the non-conformists—try to scrape a life on the outskirts. We have a perfect setup for a detective noir story in a cyberpunk world, and into that world Dora Madsen has left the safety of the commune and her ex, Kay, has been murdered in her absence. Time to strap on her PI boots, and get her grit on.

As Dora investigates we slowly peel back the layers of her past, as well as the mystery of Kay’s death. Wasserstein takes us through a devastated lower socioeconomic-economic world, and her old community trying to provide a safe space for people to shuck the trap of the society they live in. However, in doing so, they leave themselves open to the inherent cruelty and selfishness and danger of people, megacorporations doing megacorporation things, shady people with shady deals—all the things readers like me enjoy in these sorts of stories are there.

Wasserstein writes furious fight scenes, engaging character interactions, excellent character depth, and structures a pretty enjoyable story. I was really into the first three quarters of the story, and while I wasn’t blown away by the ending, the pacing suited the novella length.

These Fragile Graces This Fugitive Heart is a strongly character-voiced book, and I think it comes at the expense of painting a mental picture of the surroundings. I loved the way the character relayed the story to me, their thoughts and the detail added about the wider thematic world around them and it’s collapse, about her family and her life that led to this moment, and about her struggles as a trans woman. These were insightful and interesting on multiple levels. However, the lack of detail about the world she moved through as a visual—the smells, the sounds—the lack thereof made this feel more like reading a letter than watching a movie in my head.

These Fragile Graces This Fugitive Heart is an enjoyable detective noir, with plenty of grit and cynicism to sink your teeth into. Either through stylistic choice, or fitting too much into too little pages, I found the world around the characters a bit too lean for my tastes, but I’m glad I had this reading experience.

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REVIEW: House of the Dragon Season 2 Episode 4

Last Updated on August 2, 2024

House of the Dragon 2×04 “The Red Dragon and the Gold” is the fourth episode of the second season of House of the Dragon. It is also, by far, the best episode of the season and probably the series as a whole. Those who were complaining about not enough dragon fighting in the show about a war involving dragon fighting finally get one of the crowning examples thereof. I, personally, am here for the politics rather than the dragons but I am in a distinct minority and still thought they did well.

This episode primarily deals with the contrast between the Greens and Blacks after the last failed attempt at peace by Rhaenyra in “The Burning Mill.” I had my issues with that episode because Rhaenyra’s diplomacy was horribly handled and showed no actual plan to get the Usurper, Aegon II, to back down. However, that actually gets called out in a meeting of her Small Council as they call her actions rash as well as reckless. House of the Dragon isn’t afraid to make fun of its own characters and I don’t mind that.

Rhaenyra is emboldened by the failure of the peace process that I don’t think she was actually that invested in stopping. It seemed she was more interested in confirming that her father was actually still interested in appointing her heir than any actual desire for terms. By contrast, Alicent Hightower is riddled with guilt at the possibility she may have interpreted her husband’s wishes wrong. Oh and she seems to have gotten pregnant by Ser Criston Cole, which she quickly rids herself of using Moon Tea.

Ser Criston Cole has managed to find a place where he actually isn’t suffering the Peter Principle, though, by becoming the general of Aegon II’s armies. He continues to call Rhaenyra a whore and executes her followers for following her. However, he gets a big wakeup call that all of his plans and military experience mean nothing in the face of dragons. Whether all of the thousands of dead on his head at the end of House of Dragon will affect him in any way (or he’ll ever learn he knocked up the Queen Mother) are things I’d like to know.

The character that benefits from this episode is Aegon II. He’s a particularly scummy individual in House of the Dragon but you start to realize that his frustrations are legitimate. The Greens have placed him on the throne as a figurehead to control him but he doesn’t have any interest in being controlled. Their arrogance and self-righteousness about it makes it even worse for Aegon II because it highlights what hypocrites they are.

Possibly my favorite moment from “The Red Dragon and the Gold” is Aemond schooling his brother in High Valyrian, a language that Aegon II barely speaks, at the Small Council. Aegon II humiliated him at a brothel but Aegon humiliates him in the halls of power. It shows that he’s become the dangerous rogue that Otto Hightower feared Daemon becoming.

It drives Aegon II to seek out a way to justify himself and prove himself in the one area that he’s never had any complaints: his skill as a dragon rider. Really, it reminded me of the classic “Leeroy Jenkins” moment of World of Warcraft. What happens in the dragon fight is something that has been building for a long time and I am anxious to see where it goes from here.

The Daemon plotline is a bit of a slow burn but I think one that will lead to some necessary character development for him. Daemon has long struggled with respecting his wife and still thinks of her as the teenager he tried to seduce. Harrenhal is not the sort of place you want to have an existential crisis, though, as it basically works like Castle Ravenloft meets Silent Hill. Alys Rivers proves to be a great addition to the cast and is instantly memorable after just a single scene.

Which brings us to the final thing of note in the episode with Princess Rhaenys heading out on dragonback to do battle with the Green forces in the first real aerial duel of the series. The only previous example of dragon on dragon combat was more like a massacre. She gets to show off what sort of queen she would have been but also shows herself to be a fantastic Targaryen warrior. Her acceptance of Corlys’ bastards is perhaps a bit much for sanctifying her but shows a nice contrast to Catelyn Stark.

The CGI for House of the Dragons‘ titular characters has always been somewhat spotty but is really well done in “The Red Dragon and the Gold”. Some fans may question the tactics employed and how a dragon as huge as Vhagar is able to employ stealth not once but twice but I think it was, overall, really well done. It’s the reason that everyone wanted to watch this series and we finally get it.

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REVIEW House of the Dragon Season 2 Episode 4

HOUSE OF THE DRAGON 2×04 “THE RED DRAGON AND THE GOLD” is the fourth episode of the second season of House of the Dragon. It is also, by far, the best episode of the season and probably the series as a whole. Those who were complaining about not enough dragon fighting in the show about a war involving dragon fighting finally get one of the crowning examples thereof. I, personally, am here for the politics rather than the dragons but I am in a distinct minority and still thought they did well.

This episode primarily deals with the contrast between the Greens and Blacks after the last failed attempt at peace by Rhaenyra in “The Burning Mill.” I had my issues with that episode because Rhaenyra’s diplomacy was horribly handled and showed no actual plan to get the Usurper, Aegon II, to back down. However, that actually gets called out in a meeting of her Small Council as they call her actions rash as well as reckless. House of the Dragon isn’t afraid to make fun of its own characters and I don’t mind that.

Rhaenyra is emboldened by the failure of the peace process that I don’t think she was actually that invested in stopping. It seemed she was more interested in confirming that her father was actually still interested in appointing her heir than any actual desire for terms. By contrast, Alicent Hightower is riddled with guilt at the possibility she may have interpreted her husband’s wishes wrong. Oh and she seems to have gotten pregnant by Ser Criston Cole, which she quickly rids herself of using Moon Tea.

Ser Criston Cole has managed to find a place where he actually isn’t suffering the Peter Principle, though, by becoming the general of Aegon II’s armies. He continues to call Rhaenyra a whore and executes her followers for following her. However, he gets a big wakeup call that all of his plans and military experience mean nothing in the face of dragons. Whether all of the thousands of dead on his head at the end of House of Dragon will affect him in any way (or he’ll ever learn he knocked up the Queen Mother) are things I’d like to know.

The character that benefits from this episode is Aegon II. He’s a particularly scummy individual in House of the Dragon but you start to realize that his frustrations are legitimate. The Greens have placed him on the throne as a figurehead to control him but he doesn’t have any interest in being controlled. Their arrogance and self-righteousness about it makes it even worse for Aegon II because it highlights what hypocrites they are.

Possibly my favorite moment from “The Red Dragon and the Gold” is Aemond schooling his brother in High Valyrian, a language that Aegon II barely speaks, at the Small Council. Aegon II humiliated him at a brothel but Aegon humiliates him in the halls of power. It shows that he’s become the dangerous rogue that Otto Hightower feared Daemon becoming.

It drives Aegon II to seek out a way to justify himself and prove himself in the one area that he’s never had any complaints: his skill as a dragon rider. Really, it reminded me of the classic “Leeroy Jenkins” moment of World of Warcraft. What happens in the dragon fight is something that has been building for a long time and I am anxious to see where it goes from here.

The Daemon plotline is a bit of a slow burn but I think one that will lead to some necessary character development for him. Daemon has long struggled with respecting his wife and still thinks of her as the teenager he tried to seduce. Harrenhal is not the sort of place you want to have an existential crisis, though, as it basically works like Castle Ravenloft meets Silent Hill. Alys Rivers proves to be a great addition to the cast and is instantly memorable after just a single scene.

Which brings us to the final thing of note in the episode with Princess Rhaenys heading out on dragonback to do battle with the Green forces in the first real aerial duel of the series. The only previous example of dragon on dragon combat was more like a massacre. She gets to show off what sort of queen she would have been but also shows herself to be a fantastic Targaryen warrior. Her acceptance of Corlys’ bastards is perhaps a bit much for sanctifying her but shows a nice contrast to Catelyn Stark.

The CGI for House of the Dragons‘ titular characters has always been somewhat spotty but is really well done in “The Red Dragon and the Gold”. Some fans may question the tactics employed and how a dragon as huge as Vhagar is able to employ stealth not once but twice but I think it was, overall, really well done. It’s the reason that everyone wanted to watch this series and we finally get it.

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An Interview with Ryan Skeffington

Ryan Skeffington had a unique journey leading him to the world of storytelling. His professional background is entrenched in the oil and gas industry, but he has always been drawn to the arts. His desire to create drives him to continuously try new things.

Ryan draws inspiration from the imagery and stories in music, visual media, and the written word. He explores the world by trying new things, which has led him down the rabbit hole of woodworking, photography, startups, golf, and most recently writing, where he has found his voice. Through his writing, Ryan aims to transport readers to fantastical worlds that explore the human experience.

I recently had the pleasure of chatting with Ryan Skeffington about his debut science fiction novel, Lost Souls, his approach to writing, and his future plans.

[GdM] Thanks so much for taking the time to do this interview with Grimdark Magazine. Your novel, Lost Souls, is truly a breathtaking debut. Could you tell us about your history as a writer? Who are some of your inspirations?

[RS] It’s an absolute joy to be included, thank you for having me. I would say my history is pretty sparse compared to most other authors that you’ve read or interviewed. Lost Souls is my first ever attempt at writing a piece of fiction. To set the stage, I’ve been a closeted creative my entire life with sports and academics taking the lead in most of my childhood. After school I explored multiple creative avenues that would allow me to express myself, and ultimately, writing is going to be the one that sticks. It’s perfect blend of structure, creativity, skill building, and a hobby that has measurable progress when you put forth effort. It took many years, but I’m stoked to have found an outlet that is so rewarding.

For my inspirations I’ve come to appreciate other artforms on a deeper level now that I create with intent. In the past I would consume the media and then move onto the next thing. I appreciated them for how they made me feel, but now I look behind the curtain. After understanding the depth of it all, I focus on musical lyrics, dialogue in television, and cinematic scene setting in films. The strongest inspirations for me are Gladiator, Halo, and the band Parkway Drive, which you’ve noticed in your read through!

[GdM] The chapters in Lost Souls are named sequentially after songs from the “Deep Blue” album by Australian metalcore band Parkway Drive. Was “Deep Blue” a direct inspiration for Lost Souls? Could you tell us more about this inspiration and how you incorporated themes from “Deep Blue” into your work?

[RS] “Deep Blue” was one of the first pieces of creative media that I studied with any depth. I read a rhetorical analysis and thematic breakdown online and was blown away. What I had previously thought of as thirteen really good songs was a rich, and in-depth story about the struggles of one man, that paralleled humanity to a good extent.

While the characters and worldbuilding of Lost Souls weren’t a direct reflection of the album, the main character’s plot and arc most definitely are. For those that listen to the songs in the album, they’ll find that the main character, Maximus, follows a parallel path to the unnamed pov in “Deep Blue”. From my understanding of this album and my translation to character, I tried to incorporate the recapturing of an individual’s agency in an overpowering world. Ultimately leading to, when you have that agency and the responsibility of power, will you make better decisions?

I love being able to gush about Parkway, and the foundational theme of the world came from another song of theirs, “Dark Days” that asks the question, “What will you tell your children when they ask you, ‘What went wrong?’” Lost Souls, outside of the main POV, tries to explore the consequences of not leaving a world better than you found it. The lyrical nods at the beginning of each chapter serve as a forewarning to the reader, so don’t overlook the details.

[GdM] Much of Lost Souls revolves around xantium, a fictitious extraterrestrial metal with profound implications for the future of humanity. What was your process like for developing the scientific and engineering aspects of your book? Was there any direct influence from your career in the oil and gas industry?

[RS] Xantium was an absolute treat to create. My thought process around introducing a fictitious resource was “how can I blend hard sci-fi and magic”? In hard sci-fi, you have the constraints of the real world, and all modifications to the world need to fall in line within the expected constraints of reality. I wanted to apply those same constraints to my world to hopefully establish a sense of realism. I built constraints around the ore such that, if we discovered xantium today, the things that occur in Lost Souls could theoretically happen in our world.

There are two branches to the world building of xantium: resource and catalyst.

The resource component was inspired by my background in engineering, and my career in understanding energy and how it advances the quality of life for those that have cheap and abundant energy.

The catalyst component is all thanks to my wife. She has a master’s degree that focuses on the human body, while I peaked with the grade of 89 in 9th grade biology. I would sit with her and repeatedly ask her questions about body modification, automated process like respiration and the Krebs cycle, and all of the technical terminology that I would have never even considered to google. She is the reason the word ‘nephron’ is in the novel, and it’s better for it.

Because I was able to utilize xantium on both a grand world building scale and on a micro-biologic, character focused scale, I believe it lends itself to having a basis in realism. When something new is discovered, it’s the creativity of man that creates the branches from the trunk of its discovery. I only hope my characters emulated this creativity in the story.

[GdM] As the lead protagonist of Lost Souls, Maximus has more than a few surprises in store for the reader. Could you tell us about how you developed Maximus as a character?

[RS] Because I was laying the foundation of my writing craft while drafting, I didn’t have a lot of experience with character creation, so I started with the one that I knew best, me. Engineer who was bored at work was the canvas that I started with. Then I put that character in this new world that I created. I started to ask myself how would this character have grown up and what would the ensuing traits be?

There is a quote that I really love that I apply to character sculpting, “What would I put a person through to get them to have the traits I want them to have? If I wanted them to be patient, I wouldn’t give them everything immediately. If I wanted them to be resilient, I wouldn’t give them an easy life.”

Starting from this framework I asked, “What would he ‘know’ having grown up in the upper end of a caste system? How would he treat people in a cruel world when he was raised by a kind man?”

Lastly, I wanted to incorporate, and share with the world, the relationship I have with my father. There are moments in the story that I pulled from my life that I needed to share, because man my dad was cool. The honor of being able to share a fraction of that relationship through the eyes of Maximus made it all worth it.

[GdM] Your writing in Lost Souls is very well polished, especially for a debut novel. What was your writing and editing process like? Are you a planner or a “pantser”?

[RS] The reason Lost Souls has any level of quality is because I leaned on others for guidance and critique. My very first draft was written as if the POV was a movie camera that followed around the characters in a scene. There was head hopping, past and present tense, shifting from 1st to 3rd perspective, and a little omniscient for good measure. Ryan Patrick, author of Lag Delay and The Martian Incident, was my first beta reader and man did he sit me down and set me straight. There was so much work to be done. I edited the story a cumulative twelve passes during the entire process because it needed that much work.

If you’re reading this and thinking of writing a story, please do it. There is no way that your first draft could be worse than my first draft. I made every single mistake in the book. I might’ve even invented some new mistakes.

After cleaning up my technique I moved to the more traditional editing process where I had a developmental editor (someone who critiques the structure of the novel), another round of beta reading, and then I finished it off with a line editor (someone who edits your sentence level structure).

For my writing I love, love, love to outline. Some might call my outlines zero drafts. After my research and high-level plot and character outlines, I create a chapter by chapter, scene by scene, outline that goes in depth. I outline the characters in the scene, what the setting looks like, what they’re trying to accomplish, and what problems they’ll face, sometimes interjecting proposed dialogue if I think of something quippy.

My main reason for doing this is that it allows me to marinate on my story before I start writing and ‘commit’ to the story. I daydream and add ideas into the outline quite often and because the outline is more shorthand/chicken scratch typing I feel free to make sweeping changes. Once there is prose on the page, I’m more hesitant to make sweeping changes. It hurts!

[GdM] What are your thoughts on the current state of publishing in the science fiction genre? How do you think indie publishing will influence the future of the genre?

[RS] Because I am only self-published and didn’t even query, I have limited, outside only perspective on the industry. Because Amazon and Ingram have made it so easy to publish, removing the largest barrier to entry, the number of participants in the ecosystem has drastically increased meaning you get a higher level of saturation of stories.

The double edge sword is that you get to participate more easily, but it doesn’t mean you’ll have default success on the click of the ‘publish’ button. Inferring from my personal technical background, industry/tribal knowledge will always have value and allow for precise execution and the best possible path forward. That doesn’t mean that indies don’t stand a chance!

There are two key tools for indie success that I can see. Social media and the avoidance of parasocial relationships. Social media has made it possible for an individual to have a marketing arm. Attention is no longer on billboards, commercials, or newspapers, but the digital platforms the consumers interact with on a daily basis. This is incredibly powerful but requires a lot of work! Next is the ability to form meaningful relationships with fans. Instead of a best-selling author only engaging at a meet & greet, they can participate in discussions and relationship building on a more frequent basis. Twitter, Facebook, and Discord are all platforms that allow connection to prosper.

The ability for indie authors to succeed in this fierce market signal to me that creativity will no longer be gate kept. The weird, outlandish, nontraditional stories people have been writing for ages may find new audiences. These edge cases, that previously were uneconomic, could find their footing with a rabid, niche audience and create something new in the mainstream! I have high hopes for my fellow indie authors out there!

[GdM] What advice do you have for new authors based on your own experience with self-publishing?

[RS] Do it. Try it. Fail at it. Keep at it. Fail some more. Delete what you don’t like. Try again. You can do it. There is an infinite number of ways to make art. Your way, your voice, is worthy of being seen and heard.

More personally, I found that I place a lot of emotional weight on how others have perceived the story. I would caution against the habit of checking Goodreads or the Amazon sales page. Leave F5 season to sports. (Maybe 1/10th of you will have gotten that, and its okay if you didn’t)

Make the art for the love of making it.

I’ll keep my day job.

[GdM] Could you tell us more about your background as an entrepreneur? How has your experience creating new startups affected your approach to writing and publishing your work?

[RS] Combining my creative juices with my experience during my MBA led me to try and tackle entrepreneurship. Once I graduated, I founded a startup and began working as a consultant in the evenings after work. (I don’t recommend this.)

In the world of a startup if you aren’t the one moving the company forward, no one else is. Unlike my day job, the work/customers didn’t automatically just appear in my inbox for me to do. If only it worked like that.

Same thing goes for writing and publishing a novel. If you’re not planning (for my planners) no one else is. If you don’t leave foreshadowing elements no one else does. You do the planning, you put prose on paper, you do the structural edit, you hire the other editors, you are the art director for the cover, you do the formatting of the word doc, you do the pricing model, you do the marketing.

As a self-published author you’re the CEO of your startup. If its going to be out in the world its going to be because you willed it to happen.

Working in consulting taught me the value of communicating so that other people could understand. It didn’t matter if my presentation was perfect. If the audience didn’t get the takeaways that I wanted them to understand, then I failed at effectively communicating. When writing a novel one of the most difficult parts was getting everything in my head onto the pages in a way that allowed my vision to translate to the reader’s imagination.

[GdM] Your Twitter biography mentions that you might run for governor of Oklahoma in 2030. Is this meant facetiously, or do you have serious political ambitions in the Sooner State?

[RS] Politics was always a bad word growing up.

“Politicians are nothing but liars, cheaters, and crooks.”

“Well why don’t good people run?”

“It just doesn’t work like that?”

I wish it did.

This was a conversation I had multiple times growing up. Now that I’ve reached the point of paying taxes, understanding policy, and living the consequences of bad governance I replay that conversation over and over again. There’s a lot of hopeful ego in the idea that maybe I could make a difference, I want to make a difference.

Then it hit me out of the blue one day. There will always be a governor of each state. They’re a human being, no different than me. Everyday we read or watch stories about heroes saving the day in fiction. Some may consider it childish naivety to want to be a hero, but I’d rather try than sit back and just keep complaining.

[GdM] Thanks again for taking the time to do this interview with Grimdark Magazine. What can readers expect next from Ryan Skeffington, either as part of the Infinite Existence series or beyond?

[RS] I’m elbows deep in editing Eternal Dreams, the sequel to Lost Souls. I hope to deliver a story that captured the brilliant moments of the first while improving on its very apparent flaws. The cover art will come out later this summer and I hope for a release by the end of the year! The conclusion of the trilogy is being plotted, and I am so excited for a roller coaster of an ending.

Beyond that, I hope to maintain the same love I have for writing right now, many years into the future. Thank you so very much for having me and I wish you, and Grimdark Magazine all the success in the world.

This interview was originally published in Grimdark Magazine #39.

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REVIEW House of the Dragon Season 2 Episode 3

HOUSE OF THE DRAGON 2×3 “The Burning Mill” is the third episode of the second season. Unfortunately, it is also House of the Dragon’s first misstep after two exceptionally strong opening episodes. House of the Dragon is always at its best when it is dealing with the subtle characterization and politicking going on behind the scenes versus the big epic events. One of the reasons that season stumbled as often as it ran. However, this seems to be an episode that pauses for characterization that doesn’t really make sense in the context of the larger narrative.

The story begins with a well-loved element from the books with the Bracken and Blackwoods families. These two were at each other’s throats for millennia in the background of Westeros and were shown doing it the previous season. Here, a fight over several unrelated disputes results in a massive battle with hundreds if not thousands of dead. This is the first battle of the Dance and yet it isn’t enough to push the rest of the Seven Kingdoms into war.

Aegon and Criston Cole are both excited at the prospect of war, sending out their forces to destroy Rhaenyra’s supporters. It is an old saying that it only takes one person to wage war. Aegon is already proving a terrible king, appointing his favorites to the Kingsguard as well as wearing Aegon’s armor despite it not fitting him. Alicent Hightower finds her shut out of all decisions and even her attempt to get her brother involved in the war effort backfires as Ser Gwayne proves to be even more incompetent than Ser Criston.

Daemon Targaryen also seeks out war but finds it frustratingly difficult to find. He makes a one-man suicide assault on Harrenhal, only to discover that Simon Strong the castellan is perfectly happy to swear allegiance to Queen Rhaenyra. Worse, the castle is quite obviously haunted, and Daemon finds himself subject to the torments of spirits as well as visions. It’s a reminder that dragons are not the only magic to be found in Westeros.

House of the Dragon also has a few scenes where the protagonists do stop to reflect on their current place in the story. Rhaenyra banishes one of her stepdaughters to the Pentos, sending her along with three dragon eggs that will one day shape the destiny of Westeros. We also a brief moment where Milly Alcott shows up in a vision that hints that Daemon is not nearly as kill about his child murder (specifically his kin) as he claims. There’s also a great moment where it seems Ser Criston and Gwayne are almost incinerated, which sadly proves to have just been a prank by the Blacks.

House of the Dragon‘s biggest mistake as a series, thus far, happens later in “The Burning Mill”, though. Rhaenyra sneaks into King’s Landing to have a conversation with Alicent Hightower that strains credulity in every possible way. Not just because both of them should want the other’s heads but because the scene is not remotely well thought out.

Rhaenyra offers no terms for her surrender or Aegon II’s and there’s no indication that Alicent should have the authority to stop the war at this point. Worse, Alicent should have called for Rhaenyra”s head as it would have stopped the war she wants to prevent. It is a silly scene that calls back to the worst idea of season one, which was Alicent believed Viserys named Aegon to be his heir on his deathbed.

In conclusion, “The Burning Mill” is a flawed episode that has good points overshadowed by a spectacularly bad scene. The show takes a moment to stop when it should be going forward with all cylinders. The death of Prince Lucreys was from the first blow but there was no going back after Prince Jaehaerys’ death. Here, they act as if it was each one dented the other’s car.

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REVIEW: Ghost of the Neon God by T.R. Napper

Building upon his brutal cyberpunk vision of the future shown in Neon Leviathan and 36 Streets, T.R. Napper’s Ghost of the Neon God is an utterly haunting, lonely, and beautiful novella. I simply cannot put down Napper’s books and short stories, and before I get into this review more, I highly encourage you to pick up something, anything he’s written.

Jackson is the homeless son of an immigrant, eking out an existence squatting in under-construction towers in metro Melbourne, Australia, and talking shit with his mate Col to pass the time. They steal where they can, buy dope and food where possible, and stare at the neon glow of the buildings and streets, and the people below they share this cage with. When walking through a back alley, a foreign woman runs into Jackson as she flees for her life. His life is about to change. But first, he’ll steal that woman’s shoes.

From there the story takes off from its slow build baseline. Ghost of the Neon God is full of action and intrigue, rolling cynicism and snark, and is at times sad, and lonely, and beautifully introspective. Ghost of the Neon God of one of those books that is an actual experience you can lose yourself in as you peel back the layers of political and societal commentary, anger at a system that has failed the many to benefit the few, and the unrelenting nature of even the most trodden-down human spirit.

Once again, Napper’s understanding of poverty (derived from his time working in South East Asia) brings levels of harshness and grief and hope to his words that I just don’t think people without his experience are capable of. His vision of future Australia in Ghost of the Neon God is of towering neon soaked cities as beacons of post capitalism amongst the endless dry desert wastelands being plundered for the last scraps of their mineral wealth. People waste away under economic impoverishment and the control of immense foreign powers the Australian government cowers before. If you’ve ever wondered what a first world country would feel like if it became a third world country with slums and desperation and the rich looking down upon the poor, and the lack of hope to get out of your situation while you watched the wealthy whine about their hardships for sympathy… look no further. This novella will grab you by the scruff of your fucking soul and shove your nose in it. I still feel worked up even just thinking about Ghost of a Neon God, almost a week after finishing it.

That said, the more I think about Ghost of a Neon God, the more I like it. And I can’t stop thinking about it. Napper’s story—the heart strings he manages to pluck on every page; the anger he makes me feel at the unfairness of that world; the way he makes me think about where our society might be heading—puts him amongst my favourite writers. Do not miss this novella.

Read Ghost of the Neon God by T.R. Napper

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