Adrian Collins's Blog, page 43

REVIEW: Navola by Paolo Bacigalupi

Navola is the latest adult fantasy from award-winning author Paolo Bacigalupi. An ambitious and richly detailed story, Navola is the coming-of-age tale of Davico, the heir to one of the most powerful families in the city. It has a wealth of vicious political intrigue, complex characters, and a fair amount of bloody violence. Described as ‘The Godfather meets Game of Thrones,’ Navola will undoubtedly hold great appeal for grimdark fans.

Set in a renaissance era fantasy world, in the titular city of Navola, the Regulai family has risen far from their humble mercantile beginnings. The di Regulai might be bankers, not princes, but they have wealth, power, and influence, which spread across the map. Nearing his majority, Davico di Regulai is soon expected to take over from his brilliant father. But Davico is ill-suited for the role – too trusting, kind, and gentle. He does not see the spreading plots of his family’s enemies and must open his eyes to the threats surrounding them before it is too late.

I ended up enjoying Navola immensely despite initially misjudging the novel. Although I had expected a more significant draconian involvement than there is, the dragon eye on the cover does play an important role in the book. I also had to adjust my expectations slightly because I had anticipated Navola to be different structurally due to the Game of Thrones comparison. Navola is a first-person single point-of-view novel and appears to be a standalone fantasy, not the first in an epic series. It is not very similar to Games of Thrones in that respect. But in terms of vicious twists and turns, people not being who they appear to be? Navola has that in droves. It is a multi-layered and complex narrative which is hugely entertaining. I might be just as naïve as our protagonist, Davico, but even reading Navola thinking, ‘there’s a twist somewhere,’ I did not see most of these coming.

Bacigalupi also has some very dark parts to this story. If you were to list ‘bad things people could do to one another,’ Navola would probably tick many of them off. There is a slave trade, and sweet Davico tries his hardest to ignore that his father purchased his mistress for the role. There is also some very inventive violence and psychological torture shown. None of this feels needlessly included in the narrative, but it is sometimes rightly an uncomfortable read because of it.  One of the bloodier moments in Navola triggered a lively conversation in the Grimdark Magazine group chat about using eggs as an analogy for eyes and whether we thought eyes would pop like an egg yolk or not. Although Bacigalupi goes to some dark places in the story, Navola is not an unrelentingly dark tale. Davico is a mostly likable protagonist (and bless Davico, the main thing I found frustrating about him is how often he is distracted by his, ahem, ‘root’), and the bawdy and humorous moments in the story give it some much-needed balance.

I rarely read standalone novels and still found Navola to be a satisfying story. However, Bacigalupi deliberately leaves the ending reasonably open. Concluding the narrative in this way might suggest that Bacigalupi could return to this world in the future, or maybe Bacigalupi has finished it this way for the reader to draw their conclusions on how particular character arcs end. Navola takes place in an exciting world, and although Davico’s story appears finished, I would like to read more about the other characters should Bacigalupi being considering more stories set here. Davico’s sister Cecilia, for example, is one I would love to have more insight into or even to learn more about some of the other key families in Navolese society.

Thank you very much to Paolo Bacigalupi and the Head of Zeus / Ad Astra team for sending over an ARC of Navola for review.

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REVIEW: Lake of Darkness by Adam Roberts

Lake of Darkness is the new hard science fiction novel by Adam Roberts that asks whether an intelligent being could evolve inside the infinite darkness of a black hole. As the novel opens, two starships are in orbit around a black hole known as QV Tel. Although the crews have been sent to gather data near the event horizon of the black hole, they are suffering from severe physical and psychological trauma after traveling near the speed of light.

The journey takes an especially large toll on one of the starship captains, Alpha Raine, who suffers a complete psychological breakdown, murdering his crew. While others question his sanity, Raine believes he is receiving communication from a being that resides within the black hole itself. Raine undergoes evaluation by Saccade, the other lead character of Lake of Darkness, a historian of twentieth century Earth culture specializing in the psychology of serial killers.

The title of the novel is an allusion to King Lear by William Shakespeare: “Frateretto calls me and tells me Nero is an angler in the lake of darkness. Pray, innocent, and beware the foul fiend.” Frateretto is the name of a devil, and the Nero reference points back to Chaucer’s Canterbury Tales, where the Roman Emperor is found fishing in hell. This quote accurately captures the pitch-black vibes and demonic overtones of Lake of Darkness. Although this is a hard sci-fi novel saturated with astrophysics, Roberts delves just as deeply into both the philosophical and theological implications of a black hole developing sentient life.

Adam Roberts is a professor of nineteenth century literature at Royal Holloway, yet he clearly knows his physics. The author’s grasp of challenging concepts from general relativity to cosmology is spot on. The true genius of Lake of Darkness is how Roberts constructs a story from the so-called black hole information paradox, which arises when applying a combination of general relativity and quantum mechanics to black hole physics. The paradox concerns the ultimate fate of information sucked into black holes: when a black hole decays due to Hawking radiation, is the information truly lost or could it be re-emitted? More specifically, could the information serve as fuel for evolving an intelligent entity within the black hole itself?

Although Lake of Darkness is a heavy read, there are also some lighthearted moments, especially related to the characters’ misunderstanding of twentieth century Earth. For example:

“…whatever the actual name of the first individual to walk on the Earth’s moon, it was clearly not Arm-Strong. ‘That’s a title, not a name: clearly it reflects the warrior ethos of that belligerent and martial age. Whoever they sent to the moon, he would be a great hero—a masculine figure, since antique Earth valued the male over the female—and an individual of immense physical strength. Hence strong-of-the-arm.’”

Lake of Darkness is not a casual read by any means, but it is highly rewarding for readers willing to devote the necessary effort. It is rare to find a book that delves so deeply into science, philosophy, religion, and psychology, while also delivering a compelling story with complex, morally gray characters. Personally, I found myself unable to resist the gravitational pull of this dense yet darkly alluring opus.

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REVIEW: The Boys Season 4

Last Updated on July 17, 2024

The Boys are back and this season is as brilliant, disgusting, and insane as the previous seasons – perhaps more disgusting in places and that is certainly a high bar to reach. Based on the Garth Ennis comic of the same name, The Boys S4 continues the adventures of Billy Butcher (Karl Urban – Dredd, Lord of the Rings, Star Trek) and his team of misfits as they plot to take down the increasingly unhinged Homelander (Anthony Starr – give the man all the awards).

In The Boys S4, Butcher seems to be on his last legs. Given months to live following his abuse of compound V in the previous season, he’s still intent on taking down Homelander and other supes and saving his late wife’s son, Ryan, who he wants to protect from Homelander’s corruption. His illness has him seeing his dead wife and he also spends a lot of time with an old friend, played by the always amazing Jeffrey Dean Morgan (Watchmen, The Walking Dead) but he still has enough about him to take on supes and so he teams up with MM and the others as they try to stop a plot to kill the president. Hughie has his own struggles this season. He knows now that he can help as a regular guy but he is distracted by the return of his mother and his father being in a coma. The scenes with his father in the hospital are some of the strongest in the whole series. Simon Pegg plays the role to perfection and shows us that even the grimmest, darkest of tales need a heart in order for writers to pull it out and crush it in front of the watching audience.

For some, The Boys S4 will be a bit too on the nose regarding current world politics. The show has never shied away from tackling real-world issues and the partisan politics and misinformation throughout the show leave the viewers in no doubt of the writers’ views on current world affairs. It is something that may turn some viewers away depending on their own views but for me, I was pleased to see a show that didn’t want to water anything down. The Boys is known as a hard-hitting show in every sense of the phrase and if you have stuck around for exploding penises, supe orgies, and Homelander jerking himself off at the top of a tower, then I’m sure you’re in for the long haul. If you thought this season wouldn’t be able to produce its own sickening moments, then wait for Web Weaver and pretty much every scene that character (or at least the suit) is in. If it is the brilliant acting and powerful scenes you’re after, then Simon Pegg’s scene-stealing episodes and Anthony Starr putting in what has to be one of the best pieces of acting in the entire run of The Boys are for you. The shot of Homelander soaked in blood is an iconic one that will last long in the memory. Throughout the season, I had times where I pitied Homelander, cheered for A-Train, and was amazed by Tilda Swinton’s secret inclusion. The Boys S4 and the brilliant Gen-V are proving that there’s life in the world of this superhero series yet, with one more season to go, let’s see if they can stick that superhero landing.

The Boys S4 continues the show’s excellent run. Ripe with political commentary, explosive action, shocking powers, and enough heart to make you give a shit, this is still one of the best shows on TV. Filled with anti-heroes and villains to you love to hate, this is perfect for grimdark fans who enjoy gritty side of superheroes.

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REVIEW: Sundered Moon by Zammar Ahmer

Zammar Ahmer pushes boundaries and takes the concept of grey morality to a whole new level in Sundered Moon, the deliciously dark and exquisitely bittersweet finale to The Book of Astea duology. Full of both devastating losses and small hopeful victories, this exceptional story offers an altogether more nuanced, satisfying, and emotional twist on the grimdark genre.

Picking up seconds after the earth-shattering ending of Riven Earth, Sundered Moon reunites us with our compelling cast of deeply flawed (anti-)heroes as they have to grapple with the brutal consequences of their questionable actions. Nature’s threat to humanity grows ever more dire, a possible cure for the blood plague comes at a terrible price, dangerous revolts are brewing, and the wrath of the gods grows inescapable. Though even when faced with impossible odds and devastating moral dilemmas, the relentless fight for peace and balance continues, no matter how high the cost.

Now, as much as I love the satisfaction of finishing a series, I rarely find myself enjoying a sequel or finale as much as its predecessors because I often don’t feel genuinely scared for the fates of the characters. However, Ahmer brutally broke that pattern with Sundered Moon by uprooting all conventions, tropes and expectations to deliver an altogether more unique and engrossing story. I mean, ‘plot armour’ is clearly not a term in Ahmer’s dictionary, and I absolutely loved the high stakes and anxiety-inducing levels of emotional turmoil; these characters are put through the wringer, and absolutely nothing and no one is proven safe.

As impressed as I was with the character work in book 1, I think Ahmer just stepped up his game even more in Sundered Moon. We follow a large cast of incredibly complex and deeply flawed characters whose opposing goals and ambitions create a riveting sense of anticipatory dread, and rarely have I felt so conflicted on characters over the course of a series. They are all working towards what they think is right, but some of their goals are unattainable without hurting people; or should I say, without hurting the ‘wrong’ people, however they define that for themselves.

Though, while I loved getting a glimpse into the troubled minds of so many diverse characters, I do think the frequent POV switches (up to 8 or 10 times within a single chapter) sometimes slightly hindered my immersion. The pacing is already quite slow-burn, with most of the real action only taking place after the 70% mark, and I can see less character-driven readers than me starting to lose attention because of the slightly uneven pacing and lack of solid grounding at any given point.

All that said, I think it is remarkable how, after reading hundreds upon hundreds of fantasy books, Ahmer managed to completely surprise me with his bold storytelling decisions in Sundered Moon. The way that this entire conflict played out was just magnificently done, and I loved how my own sense of morality kept being tested when faced with the deep complexity and raw emotional vulnerability of these characters.

Moreover, I really love the breathtakingly beautiful yet unforgivingly brutal world that Ahmer has created here, especially as the immersive and evocative descriptions make this world feel so vibrant and lived in. Similarly to R.J. Barker’s style of world building, the entire flora and fauna is entirely unique to this world, which just sparked such a deep sense of wonder and awe. Moreover, the depth of the history and lore is truly astounding, and I loved exploring how religion, faith and magic are so intricately tied together in this story.

And then add to all of that the subtle environmental themes that lie at the core of both Riven Earth and Sundered Moon, which make the beautifully bittersweet ending of this duology hit home so hard. Some of the resolutions and reveals, especially regarding the more ethereal aspects of the ending, could have easily felt like plot conveniences in the hands of a lesser author, but I think Ahmer nailed the execution of this story by masterfully planting all the seeds and delivering a tragically believable level of sacrifice and loss.

Though while this series, and especially this finale, goes down some disturbingly dark paths and features characters more morally ambiguous than any you will find in Abercrombie’s First Law Trilogy or Martin’s A Song of Ice and Fire, I do think Sundered Moon offers a refreshingly inventive and more hopeful twist on the grimdark genre. The touching moments of hope and victory only feel so earned and impactful because we have experienced the deepest tragedy first; this is how you write a multi-layered and emotionally resonant story.

With The Book of Astea duology, Ahmer proves that a talented author doesn’t need thousands upon thousands of pages to deliver world building, character work, and emotional depth of the highest quality. If you like your stories dark, character-driven, and full of brutally bold twists and turns, then I can’t recommend Riven Earth and Sundered Moon highly enough. Ahmer has single-handedly raised the bar for any debut (indie) author with this duology, and I am truly beyond excited to follow along on his undoubtedly fruitful author journey.

Thank you to the author for providing me with an eARC in exchange for an honest review. All opinions are my own. Sundered Moon is scheduled for release on July 16th, 2024.

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Review: The Last Shield by Cameron Johnston

If Gemmell had a small crew of protégés, I think Cameron Johnston has placed himself at their forefront with The Last Shield. A heroic dark fantasy with plenty of grit, high stakes, battles, and bloody-grinned relentless no-giving-up protagonists, The Last Shield is an un-put-downable thrill ride.

In The Last Shield, Briar is the leader of the Regent of Sunweald’s personal bodyguard. Armed with buckler and sword and honed by a lifetime of training, the Shields keep the leaders of their realm alive. When one of them goes rogue, and a mysterious bowman cripples Briar, a devious plot is revealed and it puts the one person Briar loves (but cannot have) in danger–and with that person in danger, all of Sunweald is in danger.

If you mixed Gemmell’s storytelling with Die Hard, I think you would find The Last Shield. With a gruff hero who just won’t die, a villain with evil deeds on their mind, treachery, non stop action and bloody, rather inventive deaths hitting you every few pages in this against-all-odds action film of a book, The Last Shield is going to be popular.

Briar is one of my favourite characters so far in 2024. I punched the air when she won, puckered right up when she was in danger, and really loved her hero’s story. My personal tastes will always lean towards the more morally grey, which you won’t really find in The Last Shield, but for something that I just had a really damned good time reading, Cameron’s Briar was a world of fun.

Another of the other POVs, Kester, was painted as this spoiled brat throughout, which is where at first I was hoping to find that more morally grey character. I would have enjoyed seeing Johnston lean heavier into that aspect of his character. However, the story didn’t really need it more than it needed his redemption arc, and I’m not an author, and this isn’t my book. The Last Shield isn’t about that—it’s more a 90’s action flick in book form. It’s Charlise Theron in The Old Guard, except in a medieval fantasy world. It’s get yourself a beer and a bucket or popcorn, kick your feet up, and forget the world exists while Briar kicks some arse, and I fucking loved that about it.

I’d be quite surprised if The Last Shield doesn’t do well on the heroic fantasy-focussed best-of lists this year. It’s about the most fun reading I’ve had in 2024.

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An Interview with Elizabeth Helen

Elizabeth Helen is the pen name of sister duo, Elizabeth and Helen, authors of a hot new fantasy series inspired by Beauty and the Beast. Fairy tales have traditionally explored the darker aspects of human nature and this is no different, the authors have created a dangerous world with flawed and complex characters who are trapped in cursed situation fully of their own making. We’re hooked already and couldn’t resist the opportunity to talk to the authors in advance of the July publication of the first three books of the series in stunning new hardback editions.

[GdM] Congratulations on the beautiful new hardback editions of your series, Beasts of the Briar. Can you introduce the first book, Bonded by Thorns, in one or two sentences for our readers?

[EH] Hi, thank you so much for having us! Bonded by Thorns is a why-choose, fantasy romance Beauty and the Beast retelling. When an adorkable bookworm wanders into the fae realm, she is imprisoned in an enchanted castle by four princes cursed to turn into beasts every night until they can find their fated mate.

[GdM] I’d love to know more about your inspiration for Bonded by Thorns. What made you choose Beauty and the Beast as the basis for the series?

[EH] We have always loved fairy tales, and Beauty and the Beast was our favourite. The themes of seeing the beauty within, the transformational power of love, and found family really resonated with us. We also thought there were so many fun elements that would work in a why-choose book!

[GdM] Why choose and reverse harem are some of my favourite romantasy tropes. Why did you decide to go this route and did you worry about their appeal to wider audiences?

[EH] Fantasy romance has always been our favourite genre to read and write in. We were noticing why choose/reverse harem was very popular in more contemporary genres, such as dark romance, mafia romance, and sports romance, but there seemed to be a gap in the market for a fantasy with these elements. We hadn’t written a why choose at this point, and thought it would be a fun experiment to try a fairytale retelling!

We knew why chose can be niche and weren’t sure how broad the market would be for a fantasy; it was definitely experimental. Now, one of the best compliments we get from our readers is either that this was their first introduction to why choose or their first introduction to fantasy!

[GdM] Can you tell us more about the fae in your novel?

[EH] When designing the world of the Enchanted Vale, we knew we wanted it to feel exactly that: enchanted. The realms are described with a lot of whimsical details, and so the fae are really tangential to that. Everything from their dress to their magic powers are related to the seasons. The other important aspect we wanted for the fae is their complicated relationships with bargains. These magical pacts are a huge driving point for the characters. Finally, the fae in our book can experience a mate bond with another person: a true love connection.

[GdM] Rosaline is just like all of us, a lover of books and stories, how important is that to her character?

[EH] As much as we both love bad-ass, take-no-crap, stabby heroines in books, we have never quite related to characters like that! We wanted Rosalina to feel like a living, breathing person that you could meet by walking into a bookstore. At the beginning of the book, she’s not athletic, she can’t wield a weapon, and she’s never really left her small town. But she is incredibly courageous, stubborn, and compassionate, and these skills help her not only survive but thrive in the fae realm. Her love of books and stories is something many of us can relate to, and is also a homage to Belle in the 1991 movie version of ‘Beauty and the Beast’. Finally, researching and understanding literature is an important skill of Rosalina’s that helps her understand this new world throughout the series.

[GdM] Rosaline’s relationship with Lucas is both emotionally and physically abusive. I’d love to hear more about your intentions in this regard.

[EH] As one of the themes of the fairytale ‘Beauty and the Beast’ is inner beauty vs outer beauty, we wanted to explore the idea of true evil and villainy not being within the hideous beasts but inside the handsome man who puts on a good face for the outside world. In addition, the other theme we wanted to explore was transformation. This is particularly obvious for the Princes, who are learning to overcome the damaging traits that led them to being cursed, but also for Rosalina. While there are fantastical elements for her to overcome, such as goblins and an enchanted briarpatch, her true challenge comes with finding her self-worth, learning to love herself, and understanding she didn’t deserve to be treated the way she was. This was a topic very close to our hearts and it was very cathartic to write Rosalina’s journey.

[GdM] The importance (and challenges) of family, both blood and found, is threaded through the novel. Was this a deliberate choice?

[EH] Absolutely. Although at its core, the series is a romance about Rosalina’s relationship with the Princes, who they all are, the choices they make, and how they each view the world has been affected by their families. One of the reasons we chose to make each of the books focus on a specific realm was so we could dive into the royal families of those realms and see the past of the High Ruler. In addition, being able to explore Rosalina’s relationship with found family after not experiencing familial love has been a huge part of her character. Finally, it also gives us the opportunity to expand on the themes of redemption and forgiveness when looking at her relationship with her father.

[GdM] How does the writing process work for you as sisters? What’s the best thing about working with family?

[EH] We’ve been writing together since we were young teens, so it’s pretty second-nature for us now! We do all of our brainstorming, storyboarding, and outlining together, and then will split up chapters of the book to write separately. Then we edit each other’s work. We love working together because it’s so much fun to get to ‘play-pretend’ together for our job!

[GdM] Anyone who has seen your TikTok will have noticed hints about some surprises regarding the Prince of Thorns. Is there anything you can share here?

[EH] The Prince of Thorns keeps many secrets but I will say there are many clues and Easter Eggs scattered throughout all the books about his plans and intentions. So, if you’re doing a re-read, keep an eye out!

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

[EH] Book 4 in the Beasts of the Briar series comes out on September 10th, 2024! This book takes us to the Summer Realm. Expect gladiators, sirens, and pirates! The series will be seven books long. We’ve known the ending from the very beginning and can’t wait to take our readers along for the ride!

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Defining Grimdark Fantasy and SF: Moving to an Inclusive Future

Last Updated on July 15, 2024

Our team is committed to sharing our love of grimdark fantasy and science fiction in all media—be it books, film, TV or games—in the hopes that you might find a story you love. But, what exactly is grimdark and where does it situate itself relative to other speculative fiction?

Although it lacks a formal definition, the term “grimdark” is now commonly used to describe works of fantasy or science fiction that are particularly violent, dystopian, or amoral. The purpose of this essay is to reconsider this popularly held opinion of grimdark and propose a description that fits how we’ve seen it evolve over the years and where we see it now. The definition proposed herein represents the collective view of the Grimdark Magazine leadership team.

Previous Attempts to Define Grimdark

The word “grimdark” originated from the tagline of the dystopian tabletop war game, Warhammer 40,000, which was introduced in 1987 and famously proclaimed: “In the grim darkness of the far future there is only war.” As detailed in our guide, Warhammer 40K: Where to Start Reading, the tabletop game has directly inspired a legion of books covering a wide range of sci-fi and fantasy action.

There have been several previous attempts to define grimdark. One of the more famous of these is the article by Mark Lawrence, author of the grimdark classic Prince of Thorns, in his 2017 periodically updated blog article, “Grimdark. We’re nailing it down!” Lawrence introduced a grimdark scale measured from 1 to 5, where 5 is the most grimdark. Quantification on this scale is achieved democratically by visitors to his website who can cast their vote about the level of grimdarkness in various books. The idea is that everyone brings their own personal bias about what constitutes grimdark, but following the wisdom of crowds, these individual variations should average out.

Currently, the #1 most grimdark book on Mark Lawrence’s scale is Beyond Redemption by Michael R. Fletcher, a gritty fantasy that delves deeper and deeper into darkness as the story progresses. Giving his own view on what constitutes grimdark, Fletcher points to clues from that seemingly ubiquitous fixture of fantasy: the tavern. Fletcher classifies different subgenres of fantasy based on characteristics of their tavern, arguing that a grimdark tavern reaches a putrid level of filth, with patrons who may be too busy stabbing each other to notice.

Source: Facebook

The gray morality depicted in grimdark stories, i.e., the moral ambiguity that governs characters’ motivations or actions, often implies that evil is a matter of perspective. Although grimdark stories are bleak, this does not mean they are without hope. Indeed, the best grimdark stories still provide a glimmer of that hope, something for which the protagonist would shout into the void, make their last stand, or cross moral boundaries. In our experience, people resonate with grimdark stories precisely because they provide that glimmer of hope in a brutally dark world.

Lawrence describes this well in his essay, “Groping the Elephant,” which eloquently describes the nature and importance of hope in grimdark fiction:

Grimdark is often called hopeless, but in doing so people miss that it isn’t apathetic – it is (for me) characterised by defiance in the absence of hope.

Grimdark is often called nihilistic, but this misses the idea that you can accept a nihilistic truth and still choose to die for a principle you know is an emotional construct.

A grimdark “hero” has a tendency to go all in – to burn their bridges even when they don’t need the warmth. They are, in their way, an allegory for hope, in so much as having been shown there’s no meaning in the world, they still cling to some elements of it. And in those choices they are revealed.

The way it’s painted by the disapproving you would think that grimdark fiction was the literature of surrender to the inevitable. When in truth it is the story of the battle against it – sharpened by the knowledge that there’s no ultimate victory to be had.

In addition to Lawrence’s argument that those who do not enjoy (or perhaps have not experienced) grimdark fiction see these stories as a surrender to the inevitable, Anna Smith Spark, in her 2019 article “Grimdark and Nihilism” takes this argument one step further, stating that grimdark’s version of nihilism, is in fact interpreted by fans of grimdark as hope.

Understanding how brief life is, how easily all that one loves can be crushed out: with that understanding comes the desperate need to hold those things close. One fragile moment of happiness, of beauty … hold it tight to your heart and treasure it, for too soon it will be gone, all things die, all things fade, darkness comes and the light is so weak. The old lie, ‘Death or glory! Death! Death! Death!’ No: remember how fragile life is and how pointless, and cling on to life.

That thin pathetic line between rage and despair: that’s hope.

The voice screaming into the abyss: that’s hope.

Hold those you love close to you. Recognise that the world’s a cruel place.

Grimdark is that awareness. The reality of pain, the knife blade cutting in. And the determination to go on, keep on, fight on. There are no heroes, no certainty, there’s no bright shining prophecy of light. Just messed-up selfish wretched people trying to live their lives as best they can, trying to find something of love and happiness, trying to survive all the pain life brings. One single moment of beauty. One single glimpse of something good. A tiny perfect fragment in a damaged life.

Grimdark nihilism is hope, I think.

Grimdark Magazine’s Definition

While Lawrence, Fletcher, and Smith Spark have given us clues about what constitutes grimdark, none of their approaches offers a formal definition. Here at Grimdark Magazine, we use the following definition when considering what we want to publish in our ezine, novellas, collections, and anthologies:

grimdark –

(noun) a bleak story with a glimmer of hope told in a hostile setting featuring morally gray characters;

(adjective) (of speculative fiction) characterized by a bleak story with a glimmer of hope, hostile setting, and morally gray characters.

Grimdark is often considered to be a subgenre of fantasy dating back to the 1984 publication of The Black Company by Glen Cook, which predates “grimdark” as a word. Although the term “grimdark” is most often applied to fantasy literature (see our list of Grimdark Fantasy: Where to Start Reading), the term is not restricted to fantasy but rather can apply to any form of speculative fiction, including fantasy, science fiction, horror, the supernatural, magical realism, historical fiction, and dystopian fiction. Rather than being a subgenre in itself, we consider grimdark as a crosscutting label that can be applied to any of these subgenres of speculative fiction. That is why Grimdark Magazine covers all forms of grimdark across genres and media.

However, some people use the term “grimdark” as a pejorative for works that include gratuitous violence or promote nihilistic worldviews. This view of grimdark is unfortunate and, in our view, inaccurate. Grimdark does not imply a certain level of violence, and it most certainly does not imply gratuitous or sexual violence. Nor does grimdark imply the promotion of nihilism. In his essay, “The Future is Grimdark” author and Grimdark Magazine contributor Aaron S. Jones writes, “The darker the darkness is, the more powerful even the smallest ray of light becomes as it penetrates that darkness. And that’s what grimdark is. These stories are filled with a darkness that is soul-crushing and tormenting but then it offers a glimmer of light that keeps us going.”

Jones notes that grimdark stories can resonate especially well with audiences when we are dealing with our own challenging times in history: “It brings people together and in the darkest of times, isn’t that what we need more than anything else? Grimdark stories can distract us from life, teach us about life, or just keep us alive at times. In dark times, grimdark can be the light that shines through.” Beyond books, Jones also notes the recent rise of grimdark in films and television during the contemporary landscape of war, famine, global warming, mental health, addiction, and a range of other factors impacting the globe’s first, second, and third world societies.

Once again referring to “Grimdark and Nihilism” by Anna Smith Spark, in this essay, the author also expands on this distinction between grimdark and nihilism, noting the inherent political dimension within much of grimdark fiction: “To me ‘grimdark’ is distinct from dark fantasy in that it has a very clear political dimension, a narrative cynicism that unpacks ideas like ‘leadership’, ‘power’, ‘good and evil’ and raises some uncomfortable questions about how we think about them. Grimdark asks questions about how power operates, uses fantasy to comment on huge issues of human morality and motivation, asks us to think a bit deeper about what we might do. It’s about cynicism, self-criticism, it’s actually very much a genre that criticises and politicises ‘righteous’ violence.”

Moving to an Inclusive Future

The cultural importance of grimdark is shown by the diversity of authors writing works of grimdark fiction around the world. Grimdark has been used as a vehicle for telling stories of racial oppression, addressing issues of sexuality or gender identity, and coping with physical trauma or mental illness. Grimdark authors—and grimdark readers—come from all backgrounds. We believe that the diversity of the grimdark community is one of its greatest strengths, and that’s why we are delighted to feature content by authors from all walks of life.

In addition to the authors who have formed the core of what grimdark fans have read over previous decades, a long list of powerfully diverse stories by authors who have helped grow grimdark beyond its generally European fantasy and American cyberpunk roots have helped grimdark reach far into fandom. Authors such as R.F. Kuang (The Poppy War) and Gourav Mohanty (Sons of Darkness) have showcased grimdark stories centred outside of western historical foundations, while authors such as C.L. Clark (The Unbroken), Lee Mandelo (The Woods All Black), and Tamsyn Muir (Gideon the Ninth) have brought LGBTQIA+ characters to the fore.

The rise of self-publishing has also been a boon for enhancing the diversity of the grimdark community. Indie books often feature some of the most creative approaches to grimdark fiction, pushing the boundaries of what has hitherto been explored through conventional publishing. Ben Galley wrote about a golem in Heart of Stone, while M.L. Spencer flipped the script on the farmboy becomes hero tale in Chains of Blood. Grimdark Magazine proudly features quality work from both indie and traditionally published authors, and we encourage readers to check out our list of ten recommended indie grimdark novels.

In our articles Grimdark Fantasy: Where to Start Reading and Cyberpunk: Where to Start Reading, we paid homage to those authors who paved the way for our kind of fantasy and science fiction over the previous decades (Martin, Cook, Scott, Abercrombie, Smith Spark, Gibson, Lawrence, Morgan, Bakker) while also revelling in the new, diverse range of stories coming from authors from a more diverse range of backgrounds, genders, sexualities, and cultures. Considering this unprecedented diversity of offerings, we’d argue that there has never been a more exciting time to be a grimdark fan.

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REVIEW: Arm of the Sphinx by Josiah Bancroft

Arm of the Sphinx is Josiah Bancroft’s swashbuckling sequel to Senlin Ascends and the second entry in his Books of Babel tetralogy. This second book has a very different feel compared to Bancroft’s debut, which focused almost exclusively on its lead protagonist, Thomas Senlin, a small-town schoolteacher whose honeymoon at the Tower of Babel turns into a Kafkaesque nightmare as he searches for his lost wife, Marya, across stratified layers of absurdity. In contrast, Arm of the Sphinx adopts a more conventional narrative structure, with multiple points of view from Senlin and his companions.

Arm of the Sphinx opens with Senlin in the guise of Captain Tom Mudd, an airship pirate causing fear and disruption outside the walls of the Tower of Babel. Senlin’s motley crew includes the scrappy fighter Iren and siblings Adam and Voleta Boreas. Adam is an engineer of questionable loyalty who committed the original sin against Senlin upon his initial entry into the Tower. His adventurous sister, Voleta, is a delight and proves to be one of the highlights of the book.

However, the real star of Arm of the Sphinx is Edith Winters, Senlin’s friend who lost an arm due to an infection in the first book. Edith is a beacon of feminism, refusing to be put down in this male-dominated world. She turns her disability into a strength with a steampunk prosthetic arm. However, a question arises about whether Edith controls her arm or the arm controls her.

Senlin himself has grown significantly since the first book, where he was a mostly passive character falling victim to the schemes of the Tower. Senlin’s new take-control attitude in Arm of the Sphinx is welcome character development, although his assertiveness diminishes some of the Kafkaesque aspects of the story that I thoroughly enjoyed in the first book. It’s also frustrating that he makes at least as many bad decisions as good ones.

Plotwise, there is plenty of adventure but less vertical ascent in Arm of the Sphinx. Much of the book is spent trying to regain access to the Tower so that Senlin can resume the search for his missing wife, Marya. The focus on piracy in this second volume recalls a similar approach taken by Scott Lynch in Red Seas Under Red Skies, the follow-up to The Lies of Locke Lamora in his Gentleman Bastard series. While I’m personally not a fan of the pirate trope, I found the pirate adventure more convincing in Arm of the Sphinx compared to Red Seas Under Red Skies. Also, as a longtime Final Fantasy fan, I must say that airships are objectively cooler than the normal seafaring variety.

While I personally preferred the Kafka-inspired absurdities of the first book, I believe fantasy fans will find Arm of the Sphinx more immediately accessible than the labyrinthine Senlin Ascends. Arm of the Sphinx offers more straightforward adventure thrills while also providing new perspectives on this dark world. The Books of Babel tetralogy continues with The Hod King and finally The Fall of Babel.

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REVIEW: Lost Souls by Ryan Skeffington

Lost Souls, the debut novel from indie author Ryan Skeffington, is a dark science fiction thrill ride that leaves plenty of emotional devastation in its wake. The novel opens in the year 2070 with passengers on a spaceship awakening from a three-year cryogenic freeze after fleeing global destruction on Earth. But the cryogenic freezing process takes its toll: many passengers wake up to find themselves missing limbs, and some never wake up at all.

The spaceship’s destination is an asteroid composed entirely of xantium, a “bio-metallic rare-non-earth metal” that can absorb incredible amounts of energy to be released at a later point in time. Xantium is reminiscent of another fictional extraterrestrial metal, viz., the coveted vibranium which pervades the Marvel Universe. Like vibranium, xantium has seemingly miraculous properties when interacting with organic matter such as biological tissue. Hence, xantium is considered an essential building block for humanity’s long-term survival in space and may provide a pathway toward the so-called Infinite Existence.

The first few chapters in Lost Souls jump quickly through time, advancing from year 2070 to 2123 and then 2133. Interestingly, the thirteen chapters in Lost Souls are named sequentially after the songs from the critically acclaimed “Deep Blue” album by Australian metalcore band Parkway Drive. Each chapter starts with a quote from the corresponding Parkway Drive song, echoing the main themes from that song throughout the chapter. I really enjoyed deciphering the multiple layers of meaning that Ryan Skeffington incorporated in this work. As an added bonus, “Deep Blue” provides the perfect soundtrack for reading the book.

Although Lost Souls bounces among various perspectives, the main point-of-view character is Maximus, a brilliant xantium engineer who is trying to meet (or exceed) the impossibly high expectations set by the work of his father and grandfather while also determining his own unique path. His personal struggles are set against the backdrop of an epic battle between freedom and tyranny. With the fate of humanity in his hands, the stakes could not be any higher.

It’s hard to believe that Lost Souls is a debut novel. Ryan Skeffington writes with a strong command of both the hard science and emotional aspects of the novel, balancing the large-scale conflict with heart-wrenching personal struggles from Maximus and several side characters. Although the writing feels a bit dense at times, the author propels the story forward at a steady pace, building up to an astonishing climax that left my mouth agape in disbelief. Skeffington also makes effective use of gray morality throughout the novel.

Altogether, Lost Souls is a stellar debut by an electrifying new voice in dark science fiction and a must-read for grimdark fans looking for their next sci-fi fix. The story will continue with the next installment in the Infinite Existence series.

This review was first published in Grimdark Magazine #39.

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REVIEW: Conan the Barbarian #12 by Jim Zub (W) and Roberto De La Torre (A)

At the climax of Conan the Barbarian issue #11, the nefarious skull-headed sorcerer Thulsa Doom burst from his crypt, dealing King Kull a devastating sword blow. Master of the alien Black Stone that has been the catalyst for the deathly magic hounding Conan’s steps through the entire first year of the Titan Comics series, Thulsa Doom stands poised to not only topple Kull’s kingdom of Valusia, but also to establish “a new age of Doom”: an immortal empire of evil capable of subjugating humanity well into the distant future of Conan’s own Hyborian Age. Cosmic power floods into Doom as Kull lies writhing in a pool of his own blood. The only obstacle to the would-be tyrant is Conan, a barbarian of humble origin, lacking any noble lineage and displaced in time. Wielding his Pictish blade, Conan leaps into the fray.

Entitled “Terror Undreamed Of!”, this issue marks both the conclusion of the current “The Age Unconquered” storyline and the culmination of the first year of the Titan Comics incarnation of Conan the Barbarian. While the narrative itself is straightforward—consisting of the duel between Conan and Thulsa Doom, with a brief flashback to the sorcerer’s mortal life and rise to power—it feels like the creative team have pulled out all the stops for this issue.

Roberto De La Torre’s artwork has been a highlight of the eight issues he handled, but in addition to the dynamic battle sequences readers have come to expect De La Torre is also given license to let loose with his depiction of Doom’s sorcerous might. The issue is packed with impressive full-page spreads showing Doom reveling in his magical powers, monologuing maniacally on backgrounds crackling with mystical lightning. While invariably exciting and action-packed, De La Torre’s artwork hewed towards gritty realism in previous issues, giving the over-the-top cosmic, sorcerous scenes of this issue even more visual impact.

Jim Zub likewise seems to have had a great deal of fun scripting this issue. Thulsa Doom’s dialogue is both arrogant and unhinged in classic pulp villain tradition. It’s also possibly a bit on the verbose side for someone engaged in a desperate sword battle with an opponent like Conan, but not having to breathe presumably allows Doom to expound at length about his superiority and wicked plans while trading blows with the barbarian. Zub’s narration matches Doom in its gleeful breathlessness, occasionally unleashing bursts of alliteration (e.g., “…the necromancer’s scornful soul merges with the star-splashed sorcery of the stone and its source.”). Lettering in comics tends to be unobtrusive, but Richard Starkings and Comicraft’s Tyler Smith take the opportunity to punch up Thulsa Doom’s grave threats and dire pronouncements with eye-catching typefaces and splashes of bold color.

With issue #12, Titan Comics’ Conan the Barbarian ends its first year on a high note. Personally, I would have preferred the series spend less time on long-form storytelling and the Black Stone plot device; Conan isn’t a character that demands a great deal of established continuity. In this initial year I also wish the series had focused more on delivering solid solo Conan adventures rather than using time-traveling crossovers to soft-launch a Robert E. Howard comic universe on behalf of rightsholders Heroic Signatures. While Jim Zub has taken Conan the Barbarian in a different direction than I predicted, the artwork remains fantastic and the stories engaging. The “Battle of the Black Stone” event miniseries teased with this year’s Free Comic Book Day issue makes it clear that Zub isn’t yet done with the Black Stone and character crossovers, but issue #12 leaves Conan in an exciting situation ripe with possibility. Conan the Barbarian Year Two is full of potential.

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