Adrian Collins's Blog, page 44

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

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

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

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

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

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

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

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

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REVIEW: Order of the Shadow Dragon by Steven McKinnon

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

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

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

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

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

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

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REVIEW: A Savage Moon by Theodore Brun

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

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

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

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

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

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

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

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

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

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

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REVIEW: House of the Dragon Season 2 Episode 8

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

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

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

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

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

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

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

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

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

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

 

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REVIEW: To Walk on Worlds by Matthew John

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

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

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

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

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

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

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

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

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

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

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

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

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

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REVIEW: House of the Dragon Season 2 Episode 7

House of the Dragon 2×07 “The Red Sowing” is the penultimate episode of House of the Dragon and the set up for the finale that many people are expecting to be a massive battle, but others believe will fail to deliver due to the writer’s strike as well as other behind-the-scenes shenanigans. House of the Dragon is presently HBO’s flagship series, but the massive budget cuts make that questionable. Still, if they had made this the finale for the second season then I think most of the viewers would have been satisfied.

This episode is primarily about Rhaenyra discovering that those with only a little Targaryen blood can claim dragons. This is something she already probably knew from her son Jace but after the failure of Steffon Darklyn, she’s understandably unwilling to risk with any other nobleman. Thankfully, Mysaria points out there are plenty of bastards in King’s Landing who no one would miss and would go to elaborate lengths to improve their station.

The first of the bastards she encounters, even before this plan is implemented, is Addam of Hull. The child of Corlys Velaryon, he is a man who has a desire to serve Rhaenyra and couldn’t be better as a pick for a dragon rider. It causes Rhaenyra to believe that other bastards might be legitimate picks that could benefit her. Hugh the Hammer and Ulff the White are both bastards living in King’s Landing that have the potential to live new lives if they manage to claim a dragon.

What follows is a truly horrific and awesome scene where Rhaenyra sends a horde of the bastards to try to claim Vermithor, second largest of all dragons, only for them to be slaughtered en masse. It is one of the best scenes of House of the Dragon. Eventually, Hugh willingly sacrifices himself to save another of the dragon seeds and this results in Vermithor being impressed enough to allow him as a rider. Silverwing seems to take Ulff simply because he’s there (or wandered into her eggs), which also is hitting the lottery in terms of dragon riding luck.

Daemon Targaryen also gets himself “owned” by a teenager in one of the episode’s better scenes. Lord Oscar Tully demonstrates that he has a far better grasp of rulership than Daemon as well as how to command the loyalty of men. He also forces Daemon to kill one of his own followers as a way of forcing “atonement” in order to win the war. We’ll see if this has a larger effect on the loyalty of House Blackwood.

I really liked the handling of Daemon in this moment because it is a nice reminder that, even in Westeros, the iron fist can’t always triumph over the velvet glove. Daemon has spent so much time thinking he should have been king because he was stronger than Viserys, he never bothered to learn actual social skills as well as diplomacy. He also struggles with basic interactions that don’t involve using his dragon to force matters.

The Greens aren’t much better off as Aemond’s coup is complicated by the fact that Aegon II isn’t dead and his attempts to consolidate power are only alienating the people who might otherwise be his allies. Aemond has strongly admired Daemon his entire life but has failed to recognize his idol’s weaknesses. It’s one of the subtler elements of House of the Dragon and one that I give the show props for.

In conclusion, House of the Dragon’s penultimate episode is very strong and works by being dark as well as dramatic. Unfortunately, I feel like the show has wasted a good chunk of its budget before the finale and we’ll see the problems this brings next week.

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REVIEW: I Was a Teenage Slasher by Stephen Graham Jones

Last Updated on August 23, 2024

Set in 1989, I Was a Teenage Slasher is the first-person confessional of Tolly Driver, a disaffected youth living in the rural town of Lamesa, Texas. While fundamentally a decent person, Tolly has struggled with a sense of rootlessness since the untimely death of his father. Lamesa feels stifling and small, but college and prospects of a life outside of his hometown feel distant and unattainable. His plight goes from bad to worse after crashing a pool party, where his drunken awkwardness is punished with near-fatal hazing at the hands of his classmates. A sudden brush with the supernatural saves Tolly’s life but leaves him fundamentally changed. Tolly undergoes a strange transformation when night falls. A passenger in his own body, he witnesses himself commit horrible murders that he is powerless to stop. Tolly’s only friend Amber begins to suspect that he’s becoming a slasher: not merely a conventional serial killer, but a supernaturally enhanced murderer of the Michael Myers and Jason Voorhees variety. As the death toll rises, Tolly and Amber work together to test his newfound abilities and attempt to prevent future bloodshed.

I Was a Teenage Slasher combines a surprisingly poignant coming of age story with an exploration of the slasher horror subgenre. It avoids becoming too heavy-handed and on-the-nose, but the unwelcome transformation Tolly experiences feels like an allegory for puberty or some manner of gender awakening. The treatment of slasher tropes is likewise fascinating. Tolly does not simply don a mask and embark upon a quest for revenge, instead the slasher quality is transmitted, like vampirism or lycanthropy. In addition to preternatural resilience, in true slasher movie tradition Tolly gains the ability to cover more ground when hidden from his prey’s sight. Even reality starts to bend around him, as if the world is facilitating his inexorable urge to kill. Broken chainsaws roar to life with a single pull of the start cord. Teenagers who know they are being actively stalked irrationally elect to go skinny-dipping by moonlight. I Was a Teenage Slasher leaves the reader with unanswered questions about the supernatural phenomena at the heart of the narrative, but die-hard horror movie fans will find themselves nodding and grinning at how events develop over the course of the book.

Following so close on the heels of The Angel of Indian Lake, readers can’t be blamed for feeling a sense of déjà vu. Many familiar Stephen Graham Jones elements are present and accounted for. Apart from the slasher-centric plot, there’s a painfully realistic presentation of suffocating small-town life. Jones returns to poke at the “Final Girl” trope once again, and there’s even a horror movie-obsessed Native American girl as a supporting character. Lamesa feels like a distinct setting from the Indian Lake Trilogy’s Proofrock, however, and hapless Tolly has a very different voice than the wounded, combative Jade Daniels. While there are touches of the unreliable narrator here and there, I Was a Teenage Slasher is also written in a more plainspoken style, with less of the challenging impressionistic touch of Jones’ earlier works.

While it feels lighter and less intentionally literary than The Only Good Indians and the Indian Lake Trilogy, I Was a Teenage Slasher is a fun summer horror flick in novel form. Existing Jones fans are sure to enjoy the ride, and it also serves as an approachable introduction for newcomers curious about one of the genre’s hottest talents.

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REVIEW: An Exile of Water & Gold by Joshua Walker

In An Exile of Water & Gold, Joshua Walker weaves a dark, epic and uniquely imaginative fantasy tale that is as large in scope as it is in heart. Come for the riveting fantasy mystery, bioluminescent forest setting, and inventive Luminosity magic, and then stay for the strong independent women, powerful themes, and the brutally intimate and emotionally impactful character study; this ambitious debut novel is so impressively multi-layered, you almost would not believe it.

Earlier this year, Walker set my expectations for The Song of the Sleepers series incredibly high with his exceptional prequel novella The Rest to the Gods, and I am happy to say that An Exile of Water & Gold did not disappoint. Through the eyes of a few diverse, complex and mysteriously intriguing characters, we are smoothly drawn (back) into the wondrous world of Q’ara, where tensions are now running higher than the gigantic Great Trees themselves. An exiled Tree-Dweller, his estranged betrothed, a respected Sleeper, and a dangerously ambitious newly crowned queen all get wrapped up in a deadly game of politics, magic and progress, and the fate of their world now lies in their hands, whether they realise it or not.

Right from the very first chapter, Walker just sets the stakes high and creates an alluring air of mystery and intrigue that makes An Exile of Water & Gold such a compelling story. Through the wonderfully executed multi-POV set-up, we not only get a very nuanced and deep look into this world and its different inhabitants, but it also ensures that the narrative constantly stays fresh and engaging.

Even though 4 of the 5 perspectives are Aobians, I really appreciated that their life experiences and worldviews differed so much; one thing I can find a bit aggravating about a lot of made-up fantasy races is how they can be portrayed as homogenous groups who all share the same values and fiercely band together against a common enemy, but the opposite couldn’t be more true here. Each character has very strong personal motivations and offers a different view on their society, and I honestly ate up all the tension, inner turmoil and internal strife.

Though, as brilliantly as Walker balanced all the perspectives, I do have to admit that I personally had a hard time emotionally connecting to the titular exile Drift, who is arguably the *main* main character of this story. Maybe I just missed the wondrous setting of the Great Tree in his perspective, or maybe it was the fact that his relatively casual reaction and quick adjustment to his exile and separation from his betrothed felt a bit unbelievable to me, but for some reason I just could not really get invested in his storyline.

Luckily, all the other perspectives really pulled me in, and I especially loved that three of them are extremely complex women who are all strong in their own unique ways. The complicated dynamic between Tarri and Nischia (who I loved to reconnect with after falling in love with her in the prequel novella) truly kept me on my toes the entire way through, and I loved how the investigation aspect in their storylines uprooted so many long-kept secrets about the Sleepers and the Luminosity magic.

Though, my favourite character in An Exile of Water & Gold is easily Queen Esme; and no, I am totally not biased because that is almost my own name. See, while Part 1 was good and enjoyable for me, aside from a few bits of tiring repetition, the story truly kicked off for me when Queen Esme became a frequently recurring POV character in Part 2 (at around the 60% mark). I just immediately found her to be terrifyingly fascinating, and her unpredictable yet cleverly cunning actions surprised me in all the best ways.

This story truly is just full of shocking twists and revelations, and I loved how masterfully Walker let everything unravel by constantly peelingback layers that recontextualise everything you thought you knew up to that point. And speaking of deeper layers, I really appreciated how the themes of environmentalism, xenophobia, mental health, trauma, trust, and the price of progress were explored in such a raw yet careful way, and without it ever feeling preachy or heavy-handed.

To me, An Exile of Water & Gold just strikes the perfect balance between the disturbing darkness, hopeful defiance and wondrous excitement, which is exactly what makes it such a smooth read. And even though some of the action and revelations near the end felt a bit jarringly hectic to me, I also think there is simply no denying that Walker ended this story with an absolute bang and set up the sequels in an enticingly ominous way.

Whether you start your journey into The Song of the Sleepers series with this chunky gem or dip your toes in with the prequel novella, I can guarantee that Walker’s rich imagination and powerful storytelling will leave you struck with awe and wonder. Set in a world as wondrous as it is dark, An Exile of Water & Gold is an epic and immersive character-driven fantasy perfect for fans of R.J. Barker’s Gods of the Wyrdwood, Adrian M. Gibson’s Mushroom Blues, and Sarah Beth Durst’s Queens of Renthia series.

Thank you to the author for providing me with an eARC in exchange for an honest review. All opinions are my own. An Exile of Water & Gold is scheduled for release on September 3rd, 2024.

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REVIEW: Songlight by Moira Buffini

In Songlight by screenwriter and showrunner Moira Buffini (The Dig/Harlots), no one can ever know Elsa Crane’s secret. She’s a Torch, an individual who has telepathic powers — called songlight — and can communicate with other Torches across great distances. The problem is that Torches are seen as abominations. If the world learned of their abilities, they are executed, pressed into slavery, or forced to work as spies called Sirens. When her boyfriend Rye is found out to be a Torch and imprisoned, Elsa finds kinship in another Torch in a faraway city and must learn who to trust while forging new bonds.

Songlight is a post-apocalyptic, dystopian science fiction novel that focuses on community, acceptance, tolerance, and friendship, and what happens to a society when it abandons all of those principles. Elsa is a strong character, but her naiveté about the world outside her home of Northaven is challenged when she goes on a crusade to rescue Rye and is forced to ally herself with unlikely friends. Elsa has a satisfying character arc that, while it was a little predictable, I still found myself rooting for.

There are several point-of-view characters in Songlight, each of them skillfully woven into the narrative. Buffini also manages to give each character their own genre to their arc: Nightingale, Elsa’s newfound friend and Torch, and the Siren Swan’s stories are reminiscent of spy thrillers while Elsa’s brother Piper is a coming-of-age-during-wartime story. I found that there were some more interesting point-of-views than others: the aforementioned Swan, for example, tries to balance her desire to escape from the evil and powerful Brother Kite with her obsession to keep her own power and privilege. Sometimes they overshadow the other point-of-view characters, but this didn’t deter me from enjoying the narrative.

Each character in Songlight is also written in the first person. At first, I was worried I was going to have difficulty remembering who’s head I was in at any given chapter, but Buffini writes them in such a distinct way that I was able to keep track of which character I was following at any time.

The world of Songlight is not a pretty one: racism, sexism, homophobia run rampant in the societies that have risen up since the times of the “Light People”. There’s even some witch hunt-style McCarthyism occurring between Northaven’s citizenry: neighbor accuses neighbor of being Torches — or “unhumans”, as the populace knows them by. There is war between Northaven and the mysterious Aylish, a group of people that have an interesting relationship with songlight powers. Broken hearts and broken people make up the world of Songlight, and seeing how that culminates in an extensive, point-of-view swapping action-packed climax is a wonder to see. Each chapter plays out cinematically, and seeing that Buffini’s background lies in film and television, this is no coincidence. There’s even a Songlight television show already in development.

Songlight is a novel with strong series potential reminiscent of The Hunger Games and the Divergent series. With a fascinating world and interesting characters to live in it, this explosive book is definitely one to keep an eye on. I wish that there were more chapters dedicated to some of the weaker point-of-view characters, but Elsa’s story is strong enough to carry through this book and future installments of the series.

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