Adrian Collins's Blog, page 9
July 9, 2025
12 Book Recommendations for the Video Game Lover
Last Updated on July 11, 2025
I’ve been a nerd since I was born, and I’ve always been called to stories. They come in all shapes and facets: movies, shows, books, songs, video-games, and more. It’s a long, long list, but if I spent my life consuming these stories, it’d be a good one. Books and video-games are always the two that have called just a bit louder than the rest, however.
Sometimes after finishing a video-game I’ll think “damn, that ruled. I wish I could have more of that vibe, but in a different flavor.” That’s what this post is about. Below are twelve book recommendations based on four different video-games.
Assassin’s CreedA series revolving around a man reliving the memories of his assassin ancestors, Assassin’s Creed involves hidden blades, obscured faces, and, well, assassins.
In my mind, Heroes Die by Matthew Stover is THE recommendation. It centers around a man entering his own animus-esque device, going to another world, another time, and using a combination of brutal assassination and clever espionage to get to his targets. To tie it all together, Stover has the best action I’ve ever read.
Prince of ThornsAnother unique blend of sci-fi and fantasy, Prince of Thorns by Mark Lawrence is a dark work with a kill count that rivals Ezio’s. With a raised cowl, brandished sword, and combination of glitchy images while blades bite into necks, Prince of Thorns is a great pick for Assassin’s Creed.
The Way of ShadowsThe start of one of the most famous assassin series fantasy has to offer, Brent Weeks’ Way of Shadows shows us poisons, knives, and darkness are the supreme killers. Kills by the dozens and some interesting political machinations and conspiracies, another nice fit for Assassin’s Creed.
The Witcher 3: Wild HuntA dark fantasy game that left a monumental mark on videogames as a whole, The Witcher 3 is brooding, monster-laden, gritty triumph.
Blood of Elves
In a shock to everyone, I’m going to recommend the books that inspired the game series as a whole. While the games are set after the events that happen during the books, the characters, themes, lore, and story that make The Witcher 3 work so well work just as well in the books.
Blood SongAnthony Ryan’s Blood Song features an MC that shares a lot of similarities with Geralt: cynical brooding, low magic, and hunting intelligent enemies that slither in the dark. Add in some training/school segments that remind us of Ciri’s time learning the ropes–as well as Blood Song being an all around fantastic book–Anthony Ryan’s work is a great pick-up for fans of The Witcher 3.
The Justice of KingsRichard Swan’s The Justice of Kings involves a powerful, brooding man travelling around the country while doing an important job that causes people around him to hate him. While travelling, he and his party begin to uncover a conspiracy, as well as face extremely tough morality situations in a grey world. If that doesn’t sell you, then how about the fact that it’s fantastic?
Elden RingTrippy, stark visuals, and a land plagued by beautiful nightmares, Elden Ring is famous for not only its difficulty but its atmosphere and lore.
I try not to be the “READ MALAZAN” guy, but my hands are tied here. Starting on page one of Gardens of the Moon, Steven Erikson throws you into the chaos and says “figure it out.” With gods mingling and causing chaos and the way the world-building is only learned by piecing together mysteries, Gardens should delight Elden Ring fans.
A Sword of Bronze and AshesAnna Smith Spark has the best prose in the world and her talent is on shining display here. We have a mother doing the absolute best she can to protect her family against nightmares she thought she had left behind. If you liked the atmosphere of Elden Ring, as well as the horrific monsters, A Sword of Bronze and Ashes is a dead-ringer.
BlackwingBlackwing by Ed McDonald features a setting that feels directly out of Elden Ring. Gods run amok, power is dangerous, and death is always a breath away. The characters cling on, just like the Tarnished One, and claw their way to survival. A great pick for Elden Ring.
Baldur’s Gate 3Stunning in its scope and level of polish, Baldur’s Gate 3 is a testament to what videogames can be. While the world and details are its selling point, the heart of the game is its characters.
Baldur’s Gate 3 may be my favorite game, and Joe Abercrombie’s First Law is my favorite series. Maybe it’s the dialogue and the character work prevalent in both, maybe it’s just because both are peak. Whatever the cause is, Durge fans in particular will find a lot to love in The Blade Itself, as well as fans of characters like Astarion, Shadowheart, and more.
HyperionOne of the finest crafted books I’ve ever read, Dan Simmons’ Hyperion captures an utterly unique and large world, as well as a finely developed cast of characters. If you liked getting to know each member of the party in Baldur’s Gate 3, then I implore you to pick up
The Steel RemainsFeaturing a LTBTQ MC with his own flavor of trauma and moral grayness, Richard K Morgan’s The Steel Remains is a dark book that captures a lot of the motifs Baldur’s Gate 3 hits on. Whether that be a hyper intelligent threat like the illithids, arguing between party members and nobility, or just generally well-crafted worlds, The Steel Remains is a worthy book for fans of Baldur’s Gate 3.
The post 12 Book Recommendations for the Video Game Lover appeared first on Grimdark Magazine.
12 book recommendations for the video game lover
I’ve been a nerd since I was born, and I’ve always been called to stories. They come in all shapes and facets: movies, shows, books, songs, video-games, and more. It’s a long, long list, but if I spent my life consuming these stories, it’d be a good one. Books and video-games are always the two that have called just a bit louder than the rest, however.
Sometimes after finishing a video-game I’ll think “damn, that ruled. I wish I could have more of that vibe, but in a different flavor.” That’s what this post is about. Below are twelve book recommendations based on four different video-games.
Assassin’s CreedA series revolving around a man reliving the memories of his assassin ancestors, Assassin’s Creed involves hidden blades, obscured faces, and, well, assassins.
In my mind, Heroes Die by Matthew Stover is THE recommendation. It centers around a man entering his own animus-esque device, going to another world, another time, and using a combination of brutal assassination and clever espionage to get to his targets. To tie it all together, Stover has the best action I’ve ever read.
Prince of ThornsAnother unique blend of sci-fi and fantasy, Prince of Thorns by Mark Lawrence is a dark work with a kill count that rivals Ezio’s. With a raised cowl, brandished sword, and combination of glitchy images while blades bite into necks, Prince of Thorns is a great pick for Assassin’s Creed.
The Way of ShadowsThe start of one of the most famous assassin series fantasy has to offer, Brent Weeks’ Way of Shadows shows us poisons, knives, and darkness are the supreme killers. Kills by the dozens and some interesting political machinations and conspiracies, another nice fit for Assassin’s Creed.
The Witcher 3: Wild HuntA dark fantasy game that left a monumental mark on videogames as a whole, The Witcher 3 is brooding, monster-laden, gritty triumph.
In a shock to everyone, I’m going to recommend the books that inspired the game series as a whole. While the games are set after the events that happen during the books, the characters, themes, lore, and story that make The Witcher 3 work so well work just as well in the books.
Blood SongAnthony Ryan’s Blood Song features an MC that shares a lot of similarities with Geralt: cynical brooding, low magic, and hunting intelligent enemies that slither in the dark. Add in some training/school segments that remind us of Ciri’s time learning the ropes–as well as Blood Song being an all around fantastic book–Anthony Ryan’s work is a great pick-up for fans of The Witcher 3.
The Justice of KingsRichard Swan’s The Justice of Kings involves a powerful, brooding man travelling around the country while doing an important job that causes people around him to hate him. While travelling, he and his party begin to uncover a conspiracy, as well as face extremely tough morality situations in a grey world. If that doesn’t sell you, then how about the fact that it’s fantastic?
Elden RingTrippy, stark visuals, and a land plagued by beautiful nightmares, Elden Ring is famous for not only its difficulty but its atmosphere and lore.
I try not to be the “READ MALAZAN” guy, but my hands are tied here. Starting on page one of Gardens of the Moon, Steven Erikson throws you into the chaos and says “figure it out.” With gods mingling and causing chaos and the way the world-building is only learned by piecing together mysteries, Gardens should delight Elden Ring fans.
A Sword of Bronze and AshesAnna Smith Spark has the best prose in the world and her talent is on shining display here. We have a mother doing the absolute best she can to protect her family against nightmares she thought she had left behind. If you liked the atmosphere of Elden Ring, as well as the horrific monsters, A Sword of Bronze and Ashes is a dead-ringer.
BlackwingBlackwing by Ed McDonald features a setting that feels directly out of Elden Ring. Gods run amok, power is dangerous, and death is always a breath away. The characters cling on, just like the Tarnished One, and claw their way to survival. A great pick for Elden Ring.
Baldur’s Gate 3Stunning in its scope and level of polish, Baldur’s Gate 3 is a testament to what videogames can be. While the world and details are its selling point, the heart of the game is its characters.
Baldur’s Gate 3 may be my favorite game, and Joe Abercrombie’s First Law is my favorite series. Maybe it’s the dialogue and the character work prevalent in both, maybe it’s just because both are peak. Whatever the cause is, Durge fans in particular will find a lot to love in The Blade Itself, as well as fans of characters like Astarion, Shadowheart, and more.
HyperionOne of the finest crafted books I’ve ever read, Dan Simmons’ Hyperion captures an utterly unique and large world, as well as a finely developed cast of characters. If you liked getting to know each member of the party in Baldur’s Gate 3, then I implore you to pick up
The Steel RemainsFeaturing a LTBTQ MC with his own flavor of trauma and moral grayness, Richard K Morgan’s The Steel Remains is a dark book that captures a lot of the motifs Baldur’s Gate 3 hits on. Whether that be a hyper intelligent threat like the illithids, arguing between party members and nobility, or just generally well-crafted worlds, The Steel Remains is a worthy book for fans of Baldur’s Gate 3.
The post 12 book recommendations for the video game lover appeared first on Grimdark Magazine.
July 8, 2025
REVIEW: While Darkness Gathers by Philip Chase
Last Updated on July 9, 2025
Philip Chase welcomes us back to Eormenlond in While Darkness Gathers, the sequel to his Edan Trilogy set sixteen years after the conclusion of Return to Edan. For fans of the Edan Trilogy, While Darkness Gathers feels like coming home after a long journey, with quiet nostalgia for a past that has slowly faded away.
While Darkness Gathers introduces us to Riall, a young sorceress with the compassion and altruistic instinct of a healer. Riall is only beginning to discover her powers, which may be key in saving the world from the return of an ancient evil. Although While Darkness Gathers employs a chosen one trope, Chase takes it in a very different and more subdued direction compared to the main Edan Trilogy.
Philip Chase draws inspiration from J.R.R. Tolkien with his intricately detailed fantasy world and its complex lore and history. One of the most fascinating features of Eormenlond is its elvish race. Chase diverges dramatically from the noble elvish race of Tolkien’s Middle-earth: the elves of Eormenlond are utterly elusive and in possession of terrifying power. The origin of the elvish race and their supreme power play a pivotal role in Chase’s sequel.
While Darkness Gathers is a slimmer volume and less ambitious in scope compared to the three main novels of the Edan Trilogy. Although it doesn’t have the philosophical depth of The Prophet of Edan or Return to Edan, Chase’s writing is every bit as nuanced and beautiful. While Darkness Gathers shines most brightly in its well-drawn characters and their familial relationships, as Chase explores themes of found family and martyrdom.
Although readers new to Philip Chase’s work could, in principle, begin with While Darkness Gathers, I recommend starting with the first book of the Edan Trilogy, The Way of Edan. One of my favorite characters from the Edan Trilogy, Sequara, features prominently in While Darkness Gathers. My enjoyment of this sequel was greatly enhanced for having already read the main trilogy.
In the end, While Darkness Gathers resonates with a gentle melancholy of lamentation overlaid with an optimism for a brighter future.
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July 7, 2025
An Interview with David C. Smith
David C. Smith is the author or coauthor of 22 published novels, primarily in the sword-and-sorcery, horror, and suspense genres. Ten of his novels from the 1970s and 1980s are now being revised to be republished by Borgo Press/Wildside Press; the first three—which form the epic fantasy trilogy The Fall of the First World—are now available. They will be followed by Magicians and The Eyes of Night—two modern occult novels featuring the sorcerer David Trevisan—and five sword-and-sorcery novels featuring the character Oron.
In addition, Smith is the author of the screenplay Seasons of the Moon, based on his novel; has coauthored the play Coven House (with , author of the Jeff Award–winning play A Steady Rain); and coauthored the screenplay Magicians (with Joe Bonadonna, author of Mad Shadows and Three Against the Stars), based on the David Trevisan novels.
Smith is also author of the postsecondary English grammar textbook Understanding English: How Sentences Work.
Aside from writing fiction, Smith has worked as an advertising copyeditor and English teacher and for more than twenty years as a scholarly medical editor. He has served on the staff of Neurology, was the editorial production manager of the American Journal of Ophthalmology, and for more than ten years has been the managing editor of the Journal of the American Academy of Orthopaedic Surgeons.
Check out our review of Smith’s latest novel, Sometime Lofty Towers, here. As of this interview, Sometime Lofty Towers is currently crowdfunding.
[GdM] Sometime Lofty Towers
is very much a sword & sorcery novel, what with its bloody fights and grounded characters. You’re also no stranger to the genre, having written countless stories and novels within the space. What drew you to S&S initially and what makes you come back to it again and again?
[David C. Smith] Originally, I wanted to write adventure stories, and actually put down notes for a pirate novel and then a novel about the battle of Teutoborg Forest in 9 AD. But I was restless and got bogged down in doing the required research. I loved history, though, and read quite a bit, and really liked the Conan stories, which had just come out in the Lancer editions. So I began imitating Robert E. Howard, with quite a bit of Jack London and historical fiction writers of the 1950s and 1960s thrown into the mix, and submitted them to the fanzine markets in the very early 1970s while I was in college. I’d write an S&S story, then a horror story, and switch back and forth. Gordon Linzner at Space & Time magazine, particularly, liked my stories and took many of them.
The more of these stories that I wrote—and write—the more I can see that the genre can be taken in many interesting directions, particularly, for me, in terms of characters, as well as the sense of antiquity, bringing alive elements of very deep time and mysteries about that. Atlantis, lost civilizations, archaeological discoveries—I thought when I was in junior high school that I might try to attend the University of Chicago just so I could study the ancient Sumerians and Hittites!
[GdM] Are there any lessons from your previous forays into S&S fiction that you took into Towers?
[David C. Smith] The strength of characterization. How stories are scenes, and scenes are the characters. The ideas you have that come through those characters and their situations, whether or not they create those situations. So going as far back as when I wrote Oron, my first novel, I was very aware that the characters carry everything. There’s the plot, but it doesn’t need to be mechanical. It’s driven by the characters.
In high school, I fell in love with cinema and especially silent movies, so that rhythm we get from drama has a lot to do with how I write, too. Sometimes I’ll just start typing dialogue; that can get the story going, give us insight into characters and their backgrounds. No doubt that’s why Sometime Lofty Towers opens with dialogue. You’re instantly inside the story with those people.
[GdM] What was the initial idea for Towers? What was the writing process like?
[David C. Smith] Believe it or not, the first impulse came from an old made-for-TV movie called The Over-the-Hill Gang, about a bunch of aging cowboys. That and The Wild Bunch. That quickly settled into the idea of two comrades-in-arms who fought in campaigns together before going their separate ways. It didn’t take too long to imagine the setting being one like the taking of the American frontier. The idea sat there for years until my father became very sick with asbestosis, which eventually killed him. The idea came back to me then full force, and I immediately saw him as the character Hanlin. But it took me years, off and on, to finish the story. It was emotional for me.
[GdM] Hanlin is an older character, someone who has led a very long, very violent life. He’s trying to change that, but, damn it, things keep getting in the way, and he’s got to commit violence in order to attain peace. What makes those types of characters interesting? Why did you choose that sort of narrative for Hanlin?
[David C. Smith] Characters caught up in circumstances not of their own making are always interesting, especially if those circumstances are dangerous or troubling. Then you have that person with some miles on him who has to make choices based on what he’s done and where he is now. Any one of us at any given moment is the product of choices we’ve made or did not make, and the things that have happened to us, and in an environment often not of our choosing. What parts of us are called into action when we confront the results of those choices? That’s how we find out what we’re made of.
There’s a line that comes along late in Oron—I come back to that book because I learned a lot about writing by toughing it out, writing that book—where, as strong and capable as he is, Oron realizes that the sorcerer has turned the tables on him and he admits, “I feel weak in my strength.” There’s his tragic flaw. What he’s relied on his own life has failed him. It would be frightening to confront that about oneself.
It’s not dissimilar to the situation my father found himself in. He’d fought in the Second World War, married his high school sweetheart, had the family he wanted and had settled into the career that fit him perfectly, so he’d done everything right, the way the mid-twentieth century measured it, and he still ends up being betrayed by that very system because he worked with asbestos, which the manufacturers had known since the 1920s would slowly kill you. He and the other men he knew who worked in construction, they all died from the effects of that mineral. And most of them lost most of the money they’d saved up paying either for medical care or for lawyers to fight their cases for them. There were no happy endings.
[GdM] One thing I especially enjoyed about your writing was your fight scenes. These scenes feel very surgical, very precise. The wounds inflicted during these battles aren’t superficial: they’re detailed descriptions about which muscles and tendons are damaged. What goals are you trying to accomplish when writing fight scenes like this?
[David C. Smith] That comes from my appreciation of the Iliad, and also many years spent editing orthopaedic trauma articles! I was a medical editor for decades, most of them spent with orthopaedic surgery articles. So that’s where the appreciation for detail comes from. The idea is to make the reader feel those events as deeply and realistically as they feel the other story details, the dialogue and emotions and thoughts. You know, in this type of story, these characters live rough lives, they’ve been in bloody combat and military engagements, and their weapons are edged and pointed. This is their world. It has to be presented in this way. I try to give the reader just enough of it so that, even if it’s jarring or shocking, you feel it as the protagonist does, and it explains a lot about that protagonist.
[GdM] How did you develop the kirangee? How do you go about research? They felt like a deep and well-thought out culture.
[David C. Smith] I depended on what I knew about certain American Indian cultures, both in the East and out West. Where I grew up, in Trumbull County in northeast Ohio, my friends and I could pretty easily find arrowheads and spearheads, just going out and digging. This area was the home primarily of the Iroquois and Wyandot. My dad liked the history of the Revolutionary War period. As a family, we made the trip, at least couple of times when I was young, to Fort Necessity in western Pennsylvania, in Fayette County. The battle there took place early in the French and Indian Wars. Washington lost that one to the Frech and the Huron, the Algonquin—there were a number of tribes. Anyhow, that instilled in me great respect for the indigenous peoples of this country, and I carried around a lot of the research I’d picked up over the years in regard to them, not just in the East but the Plains tribes and the Comanche and Apache.
When the story was finished, I asked a friend of mine, Michael Araujo, to read it through and give me his reaction to how I’d presented the kirangee. He’s a native of New Mexico and has a degree in Anthropology. I’d met him at Howard Days in 2019, and we hit it off. I respect his expertise. He said I did well in creating this culture.
Also, some of their culture reflects that of the early Tibetans. Much of that got lost as I worked on the story, but there’s a bit of the early Tibetan Bon religion in there. The prayer stones that are mentioned come from this influence.
In general, I have great respect for religions or beliefs that respect Nature and find it harder and harder, as I get older, to feel that way about revealed religions, at least as practiced by most people.
[GdM] We grew up in similar hometowns. Does being from the Rust Belt have any impact or influence on your writing?
[David C. Smith] A very great impact I think, yes. If nothing else, I learned to respect people who work hard because everyone in that region seems to be involved in some necessary trade or other. The practical, hands-on livelihoods. I’m not that way, so I respect people like that. But once I graduated college—Youngstown State University—there wasn’t a lot for me to do around there, as I eventually learned, although I regret not going on for my Master’s degree.
The part that hits hardest, of course, is when the mills closed in the late 1970s. One of my uncles, who worked at Sheet and Tube, had to take a job in Cleveland when that plant closed. The effects were devastating. Everyone else in my family has done all right, but the area isn’t at all what it was. There was an identity to that area, there still is, and I think it comes from people who are alert to what could happen at any minute. It was a shock to the system. But the self-awareness and the attitude of people in the Mahoning Valley—that’s definitely part of Hanlin.
Plus, there was the mob. Plenty of interesting stories there!
[GdM] What are you reading now?
[David C. Smith] Just finished lots of sword-and-sorcery short fiction for examples of style, characterization, etc., to use in my upcoming book Cold Thrones and Arcane Arts: Writing Sword-and-Sorcery Fiction. Otherwise, in nonfiction, Humanly Possible by Sarah Bakewell, a history of humanism, and rereading some old stories of M.R. James and Arthur Machen.
[GdM] What fills your time other than writing?
[David C. Smith] Our daughter, Lily, is home from her first year at college, so we have some time now to spend with her. We’re planning day trips to little towns, especially any that have bookstores! And I do have a stack of books I need to get to. More books than time to read them, as usual.
[GdM] What’s next for you? Do you have any projects that you’re working on now or are being published soon?
[David C. Smith] I’m just about finished with a book I’m calling Cold Thrones and Arcane Arts: Writing Sword-and-Sorcery Fiction. It will be coming out from Pulp Hero Press before the end of the year. It’s a review of the elements of storytelling as they’re reflected in stories from the current boom in S&S. Character, style, all of that, but I wanted to emphasize the writers working now. We know all about Howard and Wagner and Leiber. With all due respect, let’s start paying attention to the talent that’s out there today. They’re breaking new ground.
I also have to finish reviewing the pages of The Shadow of Sorcery—the proper title of that book—which Wildside will be releasing.
And my Howard biography, Robert E. Howard: A Literary Biography, is being released soon from Pulp Hero Press, in both soft cover and a hardcover edition for libraries. I revised parts of it to clear up some errors in light of recent information and to add a bit to some of the notes in the back.
Then I really want to start work on some short stories, horror stories! Plus somewhere around here I have the synopsis for a possible new Oron novel.
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July 6, 2025
REVIEW: Liminal Monster by Luke Tarzian
Liminal Monster is an emotionally charged nightmare brought to life through author Luke Tarzian’s vivid prose and seemingly unbounded imagination. Tarzian’s novella defies easy categorization, combining dark fantasy, magical realism, and Borgesian metafiction, in many ways serving as a meditation on the craft of writing and the new creations brought to life through this artistic process.
The narrative alternates between real and fantastical worlds, steadily blurring the line between the two. In our own reality, the first-person protagonist is a twenty-something-year-old author struggling with mental health issues. For some authors, writing can be an exercise in exorcising demons; for others, this process can summon demons of their own creation.
While the first-person narrative has, at least initially, a clear sense of time, the alternate fantasy world has a dreamlike quality that exists outside conventional notions of time and space. In this alternate world, the perspective shifts to a third-person protagonist known as Self. This duality in Liminal Monster recalls the parallel worlds created by Haruki Murakami in Hard-Boiled Wonderland and the End of the World and more recently in The City and its Uncertain Walls.
However, considering Murakami’s full corpus, the closest comparison to Liminal Monster would be Kafka on the Shore. Like Murakami’s opus, Tarzian’s novella explores a perversion of reality that is at times playful—a talking cat!—but more often profane. Liminal Monster has a labyrinthine feel that evokes the short stories of Jorge Luis Borges or House of Leaves by Mark Z. Danielewski, for which there is a direct allusion in the latter part of the novella.
Luke Tarzian’s writing captures the dark beauty of Edgar Allan Poe. I found myself noting a quotable passage on nearly every page of Liminal Monster. However, the tone of the novella feels more closely aligned with that of Stefan Grabiński (1887-1936), known as the “Polish Poe” or “Polish Lovecraft.” Liminal Monster specifically recalls Grabiński’s short story, “The Area,” which can be found as part of The Dark Domain anthology. “The Area” is a horrifying read in which a mentally unstable author’s creations come to life, trapping him in a psychological prison of his own making. Tarzian captures the same type of sentiment, walking the lines of parapsychology as feelings of grief during the collapse of a relationship becoming nearly tangible.
Altogether, Luke Tarzian proves once again to be a rare talent. Liminal Monster eschews conventional genre labels and narrative structure to deliver a story that soars to the greatest of literary heights while mining the deepest wells of emotion.
This review was originally published in Grimdark Magazine #43.
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July 5, 2025
REVIEW: War Lord by Bernard Cornwell
Uhtred of Bebbanburg. Warrior. Pagan. Legend. War Lord. During his twilight years, he rests behind the castle’s mighty walls with his partner, Benedetta, his warrior companions (including the formidable Irish swordsman Finan), and his subjects. The restful and uneventful air surrounding Bebbanburg is pierced by two foreboding omens: a dragon flying south and a star falling. A struggle is coming, an altercation with consequences that will be felt for a significant time. At the centre of events will be an elderly Uhtred. Respected and feared by those on both sides of the strife and the most experienced warrior living, Uhtred knows that he has to grant his allegiance to one side and that his influence could help decide the fate of Englaland. He also knows that he wants nothing to do with the politicking or the warfare of this looming conflict. Uhtred may have affiliations and deep histories with those on both sides of the hostility, but he wants to die undisturbed behind Bebbanburg’s walls.
War Lord is the 13th and final entry in the popular and engaging The Saxon Stories, written by Bernard Cornwell. The novel’s first-person perspective narration, and the conflict, confrontations, and conclusion structure work nicely to build up the stakes. At this point, we have followed Uhtred’s thoughts across the 12 previous books, approximately 70 years of history. There is a sense of trust and familiarity that heightens emotional engagement, as if I am going into this showdown alongside Uhtred and his loyal companions.
Throughout The Saxon Stories, Cornwell has crafted some phenomenal characters. Certain players are a joy to follow, whereas others are despicable and devious. Many of War Lord‘s sizeable cast will be familiar to readers of the series, including the warriors and fan favourites, Finan and Egil Skallagrimsson, and royalty, Æthelstan and Constantine. That being said, there are some new additions. One in particular highlights the author’s proficiency in effective characterisation. When introduced to the Irish ruler Anlaf, I quickly felt in awe of him and fearful, with his dangerous presence reverberating off the page.
Through Uhtred’s familiar and pensive narration, Cornwell skilfully reminds readers of past events and how character paths have crossed previously. For example, ‘I was furious because Æthelstan had sworn an oath that he would never invade Northumbria while I lived’ (p. 12). This is helpful as it elegantly brings me back up to speed, without spending too much page time repeating summaries of the earlier books. Interestingly, I felt that Uhtred was dwelling on the past and his accomplishments more than in prior volumes of The Saxon Stories. He is reflecting whilst being mindful of his mortality. There are poignant moments when Uhtred recounts his relationship with Alfred and that Æthelstan may complete his grandfather’s ambitions. In War Lord, Cornwell presents the ideal amount of homage and tribute, whilst remaining believable, with the events, therefore, being powerful. There are interactions in the later stages of the novel between Uhtred and a forgotten yet undeniably important character from earlier entries in the series. These felt right, rewarding, and made sense organically within this story arc.
Reviewing War Lord as a standalone story and on its own merits, I would rate it 4 stars. The dialogue is excellent, set-pieces are intelligent and convincing, and the mystical elements surrounding omens, religion and magic transport me to a well-realised 937AD. As the finale of a well-loved series and one that I have spent many hours in, War Lord gets 5 stars. It is realistic, with an almost 80-year-old Uhtred not overwhelming dozens of warriors like his younger self might have. His role, importance, and impact are undeniable whilst remaining convincing. Important characters get fitting last encounters and engagements, and the final battle sits alongside some of the finest from the series. War Lord does not change the formula that has been so successful for The Saxon Stories. It perfects, polishes and enhances it to a rewarding and memorable final outing for Uhtred and his companions. Alfred, Edward, Æthelstan, and Æthelred may live on in history yet characters such as Uhtred, Finan, Egil, Sithric, and Osferth share a place in my head. I have fought with them in shield walls across many dangerous skirmishes. Now it is time for them to rest and feast in the Valhalla of my mind.
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July 4, 2025
REVIEW: It Was Her House First by Cherie Priest
Okay, you caught me, I admit it: haunted house stories are my guilty pleasure reads. There, I said it. They are my equivalent of a comfort read. Once in a while, I’m treated to a little bonus when an author tries something different and Cherie Priest’s upcoming title It Was Her House First falls into this latter category.
The premise with It Was Her House First is simple enough: present day Ronnie purchases a dilapidated old mansion in West Seattle at auction, sight unseen, and before even handing over the keys, the agent just has to comment on how much he hates the creepy old place that’s had multiple deaths in it and must be haunted. Prime suspect number one for haunting is the former owner, starlet of the silent cinema era, Venita Rost. Other decedents include Bartholemew Sloan, famed sleuth, and Hugh Crawford – the most recent previous owner who melted into the floor.
Ronnie comes equipped with prior experience and knowledge of restoration and best friend Kate, her not-quite sister-in-law. Unperturbed by the threat of spectres, Ronnie is actually hoping for some ethereal company as she wrestles with her guilt and grief following her brother’s tragic death. What she hadn’t bargained on were threats from the world of the living, intent on seizing something long left behind in the crumbling edifice.
It Was Her House First deals with themes of mental illness, the occult, grief and guilt, responsibility and regret, and ultimately acceptance. Ronnie’s story is reflected in Sloan, who holds himself responsible for the untimely death of Venita’s daughter. Venita’s story also echoes with Ronnie’s as a woman treated, by those around her, as both fragile and ‘mad’
What’s different about It Was Her House First is Ronnie’s approach to her new cohabiting situation. Instead of fighting to eradicate the ghosts, she tries to work with them, to co-exist and to restore the house together for all their sakes. I enjoy this sort of non-standard approach to the otherness around us; to share our spaces with that which is different but nevertheless present in our lives.
Priest’s writing is easy to read and compelling. Ronnie is relatable, which makes the reader want to keep turning the pages. While there is a slow build-up and exploration before the final showdown, it never feels laboursome. It Was Her House First is an enjoyable ghost story with heart and a twist that’s publishing 22nd July 2025 from Poisoned Pen Press.
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July 3, 2025
REVIEW: Old Moon Quarterly, Vol. 7
The seventh volume of Old Moon Quarterly delivers more of the high quality dark fantasy readers of the magazine have come to expect. In addition to genre titans like Michael Moorcock, Tanith Lee, and Glen Cook, the editors of Old Moon Quarterly have been outspoken about their enthusiasm for contemporary media touchstones like Berserk, Bloodborne, and the Dark Souls video games, aesthetics that visibly impact the periodical’s editorial direction. Unlike earlier issues, Old Moon Quarterly Volume 7 and 8 were crowdfunded via a Kickstarter campaign. Not only did the crowdfunding campaign allow OMQ to maintain pro rates for contributors, it allowed an extended page count and the addition of internal illustrations (including work by Morgan King of The Spine of Night fame).
Volume 7 opens with an intriguing look at intelligent enchanted weapons, here referred to as the “speaking sword” trope. Elric of Melniboné’s malignantly manipulative blade Stormbringer is one example that readily comes to mind (and the cover artwork provided by Senkai Yami suggests an Elric homage), but the Introduction also includes a wide range of other examples from Finnish mythology to J.R.R Tolkien’s legendarium to Warhammer. The Introduction adds welcome context for the second story in the issue, “Stolen by Moonlight, Betrothed by Sun” by E. Catherine Tobler.
Before the speaking sword makes its appearance, however, readers are treated to a new Morlock Ambrosius tale by returning contributor and World Fantasy Award nominee James Enge. “The Ember Eyed” sees Morlock, son of Merlin, trudging down to the southernmost reaches of the world, a land of eternal fire, on a mission to obtain liquid sunlight. A nearly fatal encounter with the massive guardian spider Usli forces Morlock to reconsider his approach, however. In one of the most thrilling scenes in the story, Morlock sets to work like some sort of sorcerous MacGyver, using his ingenuity and spellcraft to equip himself for the task ahead. While it felt like Morlock was uncharacteristically relegated to the passenger seat in the finale, “The Ember Eyed” features clever storytelling and over-the-top magic. While prior experience with Morlock Ambrosius is not required to enjoy this story, the callback to the events of “Evil Honey” (published in Old Moon Quarterly Vol. 3) was delightful and welcome.
Catherine Tobler’s “Stolen by Moonlight, Betrothed by Sun” is told from the perspective of a 300-year-old sword; an estoc to be precise. Told in a non-linear fashion, the sword relates its initial encounters with its beloved owner, a formidable and rakish woman named Elisabeth Duguay-Trouin. The sword and its mistress are inevitably parted, and the estoc finds itself in the possession of a succession of different owners, some worthier than others. In contrast to the mostly doom-bringing intelligent swords mentioned in the Introduction, the one starring here was a steadfast companion, and the narrative is written in an intriguingly wistful and almost romantic fashion.
“The Torrent of Souls” by H.R. Laurence opens with the protagonist, a mercenary named Heoric, bleeding out on a tavern floor after a pointless, alcohol-fueled knife fight. The defiant recklessness with which Heoric spent his life brings him to the attention of a strangely fey woman named Aetia. In exchange for her healing ministrations, Aetia presses Heoric into service, pitting him against an avaricious sorcerer who guards the secret of immortality. One of the standout stories of this issue, “The Torrent of Souls” boasts both dreamlike imagery and gritty, violent action.
Continuing a tradition established with OMQ Volume 5, this issue also includes some poetry. Calie Voorhis’ “Footnotes on ‘Only Forever,’ The Grey Witch’s Last Poem” pairs a prose poem with extensive faux academic footnotes. This combination feels like it was designed in a laboratory to leave me cold. “In Her Waters, Raging” by Lora Gray is the other poem included in Volume 7. It’s a less tedious read than “Footnotes,” but doesn’t contribute much to the issue as a whole. While I find the OMQ editors’ fiction selections to be remarkably on point, whatever spark they’re seeing in their published poems has, thus far, eluded me.
Reminiscent of Clark Ashton Smith in terms of atmosphere if not verbiage, “The Last Gift” by Jason Mills tells the story of a group of travelers being stalked by an implacable djinn. Left destitute deep in the desert by bandits, each of the travelers shares their best quality with the others—be it words of wisdom, a treasure, or even a martial arts technique—so that if any single member makes it back to civilization they will carry something valuable from their fallen comrades. While the shape-shifting djinn proves to be a cruel and relentless threat, each of the travelers’ personal qualities prove instrumental in ultimately defeating the demon. “The Last Gift” is both clever and one of the more beautifully told stories of the issue.
Occasional Grimdark Magazine contributor Matthew John has become increasingly ubiquitous in the modern Sword & Sorcery revival, with appearances in Tales From the Magician’s Skull, The Savage Sword of Conan, and his well-received debut collection To Walk on Worlds. An appearance in Old Moon Quarterly felt almost inevitable, and John marks a strong OMQ debut with “Last Day on the Farm.” While the bulk of Volume 7’s stories include dark and unsettling elements, “Last Day on the Farm” ramps the horror up to eleven. An isolated farmer finds himself confronted with the otherworldly when a caravan crew is massacred by parasites and necromancy on his doorstep. Only Lachmannon the Kael, John’s recurring barbarian hero, can help Maric see the morning. The gory violence, grim tone, and body horror are to be expected in a Matthew John story, but he still surprised me by revealing a heretofore unseen side to Lachmannon as a character. “Last Day on the Farm” could have concluded in a variety of ways, but John chose a supremely satisfying ending.
The grimdark persists with “Bleed Me in the Water,” by Bram Stoker Award-winner Hailey Piper. For reasons that remain obscure until late in the tale, the murderess Demi takes it upon herself to lead her fellow villagers into a lethal trap within the caverns beneath her isolated island home. Along the way Demi and her victims experience a terrifying encounter with the divine. Deliciously nasty, “Bleed Me in the Water” is a story that lingers with the reader.
The hot streak continues with “Of Decadence a Child,” by David Costa. Holy warrior Beoric, He Without Sin, is sent into the vulgar world to slay a monster preying on the sinful wretches outside the Divine Church’s cloistered sanctuary. While the narrative itself is fairly straightforward, it is enhanced by the heavy, portentous atmosphere. Everything is viewed through the lens of Beoric’s religion, with the characters surrounding him instantly branded with one of the Seven Deadly Sins. Masochistic suffering is esteemed within Beoric’s faith; his armor is literally pinned to his chest, he wears boots filled with jagged pebbles, and the hilt of his sword is shrouded in spikes, “for the consequence of violence is violence itself.” Readers who enjoyed the grimdark knights of “The Feast of Saint Ottmer” (Old Moon Quarterly Volume 3) and Contra Amatores Mundi, both by OMQ editor Graham Thomas Wilcox are especially likely to appreciate “Of Decadence a Child.” It is the epitome of the “Soulsborne” fantasy Old Moon Quarterly prides itself on delivering.
“Lessons from Aulis” by Monica Joyce Evans also deals with religion, in this case Greek mythology. Back from the battlefield, Agamemnon prepares for his bath, only to be murdered by his wife Clytemnestra. The moment repeats over and over, with both Agamemnon and Clytemnestra acting and reacting slightly differently, trapped in this single moment in time. Other perspectives are incorporated, and the reader gets a sense of the greater mythic elements in play. “Lessons from Aulis” is a tad on the cryptic side, but as far as this reader is concerned it’s a more successful literary experiment than this issue’s poetry.
Finally, the issue concludes with a Graham Thomas Wilcox’s review of The Worm Ouroboros, the 1922 fantasy epic by E.R. Eddison. Much like the Old Moon Quarterly Introductions, the review meanders a bit, but it is both detailed and feels like a fair appraisal, and the writer’s enthusiasm for the novel is apparent. I would enjoy seeing Wilcox take on The Night Land (1912) by William Hope Hodgson, another early fantasy classic legendary for its archaic and challenging prose.
Old Moon Quarterly Volume 7 is another strong installment of one of the best dark fantasy fiction magazines around. With high quality stories, an extended page count, and the addition of interior artwork, the benefits of their original Kickstarter campaign are visible on the page.
At the time of this posting, Old Moon Quarterly is holding a Backerkit campaign to fund two further issues, with one of them focusing on dark Arthuriana. Returning contributors include James Enge, E. Catherine Tobler, and John Langan.
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July 1, 2025
REVIEW: Conspiracy by A.C. Cobble
A.C. Cobble’s Conspiracy is a multi-POV epic fantasy with dragons in the skies, whispers on the wind, and daggers in the shadows. Trope-filled but razor sharp, Conspiracy is the first book in a dark, epic series that goes back to the roots of fantasy while still keeping things fresh.
“The conspirators involved in this plot are the two of you, a single dragon knight, a peasant, and a possible wizard who does not do magic?“
Conspiracy is about a country that has lost its king and has no heir. The nobles see the opportunity, as well as the country’s neighbor. Assassinations and war begin to bleed in reddened patches, and it’s up to our POV characters to get someone on the throne and staunch the blood flow, before it’s too late–before the eclipse.
I’m going to say something that generally raises red flags: Conspiracy is a love-letter to the genre of fantasy. Normally, when I hear that, I hear “discount Tolkien,” and stay far away. No offense to anyone who reads that, but it’s not my cup of tea. A.C. Cobble, however, makes me question my stance.
Conspiracy is full of classic fantasy tropes: the orphaned farm boy on a path of destiny, the duty-bound knight who disdains nobles, the greedy nobles who will do anything for power. The list goes on and on, and the book offers very few mind-bending ideas.
But something about Conspiracy just works.
A.C. Cobble has tons of talent and his writing has this factor that I can only describe as compulsively readable. At no point in Conspiracy was I bored. The dialogue, the prose, the action, the world-building, it all just comes together.
The best metaphor I have for it is that it’s like holding the family long-sword. It’s familiar, it’s comfortable, it’s been used many times, it gets the job done, and it’s sharp.
Now, while it is mostly familiar, there are a few welcome moments of character work and action that are so dark that it borders on morally black instead of morally grey. The Wizard and the Emperor especially, they offer shade and keep a dark undercurrent throughout the book. Conspiracy is hard to describe because it is classic fantasy, it is epic fantasy, and it is grimdark. I don’t know how Cobble pulled it off, but he did.
The character work is really solid throughout. We see a wide cast of characters (titled by their trope, such as “The Boy”) and it’s easy to quickly fall in love with each one. Only one of these POVs didn’t work for me, and that may strictly be because we only see him for one chapter.
My favorite character from Conspiracy is a side character who First Law fans are bound to appreciate. Cobble takes an interesting approach with this character, where he’s busy but hands-on, and he believes in a good rope and some can-do attitude. While I’m eager to read more of this character, I’d read on for the POVs I grew attached to.
Cobble’s action is great. It’s visceral and real and it offers a nice combination of magic, costs, and danger. There’s one particular action scene near the very end I’ll be thinking of for quite some time.
“People were like that, reluctant to accept truth if it came without a story. There should have been a story.”
I’ve already said this, but Conspiracy is trope-filled. That can be a positive or a negative, depending on the reader. It’s not the book that makes you go “I gotta tell everyone about this,” it’s the book you read by a fire with a dog sleeping next to you while snow falls.
If you’re looking for a true love letter to fantasy that lives up to the promise of a good story and is unerringly solid, compulsively readable, and sharpened for modern audiences, A.C. Cobble’s Conspiracy is a perfect fit.
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June 30, 2025
Grimdark Magazine Issue #43 is here!
Last Updated on July 1, 2025
In Issue Grimdark Magazine #43, we’re bringing you stories that stretch the boundaries of storytelling—brutal, bold, and absolutely soaked in the shadows of grimdark worlds. Our cover story comes from none other than Ryan Cahill, author of the Bound and Broken series. His tale, When the Skies Cried Crimson Rain, combines old gods, new myths, the paranormal, and mercenaries who might just rip your still-beating heart from your chest. Werewolves and vampires? Sure. But trust us—Ryan makes them cool again.
We’re also thrilled to feature Richard S. Ford, author of numerous fantasy trilogies, with his story The Blacksmith of Lothar’s Cross. The opening lines set the tone perfectly:
“He seemed such a gentle soul when he first came to us. A gentle giant, you might say. Peaceful, like. No one would ever have guessed his capacity for violence. But then, you can’t be peaceful unless you have that in you. That killing edge. Only violent folk who choose peace can truly be called ‘peaceful’. Those with no capacity for violence aren’t peaceful. They’re just harmless.”
If that doesn’t grab you by the throat (you’ll get what I did there in a second), just head down and check out the rest of the line up!
So kick back, pop that beer (or pour that dark roast), and dig into this issue. I had a hell of a time putting it together—and I hope you love it just as much as I do.
Cover revealAs always, Carlos Diaz has got on the front foot and driven this one straight back over the bowler’s head with a fiery representation of Ryan Cahill’s When the Skies Cried Crimson Rain.
This is an absolutely massive issue, with plenty of voices to check out in both fiction and non-fiction.
Fiction:
Bravery by Michael R. FletcherThe Blacksmith of Lothar’s Cross by R.S. FordDeath Beneath the Dread Sleeper by Lucy A. SnyderThe Name by Abhishek SenguptaWe are Vignettes by Tlotlo TsamaaseWhen the Skies Cried Crimson Rain by Ryan CahillNon-fiction:
An Interview with Martina and Hansi from NerdforgeReview: Liminal Monster by Luke TarzianOriginality and the Importance of Passion in Storytelling by Aaron S. JonesAn Interview with Jackson Dickert by Beth TablerAn interview with Editors Christopher Golden and Brian Keene and anthology contributors by Beth TablerReview: The Gryphon King by Sara OmerProject Starship: Thinner, Stronger, Smarter: The Two-Dimensional Future of Starship Design by Meghan LegerRead Grimdark Magazine #43
Read on AmazonYou can also get this issue from our webstore, here.
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