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Hyperborean Mice: Grim Swords & Sorcery Action… With Talking Mice

Hyperborean Mice: Grim Swords & Sorcery Action… With Talking Mice

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hyper-miceAm I a bad gamer if I really, really want to play this game?

I mean… a role playing game of heroic rodents, tiny critters struggling valiantly against barbarian rat tribes, gargantuan predators such as foxes and owls, legendary horrors that prowl the land, and foul sorcery.  All in Conan’s backyard.

Just listen to this product description:

The ancient White Lords, albino mice with magical powers, rule over the valley of Hyperborea, but their empire is crumbling. Barbarian rat tribes, deadly predators and political intrigue threaten to bring their mousy civilization to an end. Terrible predators like foxes and owls take the place of giants and dragons. Voracious shrew clans raid the Fallows, seeking mice and rats to fill their larders. Centipedes scuttle beneath the underbrush, seeking prey. Hawks force the inhabitants to stay under cover during the day, while owls stalk the sky at night… Legendary horrors stalk the land, unique predators with potent magical abilities of their own. The terrifying Mocker, a centipede whose only voice is the imitated cries of his victims. The serpent Ssaaa gathers a cult of worshipers to do her bidding in the valley. And no mouse dares stand against dread Hoorooru, the ancient ruler of Rookswood and the enemy of the gods.

It’s like Robert E. Howard was hired to write the screenplay for The Secret of Nimh. Scott Oden reports that it’s “Filled with REH and Lovecraft homages! Like an owl that’s worshipped as a god by clans of savage mice.” I got chills, I swear.

Hyperborean Mice was written by Frank Sronce and published by Kiz and Jenn Press. It’s 102 pages, and is available as a softcover book from Lulu.com or as a digital download PDF from RPGNow and DriveThru RPG. Show it some love and check it out, and let me know I’m not crazy.

Robert E. Howard: Anatomy of a Creative Crisis

Robert E. Howard: Anatomy of a Creative Crisis

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kull-a“Beyond the Sunrise” is the unofficial title afforded an unfinished Kull story that did not see print until over forty years after the author’s death. Its significance is due largely to the fact that it was the first of four widely differing attempts to continue the Kull series following the publication of both “The Shadow Kingdom” and “The Mirrors of Tuzun Thune” in Weird Tales in 1929.

Robert E. Howard starts the story off with a bored Kull sitting on his throne listening to a rather dull tale of the Valusian noblewoman, Lala-ah who has run off with her foreign lover leaving the nobleman she was promised to waiting at the altar. The barbarian king’s pride is piqued once he learns the foreigner insulted him behind his back. He then readily agrees to lead a posse to retrieve the noblewoman and restore his and his nation’s honor.

I was about as enthusiastic as Kull when I first started the story and thought the Atlantean was acting like a childish oaf for getting his nose out of joint just because a foreigner called him a sissy when he wasn’t around to defend himself.

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Pastiches ‘R’ Us: Conan of the Isles

Pastiches ‘R’ Us: Conan of the Isles

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conan-of-the-isle-original-coverSo far in the entries of my informal tour through the Conan pastiches—with a great guest shot from Charles Saunders on Conan the Hero—I’ve focused entirely on the “Tor Era,” the longest and most sustained period of new novels about Robert E. Howard’s Hyborian Age hero. Because of the sheer volume of books in the Tor line, which ran uninterrupted from 1982 to 1997, as well as most readers’ and reviewers’ indifference toward them, the Tor Era provides fertile ground for fresh criticism. It contains a few gems as well among the factory-line production schedule.

But I’ve neglected the earlier Conan pastiches, from publishers Lancer (Sphere in the U.K., later Ace in the U.S.) and Ballantine. Before Tor started its Conan factory with Robert Jordan’s Conan the Invincible, the world of Conan pastiches rested mostly in the hands of two men: L. Sprague de Camp and Lin Carter. They filled in a “Conan Saga” that they had imagined through a constructed timeline, and this framework extended into the Tor Era as well, although turning more overstuffed and inconsistent as the books piled up and eventually the whole series put itself to sleep and Howard burst back into print.

One of the results of de Camp and Carter’s addenda to Conan’s history is the odd, uncharacteristic, yet hypnotically entertaining Conan of the Isles. Years ago I wrote a detailed review of this 1968 novel for a forum posting. I’ve pulled up that old review and done some dusting, revising, and re-thinking to present the first “Pastiches ‘R’ Us” installment that examines the controversial First Responders of the neo-Conan world.

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The Pre-Raphaelite Barbarian

The Pre-Raphaelite Barbarian

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The first thing you notice about Barry Windsor-Smith’s Conan comics is their beauty.

Starting in 1970, Smith drew almost two dozen of the first issues of Marvel Comics’ translation of Conan into a monthly color comic book, and added a few more stories in the oversized black-and-white companion magazine Savage Tales. Scripts for those stories, often direct adaptations of Robert E. Howard tales, were by Marvel veteran Roy Thomas, but Smith has stated that he had a prominent role in the plotting of the comics, sometimes even providing dialogue.

barry-conanSmith’s work has an elegance and power to it unusual in comics, then or now. His line-work is detailed, expressive, and precise: the right marks in the right places. Compositionally, his work is always clear, always energetic.

And it’s alive, because his characters are alive; they move through three-dimensional space, they have realistic body language — more than that, their forms express what they feel and think.

Perhaps above all, Windsor-Smith’s design — of clothes, swords, balustrades, towers, armour, even ships and stone walls — is constantly inventive, deriving from the organic forms of art nouveau and the near-hallucinatory realism of the Pre-Raphaelite Brotherhood.

This has the crucial effect of building a world for Conan and his adventures, a setting with texture and, implictly, a history. We see the shining kingdoms and the jeweled thrones about to be trodden under sandalled feet, and we believe in them.

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Howard and his truths

Howard and his truths

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one_who_walked_aloneIt’s hard to add much about RE Howard to what’s been said here, but I’ll try.

Howard is easy to compliment on his prose style, his ringing battles so evocative that the blood almost sticks to your hands as you turn the pages. His characters were primal archetypes, quick to take to and want more from. His worldbuilding allowed you to smell the exotic spices in the market street air and hear the shadowy footpads in the alleys — his masterwork Hyborea teemed with life and detail. His sense of rhythm in the telling of Conan’s latest exploit or explosive westerns leavened with physical humor prove him a master yarn-spinner.

But there’s more to him than just technique.

I get writing from amateurs every now and then that about lives up to Howard, even if it’s just aping his style. The stories just seem strangely lifeless for all the careful detail, cacophonous action, and pulpish word-choice. I usually tell these writers to “tell me one of your truths.”

Howard put what he knew to be true in his stories. He was an opinionated man, read Novalyne Price Ellis’s memoir One Who Walked Alone for plenty of examples. He knew the power of entropy, he’d seen it growing up in Texas as the oil men came and went. Cross Plains experienced it in the bust of the Great Depression. Howard’s stories are filled with the frailty of civilization, yet even when all that is dross falls away and the hollow gongs go silent there’s still the rough code of someone like Conan to protect a defenseless woman or Solomon Kane’s relentless resolve to avenge a murder even unto the lawless coasts of the New World. The whole world may have fallen or been left behind, but these characters will still see justice prevail.

Howard was a great reader of history and spoke endlessly of corruption. The rotten old order gives way to the new, not always easily, then the new eventually goes sclerotic and itself is preyed on by another generation of barbarians. The same truth applied to Rome applied to Howard’s Aquilonia and fallen Stygia.

Yes, by all means give R.E. Howard his hard-earned props as a technical master. But he also wrote from his brain, his heart, and his guts about what was important about life, as he saw it. Conan’s broadsword spoke many of Howard’s truths.

Pastisches ‘R’ Us: Conan the Unconquered

Pastisches ‘R’ Us: Conan the Unconquered

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conan-the-unconqueredConan the Unconquered
Robert Jordan (Tor, 1983)

Moving on with my Conan/Robert Jordan double-feature. . . .

With Conan the Unconquered, Robert Jordan’s third book in the series, the author seems settled with his style of writing the Hyborian Age. Some of the flaws in Conan the Defender are subdued, although the story is the average “meat ‘n’ potatoes” Conan pastiche material. The book has a feeling of comfort food: neither challenging nor surprising, but providing decent sword-and-sorcery entertainment.

The plot of Conan the Unconquered follows the Middle Eastern fantasy playbook, set around the Vilayet Sea in the Kingdom of Turan, with an excursion across the waters to Hyrkanian lands. Conan is not yet in his twenties, and has arrived in the Turanian city of Aghrapur. A compatriot from his thieving days, Emilio from Corinth, approaches Conan with the offer to join in stealing a necklace from a compound outside the city. The compound belongs to the Cult of Doom, whose members may be responsible for many assassinations occurring in the city. (The Cult of Doom sounds as if Jordan is swiping from the recent movie Conan the Barbarian.) Emilio’s lover, Davinia, is the one who wants the necklace stolen. Conan no longer wants to dabble in thievery, but after the astrologer Sharak casts a chart for the barbarian, he changes his mind and seeks out Emilio from the stewpots of Aghrapur.

As usual with pastiches, Conan has slender reason to stay in the story; the device of Sharak’s chart is a flimsy one (and Sharak as a plot device hangs around far longer than he’s needed) to keep Conan interested in the Cult of Doom and its necromancer leader Jhandar. Jordan manages to coax Conan into the story faster than in Conan the Defender with some sleight-of-hand that makes both Conan and Jhandar believe the other must die for them to live. Conan allies with a vengeance-minded Turanian sergeant, a group of Hyrkanians chasing after Jhandar for the desolation he brought to their land, and the beautiful Yasbet who keeps her parentage a secret.

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Pastiches ‘R’ Us: Conan the Defender

Pastiches ‘R’ Us: Conan the Defender

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conan-the-defenderConan the Defender
Robert Jordan (Tor, 1982)

I’ve had some requests on the site and in emails to my own blog from people who have enjoyed previous installments of “Pastiches ‘R’ Us” to look at Robert Jordan’s novels. I’m here to serve. This week and next I’ll feature two of the famous fantasy author’s Conan novels.

Robert Jordan, the pen name of James Oliver Rigney Jr., is the best-known of the stable of writer on Tor’s long-running and now defunct Conan pastiche series. After writing six consecutive books (and the novelization of Conan the Destroyer), Jordan turned into one of the most popular authors of epic fantasy with his “Wheel of Time” series. Unfortunately, Jordan’s career ended early with his death in 2007 from cardiac amyloidosis, only a month before his fifty-ninth birthday.

How does Jordan’s work on Conan stack up? He’s not consistently the strongest of the Tor group—I think John Maddox Roberts deserves that title—but when Jordan first started writing Conan, he created some fresh and energetic material. His first Conan novel, Conan the Invincible (also the first of the Tor series), is pulpily exciting and one of the few pastiches from the Tor books that I recommend to people who normally avoid non-Howard Conan.

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Pastiches ‘R’ Us: Conan the Hunter

Pastiches ‘R’ Us: Conan the Hunter

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conan-the-hunterConan the Hunter
Sean A. Moore (Tor, 1993)

You know I’m getting busy in other parts of my life when I pull out another Conan pastiche review for you here at Black Gate. (I store them up in a locked chest to be used in emergencies.) I’ve so far looked at a book each from John Maddox Roberts, Leonard Carpenter, and Steve Perry. So now it’s time for one from Sean A. Moore.

First, a prologue. (Almost all Conan pastiches have prologues, so why not start a review with one?) There is a moment in Conan the Hunter where a palace gardener beats our hero unconscious. Incredibly, the book is not as completely horrible as that absolutely ridiculous statement would make it sound. But it just has to be one of the most unbelievable moments I’ve read in any Conan story. Go ahead, read that statement again. By Crom, I dare you not to laugh.

Now that I’ve set the tone, it is time to dive into the meat of Conan the Hunter, or at least the gristle.

This is the first Conan novel from Sean A. Moore. Like John C. Hocking, Moore came late to Tor’s pastiche series, and went on to pen a two more before the line went on hiatus. Judging from this outing, Moore’s strengths lie in crafting a clever, dense plot with immense, epic scope, and populating it with an imaginative flood of action and monsters. This novel bursts at the seams with supernatural menaces and crimson battles: A leech beast in the sewers. Hordes of gargoyles. Repugnant, horror-laden traps everywhere. An invincible demon-sorceress trying to revive her race. A cramped duel to the death in the corridors of a palace. A henchman with a magnetic lodestone for a shield. Nifty stuff all around, candy for a heroic fantasy reader.

Yet for all this material, Conan the Hunter can make for miserably slow going. Moore demonstrates two tremendous flaws that impede the novel and make it only sporadically entertaining and otherwise a chore to read.

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Pastiches ‘R’ Us: Conan the Free Lance

Pastiches ‘R’ Us: Conan the Free Lance

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conan-free-lanceConan the Free Lance

Steve Perry (Tor, 1990)

Let’s see … I’ve reviewed a Conan pastiche novel each from Leonard Carpenter and John Maddox Roberts. So next up, Steve Perry.

If there’s one word I would used to describe Steve Perry’s Conan novels, it’s goofy. Perry has a reputation among Conan fandom for overkill and general silliness. He apparently loves high fantasy. Perhaps he loves it too much. His Conan books burst at the seams with fantastic monsters, strange races, and weird magic … and not in an ideal way. Although Perry has an enormous imagination, it gets away from him and creates a world that has almost no resemblance to Robert E. Howard’s Hyborian Age. It’s not so much that these elements are silly, but that they seem so when placed in Howard’s setting. They would work fine in the Star Wars universe — and Perry has written some good Star Wars novels to prove it; I’ll admit I enjoyed his Shadows of the Empire, even if LucasFilm tried shoving it down my throat first. But in the grittier, more-historically centered Hyborian Age, where magic is rare and sinister, Perry’s style feels like someone trying to write a Forbidden Realms novel who accidentally wandered into Robert E. Howard-land.

Conan the Free Lance (yes, two words, not one, according to the actual title page — Conan isn’t picking up occasional assignments for the New Yorker) won’t change anyone’s mind about Perry’s style. The story occurs in an overt wonderland akin to high fantasy. Its villain and the instigator of our plot, Dimma the Mist Mage, lives in fortress on a bed of sargasso weeds in a Karpash Mountains lake. He needs a talisman to restore his body to its solid form, and so he sends his shapeshifting servants the selkies to fetch it from the Tree Folk. Conan, while on his way to Shadizar, rescues Cheen, a medicine woman of the Tree Folk, from the draconian hunting beasts of the reptilian-descended Pili. (Okay, we already have far too many demi-human races running around.) Conan helps the Tree Folk repulse the selkie attack, but the selkie leader Kleg escapes with the talisman—the ‘Seed’ which the Tree Folk need to make their tree homes grow. He also kidnaps Cheen’s young brother, Hok. Conan joins the Tree Folk in the quest to save Hok and recapture the Seed.

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Pastiches ‘R’ Us: Conan and the Treasure of Python

Pastiches ‘R’ Us: Conan and the Treasure of Python

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Conan and the Treasure of Python

By John Maddox Roberts (Tor, 1992)

My first post on Black Gate’s blog was a review of a Conan pastiche. I would feel untrue to myself if I didn’t return to this rich vein of material from time to time. This go-round, I’m paying a visit to one of the most interesting of the Tor novels from the most consistently successful of its stable of authors, John Maddox Roberts. Even if you’re not a fan of Conan novels that don’t come from the pen of Robert E. Howard, Conan and the Treasure of the Python has something to offer you: a take on one of the classic adventure novels of all time.

The editors should have renamed this book Conan and the Treasure of King Solomon’s Mines. This isn’t a case of borrowing or inspiration the way that, for example, Forbidden Planet borrows from The Tempest, or The Warriors draws inspiration from Xenophon’s Anabasis. No, this novel is literally King Solomon’s Mines: John Maddox Roberts copies the exact plot of the classic H. Rider Haggard 1885 adventure novel and recasts it as a Conan story, with the legendary barbarian starring in the Allan Quatermain role. The story similarities are striking, pervasive, and go far beyond coincidence or subconscious borrowing. The overall structure of both books is beat-for-beat identical.

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