Tangent Online on “The Trade”: “Marvelous Tale. Can’t Wait for the Next Part”
Louis West at Tangent Online reviews the latest original fiction from Black Gate, published here on Sunday, December 9:
Mark Rigney’s “The Trade” immediately drew me into this world with powerful depictions of Gemen and his two companions… Together they are unstoppable. Individually? That is part of their mystery. Hints of background story leak through for each, not enough to explain but enough to tantalize, to [make you] want to read on and know more.
The pace is fast. They arrive in Andolin late in the spring, quickly dispatch several bandit attacks, then are in the far north of Andolin at Tynnefast Reach where Gemen finds a magic mirror. Since the locals refuse to trade for it, he takes it, wakening the wrath of a guardian stone golem. But stone is slow. More than enough time for Gemen’s trio to make it to Corvaen, swap the mirror for knowledge about the Cryptlord’s grave and leave before the stone golem arrives to fetch back the mirror.
However, things don’t go as planned in the crypt, revealing much more about how fragile the bonds between the three may be.
Marvelous tale. Can’t wait for the next part.
“The Trade” is the first installment in an exciting new heroic fantasy series. “The Find,” which explores Gemen’s past and reveals more of his mysterious quest, will be published here next year, followed quickly by the third installment.
You can read the entire review at Tangent Online, and the complete 7,000-word short story free here.
The complete catalog of Black Gate Online Fiction, including stories by C.S.E. Cooney, Donald S. Crankshaw, Aaron Bradford Starr, Sean McLachlan, Harry Connolly, and Jason E. Thummel, is here.

Just as an older generation recalls with perfect clarity where they were when they heard of Kennedy’s assassination, I know precisely where I first saw Monty Python and the Holy Grail (1975): perched on the floral-print sofa in my parent’s house, watching the film on a poor, weather-impacted PBS broadcast. I also remember falling right off that sub-par couch in paroxysms of laughter when the animator saved King Arthur’s band by conveniently suffering a heart attack.
There was a time in the 1980s when it looked like Marvel and DC Comics might slowly evolve into something like mainstream book publishers: publishers who gave creators fair deals respecting copyright, and who lived off of the publication of new titles rather than the exploitation of intellectual property from decades previous. That hasn’t really happened, so far as I can see. Both companies dabbled in various kinds of creator ownership, but both appear mostly to have retreated to the relative safety of work-for-hire deals in recent years. Vertigo, a DC imprint featuring better deals for creators, seems to have become more strict in their contracts, and the 


