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Author: John R. Fultz

I've written stories for BLACK GATE, WEIRD TALES, SPACE AND TIME, LIGHTSPEED and others. My tales have appeared in the anthologies WAY OF THE WIZARD and CTHULHU'S REIGN, as well as various comic books including my own PRIMORDIA (with artist Roel Wielinga). A series of "Big Fantasy Novels" is forthcoming...
The Great Savage Sword Re-Read: Vol 5

The Great Savage Sword Re-Read: Vol 5

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-SSoC-Vol5This series explores the Savage Sword of Conan collections from Dark Horse reprinting Marvel Comics’ premiere black-and-white fantasy mag launched in the mid-70s. Previous installments: Vol 1 / Vol 2 / Vol 3 / Vol 4

Volume 5 collects issues #49 – 60 (1980 -’81), and it begins with the proverbial bang. Reigning art champs John Buscema and Tony DeZuniga return for a 4-issue adaptation of the L. Sprague DeCamp/Lin Carter novel CONAN THE LIBERATOR. These four issues are gorgeous–the Buscema/DeZuniga team is firing on all cylinders.

Story-wise this adaptation succeeds far better than the previous DeCamp/Carter adaptation, CONAN THE BUCCANEER (collected in Volume 4). Whereas BUCCANEER tended to meander and lack proper pacing, LIBERATOR moves at a brisk pace and gives us more classic Conan time.

LIBERATOR is basically a military fantasy with bit of sorcery thrown in to complicate the saga of Conan’s revolt against a mad tyrant. We have a beautiful spy, a scheming wizard, and a truly insane king who butchers his own subjects in a futile quest for immortality. Here is the story untold by Conan creator Robert E. Howard: The story of exactly how Conan became King of Aquilonia.

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The Great Savage Sword Re-Read: Vol 4

The Great Savage Sword Re-Read: Vol 4

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SSoC-Vol4-CvrThis series explores the Savage Sword of Conan collections from Dark Horse reprinting Marvel Comics’ premiere black-and-white fantasy mag from the 1970s. Previous installments: Volume 1 / Volume 2 / Volume 3.

In volume 4 the superb team of John Buscema (pencils) and Tony DeZuniga (inks) continues to dominate the magazine’s “Golden Age” (i.e. the late 70s). However, this volume begins with John’s talented brother Sal Buscema stepping in for issue #37, ably inked by Rudy Nebres.

It’s a good issue, but things really take off when the regular (John) Buscema/DeZuniga team returns in #38 to adapt the story “Road of Eagles” by Robert E. Howard and L. Sprague DeCamp. This is a landmark issue: Conan has never looked more fierce, and his world hasn’t been this fully realized since Alfredo Alcala’s hyper-detailed inks in the mag’s early days.

I’ve read that Buscema didn’t care much for DeZuniga’s inks — but he didn’t really like anyone’s inks over his pencils except his own. That’s fairly common for the Great Pencillers of comics history — yet they were usually too busy with deadlines to do their own inks.

Personal taste aside, Roy Thomas obviously realized the greatness of the Buscema/DeZuniga pairing. He made sure this team worked together as often as possible: 7 out of these 12 issues feature John Buscema pencils with DeZuniga inks. Roy even tapped DeZuniga to ink two more great issues penciled by Sal Buscema (i.e. #39 and #44).

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The Great Savage Sword Re-Read: Vol 3

The Great Savage Sword Re-Read: Vol 3

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This series explores the Savage Sword of Conan collections from Dark Horse reprinting Marvel Comics’ premiere black-and-white fantasy mag from the 1970s. Click to read previous installments: Volume 1 / Volume 2

Vol3The third collected volume of Savage Sword of Conan includes issues #25 – 36 but begins with a short Barry Windsor-Smith piece that first ran in Savage Tales #2 a few years earlier. BWS adapts a Robert E. Howard poem called “Cimmeria” in a gorgeous 5-page feature. His black-and-white work is every bit as lush as his color work on the Conan the Barbarian comic (for which he is most well-known). The artists who did the black-and-white comic magazines of the 60s and 70s knew that drawing for a colorless publication demanded more from both pencilers and inkers. Especially inkers.

Savage Sword #25 was the last issue of 1977, hitting the stands while the original Star Wars movie mania was reaching its peak, and spiking sales of the Marvel Comics Star Wars title brought the company a new influx of capital. Roy Thomas had built an excellent Sword and Sorcery magazine during the turblent mid-70s, when publishers had to cut the number of pages in their comics and constantly raise their prices. This issue is another super job by Thomas, who faithfully adapts Howard’s “The Jewels of Gwahlur.” DC legend Dick Giordano steps in to illustrate this issue — seemingly from out of nowhere — and it’s obvious that Giordano is reaching for a Neal Adams-style Conan tale.

Adams had drawn a couple of landmark Conan tales by this time (in Savage Tales #4 and Savage Sword #14), and he left his unique imprint behind as usual — setting standards for other artists to follow. Giordano does a solid job on SS#25, but unless you’re an old-school fan of his work it comes off as Neal-Adams-Lite: a stiffer, less consistent version of the Neal Adams Conan from “Shadows in Zamboula.” Maybe if Giordano had stuck around he would have time to find his mojo on this book, but this feels like a filler issue. It has moments of greatness — certain panels and effects — but the consistency that marks John Buscema’s ongoing Savage Sword work is noticeably absent. The next issue solved this problem and started a new era of Conan greatness, thanks to the arrival of inker extraordinaire Tony DeZuniga.

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The Great Savage Sword Re-Read: Vol. 2

The Great Savage Sword Re-Read: Vol. 2

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In the first installment, I explored Volume 1 of the Savage Sword of Conan Dark Horse reprints of the classic Marvel Comics black-and-white magazine.

2577548-savage_sword_of_conan_015_01Volume 2 begins with Savage Sword of Conan #11 from 1976. A terrific issue written by Roy Thomas — who wrote most of the stories in the magazine its first few years — with art from John Buscema and Yong Montano. Buscema/Montano paring is an interesting one, and the results are every bit as lush and detailed as Alfredo Alcala’s inks in Volume One.

It’s too bad Montano only did this one issue of SS because he brought Buscema’s superb pencils to life as well as Alcala, yet with a decidedly different style that was no less immersive. This adaptation of Howard’s “The Abode of the Damned” isn’t your typical tale of the Cimmerian, as Conan is either off-screen or in disguise as “Shirkuh” for half the issue. It’s a brutal excursion into the violent lives of desert tribesmen, as seen through the eyes of the intrepid maiden Mellani. Seeking vengeance for her slain brother leads her right into captivity where Cimmerian-in-disguise is her only hope of surviving. Yong Montano didn’t turn into a regular Buscema inker like Alcala and later DeZuniga and Chan did, but on SS #11 he did a bang-up job creating that Buscema/Alcala level of artistic detail, while offering a fresh texture in his mastery of light and shadow.

In Savage Sword #12, reigning artistic champions John Buscema and Alfredo Alcala return to help Roy Thomas adapt Howard’s “The Slave Princess” into a Conan tale called “The Haunters of Castle Crimson.” The lush black ink work is the high standard of the magazine’s early years. Alcala’s hyper-detailed panels took Buscema’s masterful pencils to a whole new level of artistic integrity. Following their bravura performances in SS #2, 4, and 7, Buscema/Alcala bring more lighting-in-bottle greatness to these pages — and it’s their high-end work that highlights this entire second volume, beginning with SS #12.

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The Great Savage Sword Re-Read: Vol. 1

The Great Savage Sword Re-Read: Vol. 1

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SSvol1
The Savage Sword of Conan Vol. 1. Cover art by Boris Vallejo.

The Savage Sword of Conan is arguably the single greatest publication the Sword and Sorcery genre has ever seen. Spawned by the massive popularity of Marvel’s Conan the Barbarian color comic which launched in 1970, Savage Sword was a black-and-white Marvel Magazine whose first issue appeared in 1974.

The new format freed creators from the restrictions of the Comics Code Authority, which constrained Conan’s full-color adventures to all-ages entertainment. The violence, gore, and lurid themes of Robert E. Howard’s original Conan tales would no longer be censored by enforced comic-book morality. Now readers of the Cimmerian’s adventures would get to know the real Conan and the real Hyborian Age — in all their blood-spattered, head-lopping, breast-heaving glory.

I was 8 years old when I bought my first issue.

It was early 1978 and my family had just moved from Fort Knox to Elizabethtown, Kentucky. Moving to that neighborhood changed my life for many reasons, but one of the most significant was the presence of the Blue Bird Foodmart at the bottom of the hill. For the first 7 years of my life I was a small-town kid who only got exposed to comics when my parents/grandparents took me to a store somewhere. Now I could walk down the hill to a store that sold comics, magazines, and novels. The problem was that as an 8-year-old comics fan I had barely any money to spend on all those great books.

On that day in ’78, I could have chosen the latest issue of Creepy, Eerie, Heavy Metal, or any number of Marvel or DC comics. But it was Savage Sword of Conan #28 that caught my eye. Comics went for 35 cents apiece in those days, but here was an extra-thick “comic” with an amazing Earl Norem painted cover. For one whole dollar, it offered four times as many pages and featured the most realistic sword-fights and battles I had ever seen, complete with beheadings, guttings, and stabs in the back. The interior art was by John Buscema and Alfredo Alcala, a legendary penciller-inker team, and I had never seen anything like it.

Needless to say, it blew my little mind and left me hungry for more tales of Conan…

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Weirdbook Returns in October…

Weirdbook Returns in October…

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WB31
Front Cover of Weirdbook #31
Back Cover
Back Cover of Weirdbook #31

“It’s alive! Alive!!!!!”

Weirdbook is coming back to life. New editor Doug Draa has done an immense job of resurrecting Paul Ganley’s classic weird fantasy mag.

Weirdbook #31 will be the first issue since 1997, and it’s slated for an October release from its new publisher Wildside Press.

On the left is a look at the front cover by Dusan Kostic. Click for a bigger version.

The back cover (right) will be a piece by the great Stephen E. Fabian, who did all the covers for the original WB run.

This issue is sort of a bridge between the magazine’s past and its future.

Here’s a look at the Table of Contents for Weirdbook #31.

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The Testament of Tall Eagle Now Available

The Testament of Tall Eagle Now Available

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The Testament of Tall Eagle John Fultz-smallTALL EAGLE has arrived.

Last month Black Gate ran an exclusive preview of Chapter 1 from THE TESTAMENT OF TALL EAGLE from Ragnarok Publications.

The book is now available in PAPERBACK and EBOOK formats.

Here’s what people are saying about it:

“TALL EAGLE is myth-making of epic scope. Fultz has rapidly matured into a major fantasist.”
— Laird Barron, Author of The Beautiful Thing That Awaits Us All

“Surefooted, mythic, and compelling: Fultz delivers the goods.”
 — Howard Andrew Jones, Author of The Desert of Souls

“An addictively readable blend of adventure fantasy à la Edgar Rice Burroughs and Michael Moorcock and classic western pulp from authors like Max Brand, THE TESTAMENT OF TALL EAGLE takes two tried-and-true categories (adventure fantasy and western fiction) and creates something utterly delectable…seamlessly fuses together elements of fantasy, western, horror, and even a powerful romance.”
— Paul Goat Allen

“Fultz blends swords-and-sorcery fantasy with elements that echo Native American mythology and culture to create a memorable hero-tale. Fans of his Books of the Shaper trilogy will certainly find the same vivid characterizations and thrilling action scenes that marked his debut work, this time in service to a story that intriguingly plays against the traditional faux-European inspirations of so many fantasy writers. The influence of Fultz’s literary hero, Robert E. Howard, is certainly evident in the brawny, frontier ethos of his characters; the harsh, danger-filled setting in which they struggle for life and for love; and the pervasive sense of impending, creeping doom… A thrilling rollercoaster of a read!”  — Mark Smylie, Author of The Barrow and Artesia

Historical Cthulhu: That Is Not Dead, edited by Darrell Schweitzer

Historical Cthulhu: That Is Not Dead, edited by Darrell Schweitzer

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That Is Not Dead-smallAccording to H.P. Lovecraft’s legendary canon of cosmic horror tales, the Great Old Ones such as Cthulhu, Nyarlathotep, Yog Sothoth, and all-mighty Azathoth have lurked in the dim places of the cosmos since the beginning of time.

“That is not dead,” wrote the mad poet Abdul Alhazred, “which can eternal lie, and with strange aeons even death may die.” One of Lovecraft’s most famous lines is the inspiration for a new hardcover volume of historical Cthulhu Mythos fiction from PS Publishing.

That is Not Dead features all-new tales of cosmic horror set in various periods of history. Here’s what editor/contributor Darrell Schweitzer had to say about the book:

That is Not Dead is a collection of Mythos stories, based on the premise that if the Old Ones have been around since elder aeons, someone should have noticed before Lovecraft’s characters did about 1900. The theme then is lurking presences. Inasmuch as the stories deal with history, it is secret history, i.e. “what really happened…”

Here’s the complete Table of Contents (by historical era).

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Attack of the Gnomes: An Interview with Kenny Soward

Attack of the Gnomes: An Interview with Kenny Soward

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Tinkermage-smallSend in the Gnomes! No, wait, Kenny Soward has already done that.

Tinkermage, the second volume of his GnomeSaga trilogy, was recently released by Ragnarok Publications. The Ragnarok edition of the series’ first volume, Rough Magick, has been available since October, and the concluding volume, Cogweaver, will be released in February 2015.

Ken’s first novel has been praised as “The Hobbit meets Aliens meets Dirty Old Man” and “a bone crushing, blood gushing visceral experience.” Reviewers also called it “a bit quirky and certainly brilliant.” He’s making the fantasy world stand up and take notice, not to mention coining the term “#gnomepunk.” Yes, this could be the start of a whole new fantasy sub-genre.

I first met Kenny at Haggin Hall, the sophomore dorm we shared at the University of Kentucky in the late 80s. We shared an interest in heavy metal music, Conan the Barbarian, and David Letterman. Ken lived just down the hall from me for two semesters and we had some good times. I remember Ken’s daily Top Ten lists (his sense of humor is irrepressible), playing a few killer sessions of Call of Cthulhu, and driving through a snowstorm looking for a practice space so we could form a band. (We didn’t find one.)

Cut to 24 years later — lo and behold we’re both fantasy novelists. Turns out we both studied creative writing at U of K under Gurney Norman, and both of us went through a few years dedicated to playing in different rock bands in separate cities (him in Cincinnati, me in Lexington). But I hadn’t seen or heard ANYTHING from Kenny since our sophomore year of college, since I had moved out of the dorm after that year. Then, earlier this year, I discovered Rough Magick and suddenly realized this was the same guy I knew in college. Thanks to the magic of social media, our friendship resumed immediately.

Naturally, I wanted to interview Ken for Black Gate, and I can’t believe it’s taken me this long to do it! So let’s get started…

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Avatars of Wizardry

Avatars of Wizardry

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AvWizMore often than not, the best art comes from the indie side of any field. Case-in-point:

AVATARS OF WIZARDRY from P’rea Press is one of the best works of pure dark fantasy I’ve read in a long time. This superb collection of poems inspired by the work of Clark Ashton Smith and his mentor George Sterling offers one fantastic, phantasmal head trip after another, transcendental goth romanticism with shades of cosmic sword-and-sorcery.

I’m not usually someone who seeks out poetry. I teach it often, but fantastic poetry is something of a rarity in academic texts. Reading this collection (with some Pink Floyd, Kyuss, or Monster Magnet rumbling softly in the background for good measure) takes me right back to the “wonder years” of my early reading life. From the ages of 9 to 12, I discovered the amazing fiction of Edgar Rice Burroughs, J.R.R. Tolkien, Robert E. Howard, Clark Ashton Smith, and other great fantasists. Reading AVATARS OF WIZARDRY sends me back to those days when fantasy was still dangerous, mysterious, and full of strange wonders.

One of Smith’s greatest poems “The Hashish Eater, or The Apocalypse of Evil” was inspired by George Sterling’s “A Wine of Wizardry.” Both of these poems are celestial odysseys of fantasy perfection. They begin AVATARS OF WIZARDRY back-to-back and are followed by eight poems from more contemporary writers: Alan Gullette, Wade German, Michael Fantina, Richard L. Tierney, Liegh Blackmore, Bruce Boston, Earl Livings, and Kyla Lee Ward. The result is an epic fantasy experience like none other. The words “psychedelic” and “phantasmagorical” are barely enough to describe it.

These poems aren’t for the shallow-minded 160-character world that we live in today. Each one is an epic adventure beyond space and time, directly into the center of eternal imagination, rife with cosmic transcendence. This is spirit-freeing fantasy in the best sense of the word, literary escapism as psychological catharsis. It’s some of the best damn poetry I’ve ever read, which makes it some of the best fantasy I’ve ever read, period.

You don’t have to be a poetry expert (or fan) to take this cosmic ride. Just get yourself a copy before they’re all gone.