If you haven’t heard of the Paradox Series yet, it’s a time travel sports adventure that begins as a coming-of-age tale in the first novel and climaxes as a wild conspiracy thriller in Book Six (coming in a couple few months). Themes of manhood/masculinity, leadership, and truth vs. popular perception run through the entire course of the overarching plot.
I’m happy to report that all five books in the series so far have been category bestsellers. Five for five is batting really well. Even though I’d still like to stretch the envelope of success, I didn’t even imagine the series would do this well back when I decided to break up the Super Great American Mega-Novel.
More important to you is that right now, you’ve still got a little time to pick up the entire series (plus the entire Retreads Series) at 99 cents per full-length novel. This is not just on Amazon, but all the online stores with E-Books for sale (linked throughout this post, along with the ‘Zon series pages).
My books, plus dozens more, are all heavily discounted at the Summer Based Book Sale. As always, there are more books by more authors than the previous sale.
Non-woke authors are providing alternatives to the ubiquitous Globohomo narratives that are disgusting you and targeting your children. We all want an escape in our entertainment. Consider buying it from people who don’t hate you.
~“Ah, Rhoye of Khetaine!” said he. “In arts of iron and steel you are the unequalled master, the man of swords. But here we have an affair of the heart. Such is the province of a poet, a man of words.”~
This must be the shortest and most light-hearted tale from the Wandered Lands we’ve read so far. Forget the epic battles, fight scenes, or dramatic events; this time we visit the world of romance and poetry, thus you can already guess our favorite bard Astropho is once again at the center of the action.
PLOT
As our two companions Rohye and Astropho are sitting at a tavern of a fishing town they’re passing through, a young fella approaches Astropho seeking his aid in a matter of the heart. He explains that he wants to master Astropho’s poetic skills to gain the heart of the girl he is in love with but that unfortunately has been set up to marry another man by consent from her father.
Without giving any spoilers, Astropho has another plan to bring together the young man and his beloved…But not through poetry!
POEMS
Every chapter here begins with a song/poem by Astropho. These are love poems that some might want to read while others will prefer to skip over. They really don’t aid the plot or are by no means indispensable to further enlighten us on the unfolding events. They’re just a nice bonus, no more no less.
CONCLUSION
As this was a very short tale, so is its review.
It seems like the author here wanted to explore a more laid back, humorous setting. Astropho is our MC while Rohye is just happy to sip on his drink and smirk at his friend’s schemes to help two young lovers be united.
This is a somewhat drastic departure from what we’ve been used to, but even warriors sometimes need to take a step back and enjoy a drink…or two!
~“Have you much experience in the fistic disciplines?” “A little,” said Rhoye, never one for vaunt.
“Oh,” said Vica, crestfallen. “This may prove short.” “Aye, that it may.”~
The third tale in this collection once again finds Rohye accompanied by best friend and poet Astropho. It seems as though this joining of forces has been paying good dividends in the last few tales and the interactions of these two main characters is always fun and engaging.
PLOT:
This time our power duo finds itself crossing the river on a boat named the Chrysomal on their way to the city of Altamantia, after Avaya (an Assayer of Khelydos the God of Trade) asked them to deliver a miniature box of engraved rosewood to the High Marshall of the Great Temple of Erishala, from whom they would of course receive a generous recompense.
Other travelers and supporting characters will cross paths with our heroes on the boat, including a champion boxer whose name is well known for being undefeated in the region.
After the big burly fighter seemingly recognizes Astropho and accuses him of ‘stealing his woman’, it is to be expected that a fight will take place to ‘right a wrong’.
I thought overall this was a solid Wandered Lands tale, but I was left with a few questions unanswered. Whether that was intentional of the author I can’t say.
Did Astropho indeed steal the woman of this other man? Even though we know by now that Astropho really ‘admires’ the opposite sex, he never comes off as the immoral type that would aid in adultery, at least not based on his code of ethics we’ve seen on display in the past.
What was in the miniature box they were tasked to deliver? We never find out, which I found kind of odd. This seemed to have great importance and was entrusted to Astropho with the most regard. Maybe this will be revealed in a later adventure? Or perhaps Mills decided to leave his audience hanging? No idea!
CONCLUSIONS:
The Giant’s Purse is another entertaining tale from the Wandered Landswith an awesome fistfight for the ages and exquisite prose that flows delightfully. However, I must add that it left me with a little feeling of dissatisfaction, hindsight. Something felt incomplete or perhaps somewhat ‘rushed’. If this was intentionally done, fine. Not all stories are supposed to offer all the explanations we expect, and perhaps some things are best left to the imagination!
Alt Hero Q is one of the first Arkhaven projects, which preceeded the Arktoons website.
What it’s About:
It is a globe-trotting action spy thriller featuring a former Treasury agent recruited into an open source intelligence operation. He was one of the few honest agents left in the Federal Alphabets, who was nearly snuffed for noticing what should not be noticed. Now Roland Dane is tasked with investigating the blackmail of a scumbag politician, foiling the assassination attempt on a unicorn honest politician, and thwarting a plot to start a war between Russia and Ukraine.
That last plot thread was devised before the war in Ukraine began IRL. It shows you just how current and savvy the storyline can be at times.
How About that Title?
You have to be pretty sheltered to not have at least heard of Q by now.
If you still believe the Swamp Media and Uniparty scumbags, then “Qanon” is a dangerous domestic terror network which might do something horrible at any moment, meaning American citizens need to surrender more liberty and give the traitors in Washington even more power. To keep us safe, of course.
If you bypassed the Swamp Media, researched it for yourself, and share the beliefs of the anons who followed Q, you think it is a rogue element within the Federal Leviathan which organized a counter-conspiracy to take down the traitors. They have a plan you’re supposed to trust in, which will result in mass arrests of the traitors who have hijacked our government with no, or minimal, bloodshed.
Many who once were in the latter camp are now convinced it was all just another psyop to keep us compliant. To keep us docile. To demoralize us yet again. To get us to self-identify as thoughtcriminals so we are easily targeted for the purges to come during the Great Reset.
Production Values:
Whatever the truth is behind the Q phenomenon, it is a great backdrop for an ambitious espionage/conspiracy thriller. But rather than some ludicrous formula about a unicorn honest MSM journalist chasing the story down to present the truth to the masses (who totally care about freedom, the Constitution, and our long-term future more than porn, social media and getting high), this is a story of a cellular network of patriots and just decent folks sacrificing their own time and resources trying to expose and bring down the Cabal. That’s pretty unique in the conspiracy genres.
Chuck Dixon scripted this tale (based on Vox Day’s general outline, I would guess) with a structure reminiscent of Tarantino’s Pulp Fiction, but without the vulgarity. The characters and dialog are believable. I’m not exactly sure what the page count would be at this point, but it looks like the plot is nowhere near resolution, yet. Were this an Akira Kurosawa film, I would be confident that after this methodical buildup of tension and conflict, there will be a satisfying, gratifying, rip-snorting denouement to resolve the story arc and tie off all the loose ends. If I were a betting man, I’d say Chuck Dixon is a Kurosawa fan and this is exactly what he intends to do.
The artwork is good and compliments the story well. Sometimes it looks a little rushed, but even at that, I would still say the quality is high. Notice, in the panel above, how you know at just a quick glance that this is a night time scene–and you would know that even without the black sky at the upper left corner. The artist got the shadows from multiple light sources, and everything else, just right. I’ve looked at a lot of comic panels over the years and can’t remember a night scene done this well.
As with much of the Arktoons artwork, the artist sometimes “cheated”/saved time by using mostly empty panels, or zoomed in/out on a preceding panel to form a “new” one. It doesn’t detract from the experience and I would probably do the same, in their place.
You can read everything I’ve read for free on Arkhaven, and I recommend you do–all at one sitting so you don’t lose track of all the setting jumps. If I remember correctly, there will also be a crowdfunding campaign soon for a print version of Alt-Hero Q. Which means, hopefully, that the aforementioned climax has been scripted, drawn, inked, colored, and is ready for showtime.
This type of story that is wildly popular with most of the male population in the West–especially the part of it which still reads comic books. There’s no reason why the eponymous character of this comic shouldn’t collect a lot of fans.
The female supremacy grrrrlboss tropes come in at least two flavors. One features the 105 pound Playboy-bunny lookalike who can easily defeat, in hand-to-hand combat, a marine battalion composed entirely of 220 pound MMA champions. Less ubiquitous is the grrrlboss with a more masculine build, bigger and more heavily muscled, who can easily defeat, in hand-to-hand combat, a marine battalion composed entirely of 220 pound MMA champions.
Just by looking at one of the many alternate covers for this comic, you know it is about a busty-yet-hypermuscular woman kicking ass.
What it’s about:
The plot is pretty much Escape from New York. The protagonist is basically Snake Plisskin with tits (but without the eye patch, though she needs one) and a penchant for addressing others with faux-affectionate (sardonic) terms like “sugar” and “honey.” Her name is Rogue, but she sometimes won’t admit it. As a standalone narrative, the confusion regarding her name felt unnecessary and poorly developed. But perhaps there is backstory in previous Rogue adventures that would cause this to make sense.
Still, she is invincible and doesn’t really need to hide from anybody by pretending to be somebody else. I would add, “Besides, how many busty-yet-hypermuscular grrrlbosses strutting through the postapocalyptic landscape, leaving a swathe of fresh destruction in their path, could there be?” But never mind that, because such is not all that uncommon in the setting of this story.
Another character referred to Rogue as a Boomer, and Rogue didn’t dispute that. Meaning Rogue is in her 60s, at the youngest–yet she’s still as agile as a squirrel in its prime. Maybe this was also explained in a previous comic.
The society in this postapocalyptic world could be described as a dystopian matriarchy. But the federal strong-arm goons are coed–that way you get to see plenty battles-of-the-sexes with the grrrlboss dominating multiple men. Straight men go down like tenpins hit by a busty-yet-hypermuscular bowling ball. The only characters who come close to giving our Womyn Warrior any challenge are other grrrlbosses, and a homosexual.
Character:
Despite all the sardonic terms of affection, Rogue’s machismo is laid on thick in the dialog. Her lines would be condemned as ridiculously over-the-top if spoken by the Rock or Jason Statham. But whatever.
The art strikes me as mostly hasty rough sketches, influenced by Manga. In most of the action sequences, I was confused about what was supposed to be happening.
Rogue: The American Dream is not my cup of tea. But if you like macho chick stories, you can probably forgive the artwork. The campaign is underway right now.
It’s a temptation to say, “Hollywood makes nothing but crap anymore.” Such a temptation that I have said it. But ever so often, when the stars align just right, Tinseltown produces something worth watching. 21 Bridges is one such example.
What It’s About
This is a “police procedural” story with action, mystery, and a “one good cop stands alone” theme. The eponymous 21 bridges lead in and out of Manhattan. They get blocked when the entire urban island is shut down for a manhunt.
The Plot
Two well-armed guys mask up and break into a building with the intent of stealing cocaine from some drug lord’s stash. A few surprises await them:
The stash contains a whole lot more coke than what they expected.
It is undiluted.
Cops show up while the robbery is underway.
One of the thieves is an experienced shooter, and in the ensuing firefight, he greases eight of New York’s Finest.
Now panicking (because, in a matter of minutes, they have become cop killers), they take what drugs they can carry and escape the scene. The shooter, who was so frosty under fire, inexplicably runs a red light, ensuring the police will have the traffic cam photo.
They arrive at the home of a reasonable, accommodating middleman willing to sell the drugs to a dealer, and arrange new IDs for them with an escape plan. But while they’re discussing this, a squad of police show up and immediately open fire, killing the middleman. The thieves/cop killers escape again.
Meanwhile, Characters:
Detective Andre Davis is already on the case, and he smells a rat from the beginning.
It’s established early that Davis’ father was a cop murdered in the line of duty when Andres was a boy; he is taking care of his widowed mother who suffers from dementia; he has shot several perps himself, and been investigated by Internal Affairs because of that.
Some fellow cops treat him as if he is a loose cannon; others are glad he’s been assigned the case to catch the cop killers, assuming he will shoot first and ask questions later.
I would say Detective Davis “steals the show,” but it’s supposed to be the main character’s show, anyway. He’s a clever detective, but it’s his exceptional integrity that makes him shine. His honesty and force of will make him stand out from a force full of dirty and trigger-happy cops. He’s like the Rorschach character from Watchmen, but without the costume, outlaw vigilante status, and hang-ups.
Craft:
The filmmaking isn’t groundbreaking, but is competent–which does set it apart from all the cinematic diarrhea in the Current Year. To paraphrase a famous Prussian strategist: “Perfection is not always required. Sometimes mediocrity is enough.” That’s certainly the case in today’s entertainment landscape, as Top Gun: Maverick proved…though I’m not saying 21 Bridges is mediocre. The screenwriting, direction, and acting are all solid. You’ve seen some of these actors before, and they’re all believable in this movie.
Even if you’re not a fan of the genre, once you start watching, it’s hard to stop. It’s an intense experience worth a couple hours of your time–which can’t be said for most of what is available on streaming services.
THE WEIRD TALES OF SILAS FLINT (THE FLINT ANTHOLOGIES BOOK 1)
Review by
I dove into this anthology book with no idea of what it was about. The author simply invited me to give it a read and review it. I was honest with him and told him that I would only commit to review the first tale and then take it from there. Now that I finished reading it I am excited to announce that I plan on reviewing the remaining tales, and here is why!
The Ruin of Witches finds our main character, Knight Templar Captain Silas Flint, and his associate, Supernumerary Ricardo Navarro, on the road, heading to their Chapterhouse. An unscheduled stop by a small town sees the duo getting involved in some strange affairs which have plagued the town for about 20 years. Flint, being a bona fide witch hunter, can’t just move on without ‘poking his nose where it don’t belong,’ and this is how we get dragged along for one wild ride!
The action takes place over 400 years in the future from present time, in a world that has seen dark magic try to take over the world yet eventually defeated. Witches are still a threat, but seem to be scattered and live in hiding. The Knights Templar are constantly on the hunt, ready to take to trial and even burn the remaining witches or those who still deal with sorcery.
Why do I think this is worth featuring on VP?
The main character: Silas Flint, was highly inspired by R.E. Howard’s Solomon Kane and I for one appreciate that! What that means is that he is not just a man with extraordinary skills and abilities, but also a God-fearing man with unwavering convictions and beliefs. You can’t corrupt or coerce his moral standards, you can’t have him strike deals with the devil, you can’t bribe him or offer him power for he is willing to die while doing the work of the Lord!
The supporting character: unlike iconic pulp fiction character Solomon Kane, Flint has a helping hand in the person of Ricardo Navarro. This very much reminds me of other historical duos: Don Quixote and Sancho Panza; Batman and Robin; Captain America and Bucky. Navarro offers some comedic relief but don’t be fooled! He is game when push comes to shove!
The Witch: she is beautiful, evil, dangerous… But also, she shows signs of her former humanity by trying to spare her husband’s life in a glimpse of desire for a normal life (it is a fact that the happiest women are not the single independent women in charge but those who are in a long-term committed marriage with a godly man).
In addition, the action scenes are explosive (literally!), the prose is captivating, the plot line is direct while avoiding to get too stale or predictable.
Yes boys and girls, I now want to know about Flint’s next adventure!
In the Web circles in which I cyber-travel, there is much discussion of Western civilization and legacy of Western culture. Also lamentations that it’s being lost.
My focus here is on one artifact of that disappearing legacy/culture.
American kids used to be exposed to Tennyson’s famous poem. You find references to it in hundreds or thousands of other creative work. It was through one such reference that I first learned of the existence of this poem.
Almost nobody in today’s government schools is introducing kids to this poem. In fact, there are certainly millions of adults in America who have never learned about it, or understand what references to it are still made.
(I in this clip, at about 0:24, the REMF* interpreter paraphrases part of “Charge of the Light Brigade.” Just as myself and probably millions of other veterans have.)
To put the narrative of this poem in context, we must know a little about the circumstances of a battle during the Crimean War:
25 October, 1854; the siege of Sevastopol. Lord Raglan is the C.O. (commanding officer). The Russians are conducting a counterattack outside Balaclava, and capture British cannons. Raglan spots them running off with his artillery and wants to prevent this loss.
Raglan decides to send his Light Brigade after the Ruskies and get his field guns back. The Light Brigade is so-named because it is about a 600-man unit of light cavalry, which at this point in history meant the horses bore no armor (in contrast to the Heavy Brigade). The troopers carried sabers and light lances that were more like spears. Such units were quick and agile.
So far, so good. This is a sound, reasonable allocation of military resources to rebound from a setback. Raglan composes a message to his cavalry commander that says, basically, “Send the Light Brigade after those Ruskies stealing our cannons, and bring the guns back!”
Within his order was a careless neglect of specific detail that would make this a tragic day. From where Raglan surveyed the battle space, it was obvious which Ruskies he was referring to. But the cavalry commander didn’t see what Raglan saw, from his position.
The message filtered down to Brigadier General Brudinell (the Earl of Cardigan or, simply, “Cardigan”), Commander of the Light Brigade. What Ruskies does Lord Raglan have in mind, he asks. The messenger waved toward the east. Attack, now, sez he.
Not that the cavalry knew, but the enemy was carrying off British field guns to the south, hidden by the terrain from their position. What lay to the east was something else entirely.
I’m sure Cardigan lost all color in his face.
“Those cannons???” he must have wanted to ask.
In the direction the dispatch rider waved was an enormous Russian formation dug in on the high ground behind numerous artillery batteries on three sides. The valley they commanded was covered by a triangular crossfire. If any British, French, or Turkish unit was foolish enough to enter that valley, they would find themselves, in modern military parlance, inside a “kill box.”
The valley was a deathtrap. This was a suicide mission.
The Valley of Death.
The officers and men were obligated to take the orders at face value. They didn’t know the orders were based on a “blunder” of omission. I guarantee you, every cavalryman, from the C.O. down to the lowest enlisted man, was severely “dismayed” by the insane orders.
What followed was an age-old conundrum for a soldier.
A soldier has to obey the orders of the officers over him. Even when the orders make no sense. Even when the orders are crazy, idiotic, or suicidal. The officers have maps, and good vantage points, and knowledge that the common soldier doesn’t. Most of the time, orders that don’t make sense to a soldier at the time will make sense later, from a strategic perspective, and prove necessary for accomplishing a mission. Some orders are, indeed, insane, and result in needless slaughter. But the common soldier usually doesn’t know which order is which. He must trust in his chain-of-command, and follow orders regardless.
It would be difficult-to-impossible to win wars without soldiers who will follow orders like those British cavalry troopers did.
Theirs was not to make reply. (Sir, this is suicidal! You’re sending us to our doom for no good reason!”)
Theirs was not to reason why. (“Why the bloody cack are we riding right into the mouth of hell, into the jaws of death? What purpose could this possibly serve? If we are to capture those cannons, send us in from behind, in the dark of night. And even then, with the advantage of surprise, it would be a forlorn hope!”)
Theirs was but to do and die. (Their job was to carry out their orders, even when it guaranteed their death.)
Boldly they rode, and well, while under murderous fire from the front and both flanks. As they grew closer to the enemy line, Russian gunners switched out the artillery shells for “shot.” That’s short for “grapeshot.” By this time grapeshot was more sophisticated, and starting to be called “cannister.” In effect, the smoothbore cannons were firing something like shotgun blasts into both “horse and hero,” with pellets the size of musket balls.
But once the survivors had broken through the line, Cossacks rode upon them. The troopers had to fall back through the Valley of Death, with the Russian artillery shredding them from both flanks and the rear. It was a bloodbath.
There’s a lot that can be said about that engagement. Tennyson concentrated on the honor of the steadfast troopers who rode knowingly into the Mouth of Hell. It was courageous, glorious, as he saw it. A cynic might be tempted to dismiss it as a foolish catastrophe. Were they fools for following orders that day? Not for me to judge. But nobody can question their loyalty, their commitment to their duty, or their mettle.
One more thought: to preserve the stamina of their horses, the cavalry could not maintain a charge at a full gallop over long distances. They advanced at a walk, while already under fire. After half a league (a league is about 3 1/2 miles) they adjusted the pace to a trot. Later they accelerated to a lope or canter. Finally, a sprint. When read the right way, this poem’s cadence approximates the changing pace of the brigade riding into the Jaws of Death.
I’ll let Tennyson take it from here:
I
Half a league, half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred.
“Forward, the Light Brigade!
Charge for the guns!” he said.
Into the valley of Death
Rode the six hundred.
II
“Forward, the Light Brigade!”
Was there a man dismayed?
Not though the soldier knew
Someone had blundered.
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die.
Into the valley of Death
Rode the six hundred.
III
Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volleyed and thundered;
Stormed at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of hell
Rode the six hundred.
(At 0:20 is a brief-but-spectacular shot of a cavalryman breaking through the line and sabering a gunner while his horse is in mid air hurdling the barricade.)
IV
Flashed all their sabres bare,
Flashed as they turned in air
Sabring the gunners there,
Charging an army, while
All the world wondered.
Plunged in the battery-smoke
Right through the line they broke;
Cossack and Russian
Reeled from the sabre stroke
Shattered and sundered.
Then they rode back, but not
Not the six hundred.
V
Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volleyed and thundered;
Stormed at with shot and shell,
While horse and hero fell.
They that had fought so well
Came through the jaws of Death,
Back from the mouth of hell,
All that was left of them,
Left of six hundred.
VI
When can their glory fade?
O the wild charge they made!
All the world wondered.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!
This is my way of honoring the noble 600 and the charge they made, Alfred.
* “Rear Echelon Mo-Fo,” AKA “clerks & jerks.” The corporal is literally a clerk-typist, assigned to a squad of Rangers for the mission that this movie is about.
(Part 2 of a 6-part series by the INFAMOUS REVIEWER GIO)
“King Orrefiah was downed, bleeding, while all about him brayed death. On either hand his retinue lay slain, pierced and hacked, their faces trodden to the mud.”
After reading Eye and the Dragon, the first of the tales in Man of Swords (paid link), we might have assumed that perhaps this whole collection was going to be less story-driven and more gearing towards the ‘abstract’ and the ‘ethereal’…WRONG.
The Knight Who Would Not Kneel once again brings back the R.V. Mills we experienced in the Isle of the Shrine of the Sick’ning Scarab. Only BETTER, if that were even possible!
Let me explain: this second tale is something that sees more action, more glorious army battles, and more fierce individual combats than we can handle…and yet, that’s not how this tale truly sets itself apart from the rest.
After saving King Orrefiah’s life on the battlefield, young Rohye–now in his late teens–finds himself reluctantly serving as one of the king’s official knights. He distinguishes himself on the battlefield time and time again against the barbaric hordes that keep threatening the kingdom through pillaging and invasions. However, Rohye frowns upon the extreme military tactics used by the king to completely annihilate the foreign tribes.
Fast-forward a year or so to when the kingdom finally seems to be experiencing a longer lasting period of peace, but the king, now in poor health and hunted by his conscience, asks Rohye to accompany him on a pilgrimage to a mythical tower where a source of supernatural healing lies hidden.
The synergy between Rohye and King Orrefiah is the apex of this entire story. Rohye is not sure why he’s even willing to aid the ill king, but he can sense that there is a reason that would be revealed in due time. The king in his ill state seeks healing (but truthfully, redemption from his crimes of war he has committed). Combine a rich cast of supporting characters, a superb ‘Shakespearean’ prosaic style and you have a true masterpiece!
The Knight Who Would Not Kneel should be read by anybody and everybody; it should be adapted to plays, movies, music; and it should be the topic of discussion of every literature roundtable across the globe.
The fact that the story has so many layers to it would make it a challenge to cover it all in just 1 review. But that’s what makes it so special, it puts the reader in a position to explore and discover over and over again.
When I first decided to review this I was a bit nervous. What made me feel that way was the disclosure found under the book details on Amazon:
“Paperback and ebook editions have been revised and updated following customer feedback as of 31 OCT 23.”
To me that was an instant red flag as the term ‘revision’ these days can mean anything in a book. What was revised exactly is something I will further discuss with the author in an upcoming Q&A interview, so stay tuned.
By the time I was done reading, however, I knew this was going to enter our 5-star elite club here at VP! This novel absolutely delivers everything you would expect by looking at its cover (fantastic cover, by the way!). All my fears wiped away, Milton Lane absolutely crushed it by bringing back a traditional pulp classic genre that is authentic, respectful of those authors who pioneered the genre, and keeping a fine balance between fantasy trope injected with an acute sense of realism.
After surviving the mysterious sinking of the ship The Invincible, former Naval Officer Hannibal Harken (a.k.a. The Adventurer) finds himself stranded on an uncharted island with a group of other survivors. Now, facing not only the natural adversities that the island itself poses, but also some not-so-friendly locals, the Adventurer must rely on his skills, intuition, and a few unexpected friends, to survive and get back to civilization.
Pretty simple concept, and yet SO easy to bungle up if the writer doesn’t do his homework. Fortunately in The Island of the Lost (paid link) this is not the case. Far from it!
Lane is able to capture that retro pulp style we got to know in Doc Savage, Solomon Kane, and even The Shadow to an extent. The story moves along nicely beginning to end, the prose is classic 1930s-40s style with rich and witty dialogues.
The characters are not dull and predictable. In fact, although there are a few good looking female characters featured, our main character does not get involved in a romance, or ‘demand’ a heartfelt kiss from the girl before going on risking his life. Not that there’s anything wrong with romantic tropes, but as an astute writer you also gotta know when this would aid the story or simply feel too forced while doing nothing to propel the main narrative.
Last thoughts that really bring this review to a positive conclusion: this story is self-contained. It has a 1)beginning, 2)bridge, 3)climax, and 4)conclusion. You don’t have to wait for the next book in the series to find out what happens, yet, at the same time you hope there will be more adventures facing the Adventurer so that we can join him amidst strange lands, strange peoples, and the pursuit of TRUTH!
Red-Blooded American Men Examine Pop-Culture and the World
