Customer Reviews

Conan The Hunter

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If you are looking for an intellectually stimulating book you can use to sound intelligent at your next cocktail party, do not read this book. If you want to spend months reading a grossly over-written multi-volume fantasy series that involves characters traveling around the world a few dozen times doing the same thing over and over, do not read this book. If, however, you are looking for a quick and rousing read, this book fits the bill. Fast paced, well written, with a good mix of action, intrigue and old fashioned blood and guts. Its great.

I just finished reading Conan the Hunter, and I must say it was a great tale! I loved it! It was filled with edge-of-the-seat action, and Moore portrayed Conan's character more realistically than any others I have read. I especially found it refreshing to read that Conan made several mistakes in the story, and had to deal with dire consequences, as opposed to the many other stories where he seems more like a flawless machine in battle. Each of the many enemies and creatures he encountered were all very original and easily came to life from among the pages. I was also able to get deeper into the story because there was no love story incorporated to get tangled up with. Just pure adventure! I anticipate reading Conan and the Shaman's Curse and Conan and the Grim Grey God in the near future. Moore is a brilliant author of Conan! I look forward to seeing more of his work!

First, a prologue. (Almost all Conan pastiches have prologues, so why not start a review with one?) There is a mo-ment 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 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 by Sean A. Moore, and the first of his that I've read. Like John C. Hocking, Moore was a latecomer to the pastiche series, and went on to pen a few more before the line went on hiatus. Judging from this outing, his strengths lay 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 be miserably slow going. Moore demonstrates two tremendous flaws as a writer that impede the novel and make it only sporadically entertaining and otherwise a chore to read.

First, Mr. Moore overwrites to an incredible degree. He fills every scene with twice as much description as it merits. I believe the author feels this is a way to imitate Howard's own writing style, which often had a thick and swirling feel. But Howard also practiced economy, an ability to make a perfectly beautiful description of setting or an artifact or an individual with a single thrust of a rapier blade. Moore goes overboard, digging in with scenes of characters preparing for journeys, characters handling swords, characters drinking, and worst of all, characters wondering about other characters. This particular flaw kills the pacing in a number of places, mostly because the information is al-ready clear to the reader. Kailash and Madesus are most prone to these long internal maunderings, and they slow the novel to a near halt whenever they start. The author should drop the speculation and move on to the action. The continual ponderings from secondary characters amounts to filler. Howard would hit the reader with only what he or she needed to know before shifting the action to the next exciting sequence. Had Howard written this story, it would have come out to novella length.

Second, the structure of Conan the Hunter is choppy and moves with a start-and-stop structure that makes it difficult to keep up continual interest in the plot. The elimination of major villain and ally at around the hundred page mark is a serious mistake; it seems as if the story should be over at this point, but Moore must now suddenly shift into another type of plot structure entirely. This first transition is the book's weakest section, as Madesus unloads a mound of new exposition to shuttle the story into `phase two.' There is an uncomfortable sense that the author is suddenly "making it up as he goes along" during this shift. Madesus, previously one of the most intriguing characters in the book, now stumbles into the generic `wise old mentor' mode after this.

The novel takes yet another shift a hundred pages later, moving the action away from what had been an interesting city-bound adventure into yet another chase across the wastelands toward a ruined temple. (And how many ruined desert temples are there in the Hyborian Age? They're like strip malls in Wisconsin!) Along the way is a nearly pointless tavern scene in Innasfaln, and the action sequence that follows is a case of overkill-we've had one too many fisticuffs at this point.

Not aiding this sputtering approach to structure is the tendency to suddenly substitute allies and villains for new characters at inopportune moments. Salvorus, the novel's best-drawn character, starts as the Conan ally, but the dull hillman Kailash abruptly replaces him. Valtresca and Azora appear to be the principal heavies, but the revived Skauraul's belated entrance (thirty pages before the end!) one-ups them, and Skauraul is too sketchy and generic a villain-really nothing more than a Xaltotun clone from The Hour of the Dragon-to work.

I also shuddered at the too-frequent interference of gods in the story. This feels distinctly anti-Howardian. Seers visit-ing Conan in dreams is one thing, as in "The Phoenix on the Sword," but having Mitra actually manifest himself to give a helping hand is something else entirely.

But Conan the Hunter does have some delicious moments where you can almost forget the overall problems. Most of the sequence in the Temple of Targol is excellent, and the blood trap is gruesome. This is some of the best writ-ing in the story. The sewer monster (source of the excellent cover) is cool, if unconnected to anything else; it at least keeps interest going in the early pages. The battle inside the palace that ends the novel's first phase also thrills, even if it goes on too long.

The finale is also well handled; a lot happens in a short time, with gargoyles and spiders and lances jabbing from the sand. The action plays out breathlessly. Yet Moore spoils it all with a cheat climax, a cheap deus ex machina so poorly hinted at previously that it almost wrecks the entire ending.

I will certainly read more of Sean A. Moore's Conan work (Conan and the Shaman's Curse, Conan and the Grim Gray God), since his imagination shows promise. Perhaps in these later works he cut some of the fat off his prose and found a better structure to tell his story.

Sean A. Moore has done a fabulous job of capturing Conan's charater and has written a riveting story. You won't be disappointed with the latest of Conan's exploits. Robert E. Howard would be proud of this one...

Moore, told a good story, but when the action would get going, and you start getting ready for something big, STOP IT ALL, with a flashback. At times one would have to reread something just to get your bearings again. Just too much detail, at the wrong time in the story.
Loved the bar fight in the middle, but the sewer fight and few pages following with the horse and the gardener, just about ruined the book. i do look forward to reading his next book on Conan, just cut to the chase.-ERIC

"A splendid new adventure . . . fast-paced, full of intrigue, and eminently readable." -- L. Sprague de Camp