Thursday, July 31, 2025

Six Men of Evil

 

cover art by George Rozen

Six Men of Evil (from Feb. 15th, 1933 issue of The Shadow Magazine)


This is a weird one, even in the context of the Shadow's often weird universe. Six men, after an attempt to steal a priceless jewel from a remote tribe in Mexico, end up with identical faces. They plan to use this to commit crimes, establish perfect alibis for those crimes and frame someone else. Within a few chapters, they have murdered a man, stolen some valuable bonds, embezzled money from a bank, and pulled off a marry-the-rich-girl-then-murder-her scheme.





But crimes take place in different locations around the country, but the Shadow notices the pattern: Each time, the person arrested for the crime accusses someone who has a perfect alibi. The Master of Mystery deduces that the real criminals used doubles, though he doesn't at first know how this is possible.



The Shadow and his agents investigate. He eventually finds out how they all ended up with the same face--a process that would strain credulity in a more realistic universe, but makes perfect sense in a pulp universe.


He also discovers how the mastermind communicates with the other members of the gang, using this to track them down just as the next crime is about to be committed. This leads to an awesome car chase and the apparent death of the ringleader.





But the Shadow knows all. One last confrontation with the surviving Men of Evil takes place in San Francisco's Chinatown. 


This novel is a little lighter on action than most other Shadow tales, but it still has several great action moments. And the mystery is a good one, with the Shadow using clever and logical methods to track down the bad guys and figure out how they somehow become identical sextuplets.  The villians overlay the novel with a strong weirdness vibe that works quite well, giving this one an eerie individuality among other Shadow novels.




Wednesday, July 30, 2025

Borrowed Villains and New Heroes

 

cover art by Dan Heck


Avengers #47 (December 1967), written by Roy Thomas and drawn by John Buscema, borrows an X-Men villain and begins the process of introducing a heroic version of the Black Knight to the Marvel Universe.



There are several subplots here, which we'll discuss first. Captain America quits and Hank Pym (currently called Goliath) is planning to rejoin the team. Also, Hercules is currently away, returning to Mount Olympus--which he finds deserted. This begins a subplot that will play out in a future issue.


The main plot begins with Magneto and Toad trapped on a deserted asteroid, left there by the cosmic being the Stranger in an issue of The X-Men. But Magneto is sensing magnetic waves arriving at the asteroid. 


These waves are coming from Earth. Dane Whitman, the nephew of the recently deceased villain The Black Knight, has set up an experiment in the family castle. He wants to redeem the family name by doing good and hopes to discover alien intelligence by magnetic wave communications.


This is an effective way of introducing Dane as a good guy. But a part of me wonders--in a universe where Earth has regular conduct with aliens, is there a lot of urgency in figuring out new ways to communicate with them. Will Dane run to the newspapers if he's successful and yell out "I have proved there is alien life!" only to be told by a bored editor that "We know that already, doofus. We were invaded by the Rock Men of Saturn just last month!"



Anyway, Dane is cursed not just with rotten relatives, but also with rotten lab assistants. When it looks like the experiment is about to be successful, his assistance knocks him out with a rock so that he (the assistant) can take credit for everything.


Then Magneto and Toad appear in the room. The science here isn't clearly explained--but then, Comic Book Science isn't something that CAN be clearly explained. Apparently Magneto was able to hijack the magnetic beam, teleporting himself and Toad across interstellar distances to Earth. This is well within the logical perameters of Comic Book Science and Thomas is wise enough to avoid bogging down the scene with technobabble, allowing us to just go with it and enjoy the story.






Magneto knocks out the jerk assistant, then locks both him and Dane in the castle dungeon. Then he works on putting the Brotherhood of Evil Mutants back together. He is dismissive of Mastermind, but really wants Quicksilver and Scarlet Witch as members. We get to see how he met them in a flashback--how he saved them from a mutant-fearing mob.


He sends an anoynomous message to the siblings, luring them to the castle, then testing them by pitting them against a big robot. 



 They defeat the robot, but when Magneto confronts them, they explain they've become good guys and are now Avengers. Magneto doesn't take this well and, between a swarm of more robots and his own powers, manages to capture them both.




It's a well-written story with great Buscema art. Magneto is in full-on mustache-twirling mode, eithout any of the depth that Chris Claremont would give him. But his bombastic villain speeches are a blast to read, so I'm okay with his mustache twirling here.


It's also the beginning of a multi-part story arc that will cross over into the X-Men's book for several issues. I've always resented this--team-ups are great, but don't force someone to perhaps buy a book they didn't normally buy. Besides, in the days before comic book shops commonly existed, there was no guarentee you'll FIND the other title. It's just wrong.


But I'm nearly six decades too late to whine about this, so we'll continue to judge the story on its own merits, rather than by iffy marketing schemes. Next week, we'll see Dane Whitman enter the superhero business.

Monday, July 28, 2025

Cover Cavalcade

  JULY IS J. ALLEN St. JOHN VISITS BARSOOM MONTH!!!




St. John finished his 1941 visit to Barsoom with this October issue. 

Friday, July 25, 2025

Friday's Favorite OTR

 Gunsmoke: "The Gypsum Hills Feud" 4/16/55



While Dillon and Chester are on the way back to Dodge City, someone takes a shot at Dillon. Soon, he finds himself involved in a feud between two families.


Click HERE to listen or download. 

Thursday, July 24, 2025

He Killed a Man in His Dream!

 


Stan Grayson has a nightmare in which he kills a guy and locks the body in a cubbyhole in a room with lots of mirrors. He wakes up to discover blood on his hands, bruises on his neck, as well as the key to the cubbyhole and one of the dead man's buttons both in his room.



Is Stan actually a murderer? He doesn't know!


That's the premise of the 1956 noir film Nightmare. It's based on a short story by Cornell Woolrich ("And So to Death" published in 1941) and its the second time writer/director Maxwell Shane adapted it into a movie. I haven't seen the 1947 version, titled Fear in the Night, but I did just watch Nightmare.




Kevin McCarthy plays Stan and does a great job with the part--a man with a conscience who is terrified at the idea that he killed a man--a situation made worse because he doesn't know who he killed or why. 


So he goes to his brother-in-law, Rene Bressard, who is a detective. Rene is played by Edward G. Robinson, which automatically makes this movie good. Whether he's a good guy or a bad guy, Robinson is always a pleasure to watch. 


Bressard dismisses Stan's concern. A dream is just a dream and he probably had the key and the button before and just forgot about them. Stan tries to investigate himself, but doesn't get anywhere.


Stan, by the way, is a clarinetist with a big band. His girlfriend sings for the band. This gives the movie an excuse to include a few minutes of really good music. Director Maxwell Shane also makes really good use of the New Orleans location.





It's when Stan, Rene and their gals are out on a picnic that things get weird. A rainstorm begins and the wipers on Rene's car won't work. But Stan suddenly "remembers" a nearby house and where the key to that house is hidden. They take shelter there and Stan soon finds the mirror room.


And they soon find out that not one, but two people were recently murdered in that house.


Rene is now convinced Stan is indeed a killer. He gives Stan a chance to make a run for it before turning him in. Stan opts to try to commit suicide instead, but Rene puts a stop to this.


And then Stan says something that clicks with the detective--something that might mean Stan is innocent. But in order to prove this, they are going to have to replicate the events of the night of the murder. This is something that Stan might not live through...


Nightmare is a very good film noir and definitely worth watching. Both the lead actors anchor the movie with great performances; New Orleans looks awesome in black and white; and the plot has a few nice twists in it. I'd like to talk about the ending a little more, but I don't want to spoil anything. You can watch it for yourself here:





Wednesday, July 23, 2025

Time Travel, Jesse James and a lot of Accidental Deaths (maybe).

 

cover art by Curt Swan


I'm okay with the rules about Time Travel--DC was reasonably consistent about that even during the often-inconsistent Silver Age.


But what the heck are the rules for Jimmy's Superman Signal wrist watch?


"The Gunsmoke Kid," a story from Superman's Pal Jimmy Olsen #45 (June 1960) raises this question. In fact, it does sort of raise a time travel question as well. The strength of the story is in the fact that we can still enjoy it as over-the-top fun and asking questions about internal logic just adds to the fun.


The story's author is unknown (though I would guess Otto Binder) and the art is by Curt Swan.


Jimmy and Clark are interviewing Professor Potter about his newest invention--a time machine. The professor hasn't perfected it yet--you can travel back in time, but he hasn't figured out how to return you to the present.



Jimmy, who is wearing a Wild West costume because he's attending a costume party later on, plays with the machine. This is unwise and after 45 issues of bizarre adventures and previous encounters with Potter's various inventions, he really SHOULD know better.


He's teleported back to the Old West. Here's where the time travel logic becomes a bit skewed. He appears in a prison cell and is mistaken for an outlaw called the Gunsmoke Kid. So did he replace the REAL Gunsmoke Kid? If so, where is the real Kid? And why didn't anyone recognize him as NOT being the Kid? Unless the Kid is Jimmy's double? Did the sheriff just decide to accuse anyone who mysteriously appears in his jail of being a dangerous outlaw? Is the sheriff just really bad at his job? WHAT'S GOING ON HERE?



The Gunsmoke Kid--er, I mean Jimmy Olsen--is busted out of prison by Jesse James, who promises Jimmy a chance to kill the three most famous outlaws in the West: Wyatt Earp, Wild Bill Hickcock and Bat Masterson.





Jimmy tries to miss on purpose all three times he ambushes one of the lawmen, but each time it appears that he's accidentally killed them anyways. He also is mysteriously able to cheat at poker (something he has to do to keep Jesse from shooting him), dealing himself four aces after dealing other players four kings and four queens respectively. Jimmy is both concerned that he's inadvertantly committed murder AND wondering if he's changing history.


It's at the poker game that the signal watch issue arises. The watch normally sends out an ulta sonic sound that only Superman can hear. But Jimmy uses it as an audible alarm to distract the losing poker players. So is there a second alarm set in the watch that is audible to normal humans--which I don't think was every mentioned either before or after this story? And wasn't the Superman signal able to penetrate the time barrier on other occasions, even though we are told here that it can't? (I can't think of an example--please comment if you do know of one.)



Eventually, the three supposedly dead lawmen are spotted. Jesse decides to kill Jimmy, but Superman does turn out to be nearby, blowing up a dust storm to rescue Jimmy without being seen. (The story is consistant with the DC Comics Time Travel rule that you can't change the past.)



It was Superman in disguise who posed as the lawmen and faked their deaths, as well as Superman fixing the poker game. He's recorded all this, so Jimmy has some awesome film foogage of himself to show at parties. I guess that was worth the mental agony of thinking you were a murderer, Jimmy? Superman? What about that, huh? Is emotional anguish a fair trade for party bragging rights?


I am, of course, making fun of the story. But I do so without rancor or any heartfelt criticism. With some comic books, imaginative fun should be preferable to narrative consistency. Superman's Pal is a prime example throughout its run of when this is true. Its a fun story and if I could time travel, replace Mort Weisinger as editor and change history--well, I just wouldn't. In Weisinger's universe, YES, mental anguish is a fair trade for party bragging rights! I mean, of course it is! The story is perfect just as it is. 


Next week, we'll begin a five part visit with the Avengers, then the X-Men, then (eventually) both groups.

Monday, July 21, 2025

Cover Cavalcade

  JULY IS J. ALLEN St. JOHN VISITS BARSOOM MONTH!!!




St. John's journey to Barsoom leads him to the North Pole for this August 1941 issue.

Friday, July 18, 2025

Friday's Favorite OTR

 American Portraits: "The Sword of Kentucky" 8/14/51



The story of George Rogers Clark's Revolutionary War campaign against the British, leading a small force through the wilderness to attack a British fort near Detroit.


Click HERE to listen or download. 

Thursday, July 17, 2025

Super News!

 Is it right for me to take up an entire Thursday post just to brag about something fairly minor? That would be wrong. That would be mind-numblingly egotistical.

Oh, what the heck.

The 2024 coffee table book Superman: The Definitive History quotes me on page 28:






Wednesday, July 16, 2025

Captain Crossbones!

 

cover art by Ogden Whitney



Soldiers of Fortune (published by the American Comics Group) began its twelve-issue run with the March-April 1951 issue. For most of its run, it featured two modern-day adventurers (Ace Carter and Lance Larsen), as well as a pirate known as Captain Crossbones. By the time it ended its run, the comic had morphed into a war comic--probably in response to the beginning of the Korean War. 


It's the first Captain Crossbones story that we'll be looking at today, because... well, because pirates are nearly as cool as dinosaurs and original Star Trek. Not quite--but close.



We don't know who wrote this story, though we do know the art was by Sheldon Moldoff. The tale recounts the origins of Captain Crossbones. He begins life as a young apprentice named Tom Rutherford, who runs away from his cruel master and stows away on a boat.


But his romantic notions of life on sea are soon squashed. Once he's found, the captain puts him to work scrubbing the decks. The other sailors haze him and when he fights back, one of them burns the image of the royal seal onto his arm. The sadistic sailor had no reason for using the royal seal other than it was handy and it was a way to cause Tom pain.



The captain punishes the sailor, but further feuding is put on hold when the ship is attacked by the notorious pirate Red Rover. Tom's ship is captured, but he's spared from walking the plank when the captain runs a bold bluff, telling Red Rover that Tom was a member of the royal family and had a mark on his arm to prove it. Tom, in other words, is worth a fortune in ransom.




The bluff works and Red Rover holds Tom prisoner rather than kill him. 


The story is a  little weak here. Tom spends several years on the pirate ship, learning the trade and growing an Errol Flynn mustache to remind us that swashbuckling is in his future.


Why Red Rover never sought to ransom him and how Tom was able to avoid committing atrocities along with the rest of the crew is never explained. He's just suddenly an adult with some wicked fencing skills.


Things finally come to a head when the beautiful Lady Nancy is captured by the pirates. Tom kills a pirate to defend her. Tom is tied to the mainmast as punishment, with the intent of eventually whipping him to death.




But a sympathetic pirate named Duke lets Tom free. What follows is a duel to the death with the Red Rover, then Duke using a cannon full of grape shot to subdue the rest of the crew. Tom, taking the name of Captain Crossbones, is now in charge.



Lady Nancy and Tom have, of course, fallen in love. But he's a pirate now whether he wants to be or not, so he sends her away in a boat. 


It's a fun story despite some weakness in the middle act. It moves along briskly, gives us heroes to like and villains to hate, and Moldoff's art is strong. We may visit again with Captain Crossbones at some point.

You can read it online HERE.

Next week, we'll visit with Superman's Pal.


Monday, July 14, 2025

Cover Cavalcade

  JULY IS J. ALLEN St. JOHN VISITS BARSOOM MONTH!!!




St. John's trip to Barsoom in 1941 ran into a little trouble in June of that year.

Friday, July 11, 2025

Friday's Favorite OTR

 The Black Museum: "Four Small Bottles" 4/1/52



Did a young wife poison her older husband? And if so, are the four small bottles used as evidence sufficient to convict her?


Click HERE to listen or download. 

Thursday, July 10, 2025

The Soul of a Regiment

 

cover art by David Robinson

I've been a big fan of Talbot Mundy all my life, so when a friend of mine recommended his 1912 story "The Soul of a Regiment" AND mentioned that it had been voted by the readers of Adventure as the best story ever appearing in that superb magazine, I was embarrassed to discover this gap in my reading history. (It appeared, by the way, in the February 1912 issue.)










In the 1880s, a new native regiment--the First Egyptian Foot--is formed. An experienced sargeant named Billy Grogram is brought in to train them.


This isn't an easy job, because they are an undisciplined mob, Grogram has to learn their language WHILE trying to train them, and the officers commanding the regiment could care less about it.


But Grogram is a pro. Gradually, he molds them into a coherant military unit. He has trouble at first getting them to march in step, but spends some of his own money for some fifes and a drum. He then teaches a make-shift band the only two songs he knows well enough to whistle--"God Save the Queen" and "The Campbells are Coming."


Eventually, Grogram senses that a soul is forming in the regiment:

And Billy Grogram, who above all was a man of clean ideals, began to feel content. He still described them in his letters home as "blooming mummies made of Nile mud, roasted black for their sins, and good for nothing but the ash-heap." He still damned them on parade, whipped them when the Colonel wasn't looking, and worked at them until he was much too tired to sleep; but he began to love them. And to a big, black, grinning man of them, they loved him. To encourage that wondrous band of his, he set them to playing their two tunes on guest nights outside the officers' mess; and the officers endured it until the Colonel returned from furlough. He sent for Grogram and offered to pay him back all he had spent on instruments, provided the band should keep away in future.



The regiment's soul, like the souls of all regiments, is symbolized by its colors. So when General Gordon marches to Khartoum, the First Egyptian Foot marches with him with pride, holding their flag high while the band plays its barely recognizable versions of its two-song repertoire.





Well, Gordon and his men are all killed at Khartoum. It's said the Billy Grogram went down fighting with his regiment. Then he's forgotten. 


But there are rumors--rumors of a small band of fifers and a drummer. Rumors of a dancing madman whom the natives leave alone because the insane are protected by God. 


And one day, perhaps those who have forgotten Billy Grogram and the First Egyptian Foot will be reminded that a regiment has a soul and the regiment's colors are the symbol of that undying soul.


Some modern critiques of the story point out imperialist and racists attitudes that run through the story. This is fair and proper. But, though the story is indeed a product of its time, its comments on courage, honor and discipline are still universal. Also, I'm not sure I completely buy into one particular criticism I ran across--the idea that the native troops only became effective when a white man was in command. But any group of men training to be soldiers--regardless of skin color--is going to start out as an undisciplined mob. And any such group of men is going to NEED an experienced soldier like Grogram (regardless of his skin color) to whip them into shape. That's not saying that the racial attitudes of 1912 don't seep into the story--I'm just not completely aboard with that one particular criticism.


"The Soul of a Regiment" really is a great story, dripping with bittersweet commentary on how quickly the world forgets those who died, but also dripping with reminders that courage and honor always lives on.


You can read it for yourself HERE.



Wednesday, July 9, 2025

A Lunatic Saves the World!

 

cover art by Jack Kirby

Journey Into Mystery #73 (October 1961) was still ten issues away from giving us the Mighty Thor. Like many of Marvel's other anthology books before the resurgance of superheroes, it was a mixture of monster and science fiction tales--most of them a lot of fun.


This issue, for instance, includes "Menance from Mars!," with a script tentatively credited to Stan Lee (plot) and Larry Lieber (script) and the imaginative art by Don Heck.





Martians are coming to Earth! But they aren't invaders this time around. Instead, they are coming to learn about humanity. We are, after all, getting close to having interplanetary flight. They need to find out if we are naughty or nice. If we are a threat to them, then by golly, we need to be destroyed in preventative self-defence.




They find a mild-mannered human wandering iun the woods and question him, monitoring him with a machine that can detect truth from lies. 


Does the human hate them because they're different? No. Would he steal or cheat if he could become rich by doing so? Of course not! Has he ever gone hunting or fishing? He could never hurt another living creature!


Well, obviously, this guy demonstrates that humanity is harmless. They let the guy go and head back to Mars, deciding NOT to destroy Earth.


The man, in the meantime, is found by the orderlies from the local mental hospital. They humor him when he tells a story about meeting Martians and make sure he gets back to the hospital intact.




Yes, the Earth is saved by a crazy man--whose main delusion seems to involve always being very nice to everyone else.


Don Heck's design for the Martians is very effective--alien and menacing enough to come across as a threat if they decide we need to be destroyed. And the twist at the end if funny and effectively ironic.



It is, therefore, possible to enjoy this story on a superficial level. But does this story also comment rather harshly on humanity? Only a guy who lives in Crazy Town is delusional enough to believe (and thus convince the Martians) that mankind is safe and harmless. Taken at that level, it's a pretty harsh commentary on us, isn't it?


The story reminds me a little of 1951's The Day the Earth Stood Still, in which an alien tells us that super-robots will destroy Earth if we bring our warlike tendencies to the stars. I can't help but wonder if the memory of that movie was the jumping-off point for Stan Lee in coming up with this one.


I'm also reminded of the Twilight Zone episode "Hocus Pocus and Frisbee," in which aliens accept the tall tales of an inveterate liar as truth. That episode, though, aired in 1962, so it's wasn't an influence on this story (and there's not enough of a time gap between the comic and the episode's air-date to make it likely the comic was an influence on the TV show). 


But, regardless of possible influences, "Menance from Mars!" is still a good story in its own right--fun, layered and maybe a little bit dark.

Monday, July 7, 2025

Cover Cavalcade

 JULY IS J. ALLEN St. JOHN VISITS BARSOOM MONTH!!!



St. John's 1941 trip to Barsoom began with this stop at the city of mummies in March of that year.

Friday, July 4, 2025

Friday's Favorite OTR

 The Lone Ranger: "Boots and a Bloodhound" 9/10/54




Two actors with a traveling troupe plan a bank robber. With the help of a mixed-up at the cobbler shop and an ill-tempered dog, the Ranger and Tonto might be able to put a stop to their crime.


Click HERE to listen or download. 

Thursday, July 3, 2025

Bitterness, Lonliness, and Death

 

cover art by Margaret Brundage

"The Lord of Samarcand," (also published as "The Lame Man") by Robert E. Howard, was published in the Spring 1932 issue of Oriental Stories. It is, I think, one of the grimmest tales that Howard ever told. And, by golly, it works. It's a vivid example of how Howard could use descriptive prose together with strong characterizations to keep his reader engrossed from start to finish.


It's set in the late 14th and early 15th Century. A Scotsman named Donald MacDeesa is the protagonist and his life has indeed been grim. He fought in Scotland until he was forced to flee for his life. He eventually ends up in the Middle East, where the army he's a part of is wiped out by the Turks. 


Anxious for revenge, he enters the service of Timour, also known as Tamarlane. This is a real-life emperor--a Turco-Mongol who founded the Timurid Dynasty that ruled much of what today is Afganistan, Iran and Central Asia.


Donald helps Timour defeat the Turks, satisfying the Scotsman's lust for revenge in that quarter. Then, with nowhere else to go, he serves Timour as the head of a sort-of Special Forces unit. Timour, a somewhat narcissitic ruler who desire only to expand his empire, recognizes Donald's usefullness, but feels no friendship or appreciation towards him:


Timour hurled Donald against his foes as a man hurls a javelin, little caring whether the weapon be broken or not. The Gael's horsemen would come back bloodstained, dusty and weary, their armor hacked to shreds, their swords notched and blunted, but always with the heads of Timour's foes swinging at their high saddle-peaks.




As the years go by, Donald's lonliness and friendlessness causes him to grow attracted to a Persian slave-girl. But the girl has a tendency to get involved in courtroom conspiracies. And if she gets on Timour's bad side, she might not live long. And if she doesn't live long, Timour might find out there can be consequences for treating people like disposable insects. It's not good to be on Timour's bad side, but it's definitely not good to be on Donald MacDeesa's bad side.


History has a different version of Timour's death in 1405 than we get here, but the story actually accounts for that. Much like "The Lion of Tiberias," which I reviewed a few weeks ago, Howard improves upon real-life in regards to the death of a tyrant. 


Getting to the grim end of this tale is a wild ride. Here's a brief passage describing one of Donald's many battles. The word "vivid" doesn't really do it justice.


AND AT ORDUSHAR the siege dragged on. In the freezing winds that swept down the pass, driving snow in blinding, biting blasts, the stocky Kalmucks and the lean Vigurs strove and suffered and died in bitter anguish.

They set scaling-ladders against the walls and struggled upward, and the defenders, suffering no less, speared them, hurled down boulders that crushed the mailed figures like beetles, and thrust the ladders from the walls so that they crashed down, bearing death to men below. Ordushar was actually but a stronghold of the Jat Mongols, set sheer in the pass and flanked by towering cliffs.

Donald's wolves hacked at the frozen ground with frost-bitten raw hands which scarce could hold the picks, striving to sink a mine under the walls. They pecked at the towers while molten lead and weighted javelins fell in a rain upon them; driving their spear-points between the stones, tearing out pieces of masonry with their naked hands. With stupendous toil they had constructed makeshift siege-engines from felled trees and the leather of their harness and woven hair from the manes and tails of their warhorses.

The rams battered vainly at the massive stones, the ballistas groaned as they launched tree-trunks and boulders against the towers or over the walls. Along the parapets the attackers fought with the defenders, until their bleeding hands froze to spear-shaft and sword-hilt, and the skin came away in great raw strips. And always, with superhuman fury rising above their agony, the defenders hurled back the attack.

A storming-tower was built and rolled up to the walls, and from the battlements the men of Ordushar poured a drenching torrent of naphtha that sent it up in flame and burnt the men in it, shriveling them in their armor like beetles in a fire. Snow and sleet fell in blinding flurries, freezing to sheets of ice. Dead men froze stiffly where they fell, and wounded men died in their sleeping-furs. There was no rest, no surcease from agony. Days and nights merged into a hell of pain. Donald's men, with tears of suffering frozen on their faces, beat frenziedly against the frosty stone walls, fought with raw hands gripping broken weapons, and died cursing the gods that created them.

The misery inside the city was no less, for there was no more food. At night Donald's warriors heard the wailing of the starving people in the streets. At last in desperation the men of Ordushar cut the throats of their women and children and sallied forth, and the haggard Tatars fell on them weeping with the madness of rage and woe, and in a welter of battle that crimsoned the frozen snow, drove them back through the city gates. And the struggle went hideously on.


You can read the entire story yourself HERE

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