Fafhrd and the Gray Mouser. Affectionately known as the Twain, these rogues are two of the most legendary characters in all of fantasy.

While R. E. Howard, C. L. Moore, and Clark Ashton Smith laid the foundation for sword and sorcery in Weird Tales, Fritz Leiber codified the genre with the first appearance of his adventurers in “Two Sought Adventure”. Since then, sword and sorcery has often followed the adventures of a pair of contrasting rogues in colorful adventures. Leiber would write over thirty stories featuring the civilization-infatuated barbarian and the magically inclined thief.

Now Goodman Games’ sword and sorcery magazine, Tales from the Magician’s Skull, has published the first new adventure in over 20 years, authorized by Leiber’s estate—”Guilty Creatures.”

As this is the age of the remake and of the skinsuit imposter, the reader may have some trepidation over placing one of fantasy’s treasures into another writer’s hands. Said writer is Nathan Long, however, a veteran of the sword and sorcery scene, having written five novels for the Black Library’s beloved Gotrek and Felix series, a grimdark take on Leiber’s formula.

And with that, the stage is set.

Literally.

The Gray Mouser is rehearsing. Stage swashbuckling is a different sport than proper swordfighting, and the Mouser is caught up in the magic of the stage. And not without reason.

Times have been lean for Lankhmar’s most notable pair of thieves. The only available score left is to raid the Sorcerer’s Guild, and that tower is only left unwarded to an acting troupe hired for the guild’s celebration. A little misdirection and a lot of intimidation have forced Fafhrd and the Gray Mouser upon the stage.

And now it is time to bring down the house. But other schemers are using the play as cover for nefarious revenge. A play may be the thing to catch the conscience of a king, but the schemer wants blood instead. On the day of the performance, stage magic becomes sorcerous ritual, and the Gray Mouser and Fafhrd must escape from the ensorcelled and now animalistic actors and audience.

For once, the Twain make their saving throws against magic. In previous adventures, Fafhrd would have to save an enchanted Gray Mouser—or vice versa. Here, in the midst of magical traps and a menagerie of sorcerers and actors charmed bestial, the duo must rely on quick wits, quick swords, and the Mouser’s knowledge of magic to foil the ritual. For the schemer will leave no audience for his play.

“Guilty Creatures” exists in a middle ground between the early Gothic-influence adventures initially intended for Weird Tales and the lighter, more comedic tales written in the wake of Unknown’s passing. The Twain’s easy banter is present, but the immediacy of the peril keeps their attention. Yet for all the blood, adrenaline, and sorcery, the brooding fear of the unknown in the early tales is not here. The result is a timeless feel to the adventure, with no doubt copious discussion to be had on where in the timeline this close call should be placed.

Unlike recent versions of Captain Future, The Shadow, and Doc Savage, this is one pulp revival that sticks to what made the original great. At the same time, this does not fall into the realm of fanservice either. Hopefully, Long can write more adventures of the Twain.

Recommended for fans of sword and sorcery, the Twain, and those readers who enjoy small stakes fantasy.

Readers can find “Guilty Creatures” in Tales from the Magician’s Skull #6, along with a short history of the Twain, and RPG stat sheets for the foes in the story.

Tales from the Magician’s Skull #9 sees renowned sword and sorcery heroes Fafhrd and the Gray Mouser return yet again in another authorized tale from Fritz Leiber’s estate and veteran writer Nathan Long. Still in hiding from the previous failed heist, the duo of a civilization-infatuated barbarian and a magically inclined thief cannot rest. For their wizard patrons have decided to settle a matter of pride with their unwitting pawns. Whichever servant of the wizards has the most heroic deeds (in number and magnitude) has the mightier patron. So Ninguable of the Seven Eyes and Sheelba of the Eyeless Face steal towards the dreams of Fafhrd and the Gray Mouser…

…and lie, lie, lie, lie…

The Twain split up. Fafhrd, in fear of his eternal respite, tackles gross corruption preying on the weak. The Gray Mouser, seeking to depower a shadowy nemesis with good deeds, rescues a sacrificial maiden. But heroism in a fallen world is complex at best, and the Twain soon learn that most people enjoy the status quo. And then the Twain discerns the wizardly hand guiding their fates…

“Pawns’ Gambit” is lighthearted sword and sorcery, lacking even a trace of the Twain’s earliest Gothic origins. While irony and subversion abound, the basic idea of heroism is not ridiculed, just rendered complex. And perhaps the selfish motivations of the wizards and the Twain undermined real heroism. That said, the heavy irony of saving an unwilling sacrifice so she could willingly sacrifice herself to another cult feels like it should be found in a Warhammer tale of Gotrek and Felix instead—tales which Nathan Long has authored previously. Fortunately, neither of the Twain are portrayed as dour as the Slayer and his recorder.

If you enjoyed the latter tales of the Twain, post-Unknown and the injection of humor into fantasy, “Pawn’s Gambit” fits in with a jocular, almost locker room, way of conflict. Boys will be boys, after all, and not all heroic deeds are feats of strength. But for those looking for something tinged with the Twain’s more serious and Gothic origins, perhaps the earlier “Guilty Creatures” make be more your speed.