Mike Brooks is perhaps the most exciting up-and-comer in the Black Library stable, with his deluge of Ork novels, and the widely acclaimed Alpharius: Head of the Hydra primarch title being some of the very best Black Library has to offer. Now spoken by some in the same league as mainstays like Dan Abnett and ADB, Brooks has taken on his biggest title yet - the return of a Primarch, Lion El’Johnson in his headliner title The Lion: Son of the Forest. Throughout this fantastic story, Brooks reinvents The Lion and The Fallen and depicts the madness of Imperium Nihilus, whilst never forgetting the roots of the characters and stories he’s working with.
Taking place some time after the first return of a Primarch (Robute Gulliman, never depicted in prose but partially seen in the Watchers of the Throne novel), The Lion follows the reawakening of the eponymous Primarch of the Dark Angels after ten thousand years. Declaring his attention to protect the people of the world he has awakened on, The Lion recruits ‘traitor’ Dark Angels, returning them to the path of the Imperium and beginning to carve out a protectorate, an Imperium within the Imperium, to drive away the forces of Chaos that have turned the far side of the galaxy - Imperium Nihilus - into a madhouse. Like the vast majority of 40K novels, Son of the Forest can be read on it’s own, but a bit of background knowledge of The Lion will go a long way - and having a bit of awareness of current events, such as The Dawn of Fire books, can help one appreciate the scale of what’s going.
Beyond the depiction of The Lion and his Dark Angels, my favorite element of Son of the Forest was the expansion of scope. At first, The Lion is sequestered on a single, already fallen world, fighting with improvised weaponry and with a single man to his name; this rapidly evolves into taking control of a planet, and the forming of a protectorate. And whilst time jumps do come into play, not particularly showing the conquest and reclamation of several planets, this slow elevation of scope is a fantastic metaphor for the Lion coming back to himself, even as he grapples with the fact that, unlike Gulliman, who lingered in stasis for ten thousand years, The Lion has visibly aged.
‘You got old.’ It’s a simple line, muttered with relish by a Chaos Space Marine to the Lion, but it’s a perfect encapsulation of where the Lion is both physically and mentally, and this element alone helps keep the return of a Primarch fresh, and not just a repeat of when Gulliman returned several years ago.
And I’ll be honest - I never cared for the Dark Angels. The Lion just felt like a more stoic, less interesting version of Leman RUss, and the whole Dark Angels and Fallen element of his legion just didn’t grab me. It doesn’t matter - I adore Mike Brook’s depiction of the new Lion El’Johnson, a man who doesn’t understand the galaxy he has awoken into, the attitudes and beliefs of the people he protects, and the very nature of his existence. His genuine wish to protect his soldiers and his people, his horror at the concept of being the last living Primarch, and his active attempts to simmer his former, destructive behaviors are all delightful to behold.
Spread amongst the book and more ethereal, literal dream-like sequences taking place in some form of The Lion’s ‘homeworld’ Caliban. These were probably my favorite scenes in the book, not only playing heavy homage to Arthurian legends that have always been the bedrock of The Lion and the Dark Angel’s stories, but heavily reflects the current nature of The Emperor, his relationship to his sons, and his attempts to guide the Lion back onto the path he belongs to. This all culminates in the final chapters, which I wouldn’t dare spoil, but does an incredible job of depicting the Lion’s fears and anxieties, and his relationships to his now scattered brotherhood.
I’ve heard some people knock the book for its somewhat smaller scope - there are no bigger status quo changes, no meetings between Primarchs or reconciliation between The Lion and his dearest friend, Luther, but I was fine with that. This is a story about The Lion returning, both physically and metaphorically, and whilst Son of the Forest leans on the shorter side, Brooks delivers on everything he builds upon from page one, and anything more would have pushed it too far.
If I were to nitpick, I’d say the villains of the novel - a warband of corrupted, Chaos Space Marines, led by two former Dark Angels - are the weakest elements of the book. They aren’t bad, not nearly, but beyond them just being a foil to the Lion and his rejuvenation of The Fallen he encounters, they just don’t have a lot going on beyond the normal ‘terror of Chaos’ thing about them. Again, not that bad, but the lead to some pretty awesome fight scenes - normally a staple of padding in Black Library novels - displaying a sense of violence and chaos with devolving into page after page of meaningly, oft-mocked ‘bolter porn’.
Also, I think the relationship between the two lead Space Marine antagonists had just that hint of queerness I’ve come to enjoy from Brook’s writing. Not much to say there, but just glad it exists.
The Lion: Son of the Forest is a fantastic return for what I’d always seen as one of Warhammer’s least interesting leads. With a focus on reflection, forgiveness, and camaraderie, genuine, goddamned character development and a character study of The Lion that’ll put the best of the Black Library to shame, this is required reading for anyone even mildly interested in the latest happenings of the Warhammer 40,000 universe.