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The History of the Runestaff #1-4
Vitez Sudbine
MULTIVERZUM - bezbroj svemira u kojima vladaju alternativni zakoni vremena i prostora, a Red i Haos vode večnu borbu da bi promenili osnovna pravila života.
BESMRTNI RATNIK - proklet da kroz hiljade inkarnacija večno živi. Ključni igrač Igre vremena, Dorijan Hokmun suprotstavljen je baronu Melijadu i vojskama Mračnog Carstva koje ovaj neumorno predvodi preko jedne buduće Evrope.
Ovo Murkokovo klasično delo predstavlja nam Dorijana Hokmuna, vojvodu od Kelna, i njegovu borbu protiv Mračnog Carstva.
Stupite u doba drevnih gradova, naučnog čarobnjaštva i kristalnih mašina. Tad Vilijams je o ovom romanu rekao: „Ako vas fantastika makar malo zanima, onda morate pročitati Murkokova dela. On je potpuno sam promenio način pisanja i pristupa ovom žanru. On je pravi spisateljski div. Otkad sam počeo da čitam knjige, njegovo pisanje me zabavlja, zapanjuje i opčinjava.“
BESMRTNI RATNIK - proklet da kroz hiljade inkarnacija večno živi. Ključni igrač Igre vremena, Dorijan Hokmun suprotstavljen je baronu Melijadu i vojskama Mračnog Carstva koje ovaj neumorno predvodi preko jedne buduće Evrope.
Ovo Murkokovo klasično delo predstavlja nam Dorijana Hokmuna, vojvodu od Kelna, i njegovu borbu protiv Mračnog Carstva.
Stupite u doba drevnih gradova, naučnog čarobnjaštva i kristalnih mašina. Tad Vilijams je o ovom romanu rekao: „Ako vas fantastika makar malo zanima, onda morate pročitati Murkokova dela. On je potpuno sam promenio način pisanja i pristupa ovom žanru. On je pravi spisateljski div. Otkad sam počeo da čitam knjige, njegovo pisanje me zabavlja, zapanjuje i opčinjava.“
514 pages, Paperback
First published January 1, 1980
19 people are currently reading
776 people want to read
About the author
Michael Moorcock
1,206 books3,740 followersMichael John Moorcock is an English writer primarily of science fiction and fantasy who has also published a number of literary novels.
Moorcock has mentioned The Gods of Mars by Edgar Rice Burroughs, The Apple Cart by George Bernard Shaw and The Constable of St. Nicholas by Edward Lester Arnold as the first three books which captured his imagination. He became editor of Tarzan Adventures in 1956, at the age of sixteen, and later moved on to edit Sexton Blake Library. As editor of the controversial British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction "New Wave" in the UK and indirectly in the United States. His serialization of Norman Spinrad's Bug Jack Barron was notorious for causing British MPs to condemn in Parliament the Arts Council's funding of the magazine.
During this time, he occasionally wrote under the pseudonym of "James Colvin," a "house pseudonym" used by other critics on New Worlds. A spoof obituary of Colvin appeared in New Worlds #197 (January 1970), written by "William Barclay" (another Moorcock pseudonym). Moorcock, indeed, makes much use of the initials "JC", and not entirely coincidentally these are also the initials of Jesus Christ, the subject of his 1967 Nebula award-winning novella Behold the Man, which tells the story of Karl Glogauer, a time-traveller who takes on the role of Christ. They are also the initials of various "Eternal Champion" Moorcock characters such as Jerry Cornelius, Jerry Cornell and Jherek Carnelian. In more recent years, Moorcock has taken to using "Warwick Colvin, Jr." as yet another pseudonym, particularly in his Second Ether fiction.
Moorcock has mentioned The Gods of Mars by Edgar Rice Burroughs, The Apple Cart by George Bernard Shaw and The Constable of St. Nicholas by Edward Lester Arnold as the first three books which captured his imagination. He became editor of Tarzan Adventures in 1956, at the age of sixteen, and later moved on to edit Sexton Blake Library. As editor of the controversial British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction "New Wave" in the UK and indirectly in the United States. His serialization of Norman Spinrad's Bug Jack Barron was notorious for causing British MPs to condemn in Parliament the Arts Council's funding of the magazine.
During this time, he occasionally wrote under the pseudonym of "James Colvin," a "house pseudonym" used by other critics on New Worlds. A spoof obituary of Colvin appeared in New Worlds #197 (January 1970), written by "William Barclay" (another Moorcock pseudonym). Moorcock, indeed, makes much use of the initials "JC", and not entirely coincidentally these are also the initials of Jesus Christ, the subject of his 1967 Nebula award-winning novella Behold the Man, which tells the story of Karl Glogauer, a time-traveller who takes on the role of Christ. They are also the initials of various "Eternal Champion" Moorcock characters such as Jerry Cornelius, Jerry Cornell and Jherek Carnelian. In more recent years, Moorcock has taken to using "Warwick Colvin, Jr." as yet another pseudonym, particularly in his Second Ether fiction.
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November 28, 2020Tek sam na četvrtini ali mogu sasvim legitimno da napišem utiske o celoj knjizi jer je izvesno da se neće menjati.
Elem, jednom sam kod nekog pametnog lika pročitala o Klajstovim anegdotama (ne pitajte) da su "izlivene iz jednog komada, bez ikakvih mehurića psihologizacije" i bogami to važi i za Murkoka, nema ni jednog jedinog takvog mehurića, ni p od pretenzija na književnu vrednost ili daleko bilo relevantnost za savremene teme, samo jedan zdravi polet u udri-kolji-sprži ključu. Rogati konji! Letenje na džinovskim flamingosima! Kacige u obliku zverskih glava ukrašene draguljima! Zli fetusi imperatori! Krv do kolena (a u najavi i više)! Lepo se vidi da se Murkok ludo zabavljao pišući o Hokmunovim avanturama i to prosto ne može a da se ne prenese i na čitaoca.
PS D'Averk *****
Elem, jednom sam kod nekog pametnog lika pročitala o Klajstovim anegdotama (ne pitajte) da su "izlivene iz jednog komada, bez ikakvih mehurića psihologizacije" i bogami to važi i za Murkoka, nema ni jednog jedinog takvog mehurića, ni p od pretenzija na književnu vrednost ili daleko bilo relevantnost za savremene teme, samo jedan zdravi polet u udri-kolji-sprži ključu. Rogati konji! Letenje na džinovskim flamingosima! Kacige u obliku zverskih glava ukrašene draguljima! Zli fetusi imperatori! Krv do kolena (a u najavi i više)! Lepo se vidi da se Murkok ludo zabavljao pišući o Hokmunovim avanturama i to prosto ne može a da se ne prenese i na čitaoca.
PS D'Averk *****
November 6, 2021
Very early Moorcock, and yet he still was showing the chops needed to become one of the greatest sword and sorcery authors of all time.
This collection isn't perfect, though. While you do get plenty of pulpy sword and sorcery action and adventure, the stories are all similar enough that, by the end, this book really starts wearing out its welcome. Also, the amount of times that Hawkmoon and company gets captured (or knocked out and then captured) is so high that it becomes ridiculously hilarious.
It's also worth noting that a lot of the more interesting bits of Moorcock's later work is largely missing. The tortured sadness of Corum and the moral ambiguity of Elric aren't really here, for example. These are generally black and white "good guys vs. bad guys" stories.
This collection isn't perfect, though. While you do get plenty of pulpy sword and sorcery action and adventure, the stories are all similar enough that, by the end, this book really starts wearing out its welcome. Also, the amount of times that Hawkmoon and company gets captured (or knocked out and then captured) is so high that it becomes ridiculously hilarious.
It's also worth noting that a lot of the more interesting bits of Moorcock's later work is largely missing. The tortured sadness of Corum and the moral ambiguity of Elric aren't really here, for example. These are generally black and white "good guys vs. bad guys" stories.
February 21, 2016
Бојим се да је и ово натегнута оцена. Дајем је на интересантну идеју и на динамику приповести што у основи роман чини занимљивим. Ипак, дело је далеко испод очекиваног што се епске фантастике тиче (онога што после савремених дела из тог жанра очекујемо). Проблем представља једна помало банална херојска прича са врло плитким ликовима и заплетом из кога настаје неколико повезаних прича које се увек крећу у клишеизираној матрици (херој - мисија - артефакт). Да је дело краће (мање мисија и артефаката) мислим да би било далеко боље.
Елем занимљивост чини то што се прича одвија у далекој будућности која је таква као последица неког неиспричаног апокалиптичног сценарија који је епоху свео на мешавину средњовековља и сулуде магијско-технолошке цивилизације. Већи део романа одиграва се на територији данашње Европе са мање -више сличном поделом на данашње државе. Главна сила зла је Царство таме које у своје, мржњом и лудошћу мотивисано освајање света, креће (што је интересантно) из Велике Британије или како се у роману зове Грандбретање. Грандбретанци су тако персонификација ултимативног зла. Њима се супротставља млади војвода од Келна Дорјан Хокмун, архетипски и бајковити херој.
Елем занимљивост чини то што се прича одвија у далекој будућности која је таква као последица неког неиспричаног апокалиптичног сценарија који је епоху свео на мешавину средњовековља и сулуде магијско-технолошке цивилизације. Већи део романа одиграва се на територији данашње Европе са мање -више сличном поделом на данашње државе. Главна сила зла је Царство таме које у своје, мржњом и лудошћу мотивисано освајање света, креће (што је интересантно) из Велике Британије или како се у роману зове Грандбретање. Грандбретанци су тако персонификација ултимативног зла. Њима се супротставља млади војвода од Келна Дорјан Хокмун, архетипски и бајковити херој.
October 30, 2017
Ocena za knjigu i po, odnosno nekih 210 stranica, dalje jednostavno ne mogu. Naivno do bola, sa zapletima koji su na momente toliko glupi da me je bio blam šta ja čitam. Ali bar ima ok ideja, zato ova dvojčica.
September 14, 2015
I think many fans of Moorcock's 'Elric' character tend to forget that Hawkmoon was one of Moorcock's first characters and the 'toe in the water' of creating a multiverse and predates the proper first 'Elric' by a few years. The 'Runestaff' series were written by a young Moorcock in the late 60's with his deliberate choice of a German-born character in a post-nuclear apocalypse Europe. If anything, Moorcock was creating Elric and Hawkmoon side-by-side in many respects.
This omnibus version has an introduction by Moorcock himself explaining that in this edition he wanted to bring the series into one collection for the first time with little editing done beyond technical tightening. As Moorcock says himself, these books reflect a youthful desire to write science fantasy books that are enjoyable to read - like a good pop song. They weren't intended to provide the moral uncertainty of Elric. If anything, Hawkmoon is the straight-up hero of yore. There are elements of doubt and uncertainty in the character but they are never fully resolved or determined.
'The History of the Runestaff' is a good fast read for the beach, the backyard hammock or couch. By the third book, you begin to wonder how Hawkmoon hasn't died yet by a thousand cuts but then again these are fantasy novels.
Don't let the simplicity of the characters sour you on reading 'The History of the Runestaff' but think of this omnibus edition as the large plate of loaded nachos you ate by yourself in guilty pleasure.
This omnibus version has an introduction by Moorcock himself explaining that in this edition he wanted to bring the series into one collection for the first time with little editing done beyond technical tightening. As Moorcock says himself, these books reflect a youthful desire to write science fantasy books that are enjoyable to read - like a good pop song. They weren't intended to provide the moral uncertainty of Elric. If anything, Hawkmoon is the straight-up hero of yore. There are elements of doubt and uncertainty in the character but they are never fully resolved or determined.
'The History of the Runestaff' is a good fast read for the beach, the backyard hammock or couch. By the third book, you begin to wonder how Hawkmoon hasn't died yet by a thousand cuts but then again these are fantasy novels.
Don't let the simplicity of the characters sour you on reading 'The History of the Runestaff' but think of this omnibus edition as the large plate of loaded nachos you ate by yourself in guilty pleasure.
March 3, 2025
Para mi, su mejor libro. Diría que dentro del estilo Moorcock, y sabiendo lo mucho que desprecia a J RR TOLKIEN, podría decirse que se trata de su propio señor de los anillos. Una trama interesante, personajes bien definidos y ambiguos (Algo que luego supo explotar G.R.R. Martin) Y un universo delicioso y lleno de sitios bien definidos. Dorian es un héroe obligado a ser un villano, pero ahí tenemos a Brass, siempre un paso por delante del Imperio Granbretan, y manteniéndose firme para no ceder ante sus ansias imperiales.
De este autor llegué a saturarme, pero únicamente fue culpa mía. Desarrollé una afición tal a sus libros, que empecé a devorarlos de seguido, sin dejar pausas entre ellos, sin oxigenarme con otros autores, y cuando llegué a las Crónicas de Elric de Melniboné, descubrí mucha magia pero comencé a verle el cartón: Estaban estructurados exactamente igual, cada libro era una clonación de argumentos, sucesos y tragedias igual que en anterior. Y tuve que dejarlo por mucho tiempo. Aún así, este en concreto, es un muy buen libro de fantasía.
De este autor llegué a saturarme, pero únicamente fue culpa mía. Desarrollé una afición tal a sus libros, que empecé a devorarlos de seguido, sin dejar pausas entre ellos, sin oxigenarme con otros autores, y cuando llegué a las Crónicas de Elric de Melniboné, descubrí mucha magia pero comencé a verle el cartón: Estaban estructurados exactamente igual, cada libro era una clonación de argumentos, sucesos y tragedias igual que en anterior. Y tuve que dejarlo por mucho tiempo. Aún así, este en concreto, es un muy buen libro de fantasía.
October 17, 2011
OMG - this was awful. Note to self - read with caution book recommended by husband.
June 12, 2020
Good, classic fantasy. Of course, like much of Moorcock's work, the female representation is extremely minimal, but at least
July 23, 2020
El bastón rúnico fue la primera y última novela que leí de Moorcock. Conocía la fama del autor y cayó en mis manos este libro, así que la leí... y mi decepción fue mayúscula. Si bien el mundo descrito podría llegar tener algún interés, el personaje protagonista era puro vacío, carente de alma. Imposible identificarse con algo (no me sale "alguien") que bien podría asimilarse a un robot. Con un protagonista así ya nada se puede disfrutar en una novela.
Se me quitaron las ganas de leer nada más de Moorcock.
Se me quitaron las ganas de leer nada más de Moorcock.
November 27, 2025
This is very early Moorcock and almost rudimentary in its characters, but the world-building is quite unusual. Not at all like other sword and sorcery. The Hawkmoon series has a steampunk tone and strange combinations of sorcery and science, and so is strikingly different from his other famous series such as Elric. It has swords and lasers, ornithopters, armies of mounted flamingoes and gods based on the four members of the Beatles. It may have inspired Warhammer 40K, but would work equally well as a Ghibli film. It is a mad combination of things. At the same time, all these ideas have little depth to them. Everyone speaks the same language, for example. Cities, societies and characters are only what they need to be in the moment, and the characters have very simple motivations. Plots are quickly introduced and quickly resolved.
This was before the depressing melancholy of Elric and before the angry righteousness of Corum. This was before Moorcock wrote his characters in opposition to Robert E. Howard, it seems. The first Hawkmoon novel introduces Count Brass, a larger than life hero and a king, and Moorcock’s descriptions are not far off from Howard’s introduction of Kull of Atlantis: A mighty warrior in gleaming armour, old and noble, yet still able to slay monsters in his path. In the first chapters, Count Brass jumps into an arena to save his toreador and wrestles a bull to the ground without breaking a sweat, supported by the cheers of his people. Confusingly, he is not the main hero of the story.
Set in some post-apocalyptic future version of Europe, millennia after an atomic war, the continent is again divided into many kingdoms. In a kind of repeat of the time when the Industrial Revolution gave Britain the power to create the British Empire, in this world Britain leaps ahead with steampunk technologies and decides to conquer Europe in the name of their “Dark Empire”. They are extra special evil, with an immortal emperor and an insanity raging through the island.
Count Brass opposes Britain (called Granbretan in his world), but he is not the real hero of the series. It is Dorian Hawkmoon. Hawkmoon is a prisoner in Granbretan, and is sent to Count Brass to infiltrate his lands. A jewel is implanted into Dorian’s forehead that is supposed to keep him under control, but Brass incapacitates the jewel and the two heroes team up. Later, Hawkmoon learns that his actions are influenced by a mythical object named the Runestaff, which is said to be hidden on top of Mount Everest, guarded by yetis. And that is how this series ultimately connects with Moorcock’s Multiverse and the eternal fight of Law versus Chaos.
Hawkmoon is a strange character at the start and not a hero at all. He’s not very endearing to the readers. He is emotionally numb and moves through life like some kind of ghost. Count Brass reawakens him but still he seems unbalanced and searching for a personality. At the end of these four novels, I am not sure that Moorcock ever found him a personality. Throughout his journey, Hawkmoon grows into the hero role, and acquires attributes that make him similar to Elric and Corum. A little hairy fellow joins him as a sidekick, Oladahn, similar to Elric’s Moonglum and Corum’s Jhary-a-Conel.
Although all four novels make for a single story, the story itself is mostly a series of accidental quests that feel a little repetitive. Hawkmoon ends up in some distant land, gets captured, escapes, has a girl fall in love with him, obtains some magical sword or ring or something, and everything is quickly resolved. All these quests and attributes come down to a superhero origin story. All in all, I admire Moorcock’s imagination, but the series is a mixed bag of elements that sometimes work and sometimes feel undercooked. An interesting series all the same.
This was before the depressing melancholy of Elric and before the angry righteousness of Corum. This was before Moorcock wrote his characters in opposition to Robert E. Howard, it seems. The first Hawkmoon novel introduces Count Brass, a larger than life hero and a king, and Moorcock’s descriptions are not far off from Howard’s introduction of Kull of Atlantis: A mighty warrior in gleaming armour, old and noble, yet still able to slay monsters in his path. In the first chapters, Count Brass jumps into an arena to save his toreador and wrestles a bull to the ground without breaking a sweat, supported by the cheers of his people. Confusingly, he is not the main hero of the story.
Set in some post-apocalyptic future version of Europe, millennia after an atomic war, the continent is again divided into many kingdoms. In a kind of repeat of the time when the Industrial Revolution gave Britain the power to create the British Empire, in this world Britain leaps ahead with steampunk technologies and decides to conquer Europe in the name of their “Dark Empire”. They are extra special evil, with an immortal emperor and an insanity raging through the island.
Count Brass opposes Britain (called Granbretan in his world), but he is not the real hero of the series. It is Dorian Hawkmoon. Hawkmoon is a prisoner in Granbretan, and is sent to Count Brass to infiltrate his lands. A jewel is implanted into Dorian’s forehead that is supposed to keep him under control, but Brass incapacitates the jewel and the two heroes team up. Later, Hawkmoon learns that his actions are influenced by a mythical object named the Runestaff, which is said to be hidden on top of Mount Everest, guarded by yetis. And that is how this series ultimately connects with Moorcock’s Multiverse and the eternal fight of Law versus Chaos.
Hawkmoon is a strange character at the start and not a hero at all. He’s not very endearing to the readers. He is emotionally numb and moves through life like some kind of ghost. Count Brass reawakens him but still he seems unbalanced and searching for a personality. At the end of these four novels, I am not sure that Moorcock ever found him a personality. Throughout his journey, Hawkmoon grows into the hero role, and acquires attributes that make him similar to Elric and Corum. A little hairy fellow joins him as a sidekick, Oladahn, similar to Elric’s Moonglum and Corum’s Jhary-a-Conel.
Although all four novels make for a single story, the story itself is mostly a series of accidental quests that feel a little repetitive. Hawkmoon ends up in some distant land, gets captured, escapes, has a girl fall in love with him, obtains some magical sword or ring or something, and everything is quickly resolved. All these quests and attributes come down to a superhero origin story. All in all, I admire Moorcock’s imagination, but the series is a mixed bag of elements that sometimes work and sometimes feel undercooked. An interesting series all the same.
July 30, 2020
Gran libro de fantasía con un hilo que no es difícil de seguir.
Read
May 27, 2025Crazy book
October 23, 2014
So far the most primitive book in the "Eternal Champion". Primitive, in the sense of "this is straight up heroic fantasy" that almost reads like a Saturday morning cartoon. The plot is incredibly straightforward "good v. evil". The titular "bad guys" are called "the Dark Empire".
So yes. Hawkmoon Good, Dark Empire Bad. Doesn't really get more complex than that. Also, the "everything is pre-ordained" trope is used way too much.
The flow is a bit choppy. The same trope is encountered again and again--the heroes face overwhelming odd, put up an incredible fight, then get captured. And rescued in the last possible moment. 4 times per story.
In terms of structure of the book--Book 1 introduces a setting (that can loosely be compared to the Broken Empire from "Prince of Thorns", and it has a cool epic past the middle. Book 2 is a fetch quest. Book 3 is pretty much also a fetch quest. The last story is redeemed somewhat by the fact that there's a lot of pages devoted to the Dark Empire's PoV, which is somewhat refreshing after the pious-to-tears Hawkmoon.
In terms of advancing the global "Eternal Champion" narrative, "Hawkmoon" bears some interest, due to a sizeable role played by a particular colour-coded character.
In short: good for completion's sake, but on its own, the most dated book in the cycle so far.
So yes. Hawkmoon Good, Dark Empire Bad. Doesn't really get more complex than that. Also, the "everything is pre-ordained" trope is used way too much.
The flow is a bit choppy. The same trope is encountered again and again--the heroes face overwhelming odd, put up an incredible fight, then get captured. And rescued in the last possible moment. 4 times per story.
In terms of structure of the book--Book 1 introduces a setting (that can loosely be compared to the Broken Empire from "Prince of Thorns", and it has a cool epic past the middle. Book 2 is a fetch quest. Book 3 is pretty much also a fetch quest. The last story is redeemed somewhat by the fact that there's a lot of pages devoted to the Dark Empire's PoV, which is somewhat refreshing after the pious-to-tears Hawkmoon.
In terms of advancing the global "Eternal Champion" narrative, "Hawkmoon" bears some interest, due to a sizeable role played by a particular colour-coded character.
In short: good for completion's sake, but on its own, the most dated book in the cycle so far.
September 11, 2016
I still love it. Hawkmoon is a bit less utterly heroic than Elric (who is also a bit dreary) or Corum, but I like the jewel in his skull. The first two books in the series - Jewel in the Skull and the Mad God's Amulet are written in a way that would have got Moorcock thrown out of his writing group these days - his use of adverbs, his stylised nodding, frowning and especially his flip flopping Point of View, now in one person's head, now in anothers. He's still doing it by the third book - Sword of the Dawn, but his writing is getting better by this time. I am not sure that readers care as much about these things as writing groups anyway, and they didn't spoil my enjoyment of the book.
Where Moorcock utterly triumphs is how he manages to introduce questions at every chapter so you keep turning them pages. He is also astounding in his use of striking, novel and bizarre images - the animal masks of Granbretan, the descriptions of Londra and the Kamarg and the various vanished cities, odd technology and everything. That's why he's great. It's a feast for the senses and though it's pure pulp, it's fantastic fun.
Where Moorcock utterly triumphs is how he manages to introduce questions at every chapter so you keep turning them pages. He is also astounding in his use of striking, novel and bizarre images - the animal masks of Granbretan, the descriptions of Londra and the Kamarg and the various vanished cities, odd technology and everything. That's why he's great. It's a feast for the senses and though it's pure pulp, it's fantastic fun.
August 8, 2015
Outstanding epic fantasy, quite possibly best fantay book I have ever read :-D
December 25, 2018
Did not finish, as I did not like it.
February 2, 2018
3.5/5*
SIN SPOILERS:
Eres Dorian Hawkmoon, duque de Colonia, una ciudad de la antaño llamada Alemania. Luchas contra el Imperio Oscuro de Granbretan, antes conocida como... bueno... ya os imagináis su anterior nombre.
Este mundo es, obviamente, el NUESTRO. Pero varios milenios adelante, de modo que la 'Época dorada' de nuestro tiempo es llamada con temor "El Milenio Trágico", una era en la que la ciencia literalmente explotó, y el mundo se autodestruyó. Se considera que también la 'Magia' tuvo su lugar en aquella época, pero en el tiempo en que la historia se ambienta, sobreviven muy pocos restos de aquella ciencia y magia.
Asesinan a tu padre, intentas tomar venganza, te raptan, y te implantan una joya en la frente, la Joya Negra, un artefacto cuasi - científico que torna a su portador en un ser sin voluntad, que hará lo que le digan, por miedo a que la Joya aniquile su mente.
Eres Dorian Hawkmoon, y en estas condiciones te ves obligado a cumplir órdenes o, por el contrario, ser reducido a un ser sin cerebro con una joya pegada a la frente y casi incapaz de valerse por sí mismo.
La misión es raptar a la princesa de Camarga, la única provincia de Europa que todavía resiste al Imperio Oscuro. Allá vas, con casi nulas esperanzas de vivir. Pero, por supuesto, nada sale como se espera. Las cosas se tuercen aquí y allá, alguien jura por el Bastón Rúnico, y a partir de ese momento la maquinaria del destino queda activada, trabajando para imponer un modelo de eventos predeterminados, y ninguno de cuyos participantes tiene idea de que está en el ajo (o casi nadie...).
Hasta aquí, el planteamiento de la historia. Es algo sencillo, pero de por sí, para haber sido escrito en los 70, no está nada mal. La peor parte es la siguiente:
A pesar de ser una historia activa, llena de giros y curiosamente con muy pocos puntos aburridos (620 páginas), los personajes y sus relaciones interpersonales no llegan a cuajar del todo. En muchas escenas los diálogos son 'insuficientes', la comunicación no es la que esperarías en una situación parecida, y sin embargo los personajes ACTÚAN. Esto les da un aire de eterna impulsividad, una impulsividad demasiado 'heroica', demasiado instintiva, demasiado animal. Pareciera como si los personajes tuviesen el sentido del honor, el deber, el amor, la venganza, tan claros en sus mentes, que ni siquiera necesitasen expresarlos en voz alta, ni siquiera a sus aliados. Así, muchas escenas que no sean puramente descriptivas, sino de acción, adolecen de falta de detalles.
Es la falta de detalles lo que ha evitado que valorase al libro con 4/5. El punto restante sigue siendo la simplicidad, una historia que abarca, como mínimo, dos continentes enteros si no tres en determinado momento, y llegan a pasar meses, casi años, y que no hace justicia a este gran alcance físico y temporal con un nivel de detalle a su altura.
SIN SPOILERS:
Eres Dorian Hawkmoon, duque de Colonia, una ciudad de la antaño llamada Alemania. Luchas contra el Imperio Oscuro de Granbretan, antes conocida como... bueno... ya os imagináis su anterior nombre.
Este mundo es, obviamente, el NUESTRO. Pero varios milenios adelante, de modo que la 'Época dorada' de nuestro tiempo es llamada con temor "El Milenio Trágico", una era en la que la ciencia literalmente explotó, y el mundo se autodestruyó. Se considera que también la 'Magia' tuvo su lugar en aquella época, pero en el tiempo en que la historia se ambienta, sobreviven muy pocos restos de aquella ciencia y magia.
Asesinan a tu padre, intentas tomar venganza, te raptan, y te implantan una joya en la frente, la Joya Negra, un artefacto cuasi - científico que torna a su portador en un ser sin voluntad, que hará lo que le digan, por miedo a que la Joya aniquile su mente.
Eres Dorian Hawkmoon, y en estas condiciones te ves obligado a cumplir órdenes o, por el contrario, ser reducido a un ser sin cerebro con una joya pegada a la frente y casi incapaz de valerse por sí mismo.
La misión es raptar a la princesa de Camarga, la única provincia de Europa que todavía resiste al Imperio Oscuro. Allá vas, con casi nulas esperanzas de vivir. Pero, por supuesto, nada sale como se espera. Las cosas se tuercen aquí y allá, alguien jura por el Bastón Rúnico, y a partir de ese momento la maquinaria del destino queda activada, trabajando para imponer un modelo de eventos predeterminados, y ninguno de cuyos participantes tiene idea de que está en el ajo (o casi nadie...).
Hasta aquí, el planteamiento de la historia. Es algo sencillo, pero de por sí, para haber sido escrito en los 70, no está nada mal. La peor parte es la siguiente:
A pesar de ser una historia activa, llena de giros y curiosamente con muy pocos puntos aburridos (620 páginas), los personajes y sus relaciones interpersonales no llegan a cuajar del todo. En muchas escenas los diálogos son 'insuficientes', la comunicación no es la que esperarías en una situación parecida, y sin embargo los personajes ACTÚAN. Esto les da un aire de eterna impulsividad, una impulsividad demasiado 'heroica', demasiado instintiva, demasiado animal. Pareciera como si los personajes tuviesen el sentido del honor, el deber, el amor, la venganza, tan claros en sus mentes, que ni siquiera necesitasen expresarlos en voz alta, ni siquiera a sus aliados. Así, muchas escenas que no sean puramente descriptivas, sino de acción, adolecen de falta de detalles.
Es la falta de detalles lo que ha evitado que valorase al libro con 4/5. El punto restante sigue siendo la simplicidad, una historia que abarca, como mínimo, dos continentes enteros si no tres en determinado momento, y llegan a pasar meses, casi años, y que no hace justicia a este gran alcance físico y temporal con un nivel de detalle a su altura.
Read
October 13, 2022*** discussion of whole book ***
The first book of the History of the Runestaff cycle is now over fifty years old, and the significant aspect of Moorcock's work here is how casually he collects, collates, invents and codifies the conventions of Sword and Sorcery as we now know it, through our books, film and games alike.
He was also challenging and reinventing them. In his infamous essay Epic Pooh, he described the battle of his New Wave versus the Epic as "solid good sense as opposed to perverted intellectualism," with 'good sense' sarcastically applied to the reactionary models laid out by Tolkien and CS Lewis, and his admiration reserved for the critical minds of contemporaries such as JG Ballard and Ursula Le Guin, who both constructed new worlds and deconstructed them, and whose movement was often viewed as perverse or nihilistic by the establishment.
Here, then, as early as 1967, building on his early work with Elric, starting in 1961, we have the world of Dorian Hawkmoon: a past-in-the-future Earth set long after a devastating nuclear war. The world itself is one of many parallel worlds in the multiverse. Good and Evil are reimagined as Law and Chaos, with dimension hopping eternal champions being pulled into quests as the forces of quantum nature seek to find a balance. The armies of Gran Bretan invade on the backs of mechanical ornithopters, and armored knights ride horses into colossal ruins of once-modern cities.
Moorcock's native Britain is clawed back from the comfortable mythology of the Shire and shown for what is was, at its height as the British Empire. Legions of troops swarming the world with superior equipment, and a religious sense of superiority. Here, the class system is heightened with animal masked factions, and the Emperor sits eternally on his throne in a sustaining sphere.
The story unfolds at pace, a fever dream written at speed, which requires the reader to identify and hold in their mind the greater context or be left at the wayside. Hawkmoon, captured, tortured and thrown away to the last fringes of resistance, has no hope of a conventional journey to freedom and redemption. Instead he must join with the forces of the multiverse and do his part to right balance, only then will the chance for victory appear. All sense of conventional framing is gone. This is just as difficult for modern readers. Although the concept of the multiverse is common in fantasy and film in 2020, not many stories abandoned their character arcs and acts in its service.
A wonder then, that at the final confrontation, we do in fact feel for the fates of the protagonists, and a story has been told. And along the way, whole swathes of language, symbolism and genre convention have been created in a fantastic act of visualization.
The first book of the History of the Runestaff cycle is now over fifty years old, and the significant aspect of Moorcock's work here is how casually he collects, collates, invents and codifies the conventions of Sword and Sorcery as we now know it, through our books, film and games alike.
He was also challenging and reinventing them. In his infamous essay Epic Pooh, he described the battle of his New Wave versus the Epic as "solid good sense as opposed to perverted intellectualism," with 'good sense' sarcastically applied to the reactionary models laid out by Tolkien and CS Lewis, and his admiration reserved for the critical minds of contemporaries such as JG Ballard and Ursula Le Guin, who both constructed new worlds and deconstructed them, and whose movement was often viewed as perverse or nihilistic by the establishment.
Here, then, as early as 1967, building on his early work with Elric, starting in 1961, we have the world of Dorian Hawkmoon: a past-in-the-future Earth set long after a devastating nuclear war. The world itself is one of many parallel worlds in the multiverse. Good and Evil are reimagined as Law and Chaos, with dimension hopping eternal champions being pulled into quests as the forces of quantum nature seek to find a balance. The armies of Gran Bretan invade on the backs of mechanical ornithopters, and armored knights ride horses into colossal ruins of once-modern cities.
Moorcock's native Britain is clawed back from the comfortable mythology of the Shire and shown for what is was, at its height as the British Empire. Legions of troops swarming the world with superior equipment, and a religious sense of superiority. Here, the class system is heightened with animal masked factions, and the Emperor sits eternally on his throne in a sustaining sphere.
The story unfolds at pace, a fever dream written at speed, which requires the reader to identify and hold in their mind the greater context or be left at the wayside. Hawkmoon, captured, tortured and thrown away to the last fringes of resistance, has no hope of a conventional journey to freedom and redemption. Instead he must join with the forces of the multiverse and do his part to right balance, only then will the chance for victory appear. All sense of conventional framing is gone. This is just as difficult for modern readers. Although the concept of the multiverse is common in fantasy and film in 2020, not many stories abandoned their character arcs and acts in its service.
A wonder then, that at the final confrontation, we do in fact feel for the fates of the protagonists, and a story has been told. And along the way, whole swathes of language, symbolism and genre convention have been created in a fantastic act of visualization.
July 13, 2018
4 books in 1, so it will be a long review...
THE JEWEL IN THE SKULL- Book One: The introduction of Count Brass and a terrible fight against a baragoon, in a world with horned horses, giant flamingos, and the Dark Empire of Granbretan, cruel, insane and depraved. Mentions of the Runestaff, said to contain all secrets of Destiny.
Book Two: Dorian Hawkmoon finally enters the story, who seems detached from the world around him/ emotionless, maybe mutilated by the Empire. After his awakening, he is told of a way to remove the Jewel in the Skull... Whose idea was that of ornithopters, Moorcock's or Frank Herbert's?
Book Three: The hilarious encounter with Oladahn, kin of giants... but not that with Agonosvos and his freak caravan. Dorian and his companion are helped by a mysterious warrior on their way to Persia, to find the sorcerer Malagigi; and once there, they'll have to fight the Empire on the city of Hamadan (!).
THE MAD GOD'S AMULET - Book One: A predicament opens up this book as another antagonist enters the story. Helped by wraith-people, the pair will face many dangers to rid the East of the Empire, or try to. On their way back to the Kamarg, they first hear of the Mad God.
Book Two: Again the Warrior in Jet and Gold: what is his purpose? Finally, within the mad God's castle, Hawkmoon is called Champion. Is the Red Amulet infused with Arioch's power and bloodlust? Betrayal! Is Hawkmoon to be betrayed all over the world? Even betrayed, but back at Castle Brass, can they defeat the Dark Empire? A quote: "I have a fear of Germans." [a god said]
THE SWORD OF THE DAWN - Book One: Someone from outside is found at the Kamarg of Limbo, and emissaries from Asiacommunista visiting the Empire. Chapter 12 proved as an example of true expert writer's revelation. Hawkmoon has finally found someone who tells him of his destiny and the Runestaff.
Book Two: Stranded in a completely strange place-time, D'Averc and Hawkmoon face horrific experiences. Now they know how to find the so-called Sword, but can they have it? Amarehk (!) is where they are. "Dark shapes moving in the deep pool of blood."
THE RUNESTAFF - Book One: Intrigues in the Empire and Hawkmoon trying to change his destiny. Moorcock's preference for J.C.; and was his intention for Dnark to look like another Tanelorn? The Runestaff is finally found but a stalemate is enacted.
Book Two: Schemes and plots from every corner of the Court. So, the supreme treason and Castle Brass planning to fight the Empire, not suspecting a dire surprise!
Book Three: The Empire accomplished to make Castle Brass fight to the end, this time. How can 500 warriors face hundreds of thousands? With the help of strange gifts and brave allies. "The world does not change, Dorian Hawkmoon."
THE JEWEL IN THE SKULL- Book One: The introduction of Count Brass and a terrible fight against a baragoon, in a world with horned horses, giant flamingos, and the Dark Empire of Granbretan, cruel, insane and depraved. Mentions of the Runestaff, said to contain all secrets of Destiny.
Book Two: Dorian Hawkmoon finally enters the story, who seems detached from the world around him/ emotionless, maybe mutilated by the Empire. After his awakening, he is told of a way to remove the Jewel in the Skull... Whose idea was that of ornithopters, Moorcock's or Frank Herbert's?
Book Three: The hilarious encounter with Oladahn, kin of giants... but not that with Agonosvos and his freak caravan. Dorian and his companion are helped by a mysterious warrior on their way to Persia, to find the sorcerer Malagigi; and once there, they'll have to fight the Empire on the city of Hamadan (!).
THE MAD GOD'S AMULET - Book One: A predicament opens up this book as another antagonist enters the story. Helped by wraith-people, the pair will face many dangers to rid the East of the Empire, or try to. On their way back to the Kamarg, they first hear of the Mad God.
Book Two: Again the Warrior in Jet and Gold: what is his purpose? Finally, within the mad God's castle, Hawkmoon is called Champion. Is the Red Amulet infused with Arioch's power and bloodlust? Betrayal! Is Hawkmoon to be betrayed all over the world? Even betrayed, but back at Castle Brass, can they defeat the Dark Empire? A quote: "I have a fear of Germans." [a god said]
THE SWORD OF THE DAWN - Book One: Someone from outside is found at the Kamarg of Limbo, and emissaries from Asiacommunista visiting the Empire. Chapter 12 proved as an example of true expert writer's revelation. Hawkmoon has finally found someone who tells him of his destiny and the Runestaff.
Book Two: Stranded in a completely strange place-time, D'Averc and Hawkmoon face horrific experiences. Now they know how to find the so-called Sword, but can they have it? Amarehk (!) is where they are. "Dark shapes moving in the deep pool of blood."
THE RUNESTAFF - Book One: Intrigues in the Empire and Hawkmoon trying to change his destiny. Moorcock's preference for J.C.; and was his intention for Dnark to look like another Tanelorn? The Runestaff is finally found but a stalemate is enacted.
Book Two: Schemes and plots from every corner of the Court. So, the supreme treason and Castle Brass planning to fight the Empire, not suspecting a dire surprise!
Book Three: The Empire accomplished to make Castle Brass fight to the end, this time. How can 500 warriors face hundreds of thousands? With the help of strange gifts and brave allies. "The world does not change, Dorian Hawkmoon."
May 19, 2018
I'm not sure I have ever read anything more exactly what it is than Michael Moorcock's The History of the Runestaff, an omnibus edition of his first Hawkmoon cycle in his Eternal Champion Multiverse. These four short novels tell the story of Duke Dorian Hawkmoon fighting against the Dark Empire of Granbretan (Great Britain) in a far-future, post-nuclear apocalypse sword-and-sorcery setting and there is just enough overwroughtness to be enjoyable without there being too much for the novel to work. For example, here is a bit from the very beginning of The Jewel in the Skull:
This was not a perfect book by any stretch of the imagination. The female characters were decidedly underdeveloped, although Yisselda gets a bit of extra characterization during The Runestaff and the world and characters both seemed to exist for the purposes of the plot, with large swathes of the world-building left totally unexplained and seemingly a bit haphazard as it produces plot episodes. It was, however, a fun read with a good adventure and the required eventual victory of good over evil and balance over imbalance. (A particularly interesting issue, since that balance looks in many ways like the victory of Law over Chaos, but from what little of his other work I have read--none of it recently--I suspect that is not actually quite the case). I would recommend this book, but would also be aware that it doesn't break much out of the classic-fantasy-adventure mode in terms of structure and characterization and that should be known before picking it up.
Count Brass, Lord Guardian of the Kamarg, rode out on a horned horse one morning to inspect his territories. He rode until he came to a little hill, on the top of which stood a ruin of immense age. It was the ruin of a Gothic church, and its walls of thick stone were smooth with the passing of winds and rains. Ivy clad much of it, and the ivy was of the flowering sort so that at this season purple and amber blossoms filled the dark windows, an excellent substitute for the stained glass that had once decorated them.The whole thing feels like this, with the far-future setting signaled by comments like "The Kamarg was in what used to be France," the calling of the far east Asiacommunista, and details like the city of Narleen, with the walled city within it of Starvel, located on a river in the mysterious Amarehk.
On his rides, Count Brass always came to the ruin. He felt a kind of fellowship with it, for, like him, it was old; like him, it had survived much turmoil, and, like him, it seemed to have been strengthened rather than weakened by the ravages of time.
This was not a perfect book by any stretch of the imagination. The female characters were decidedly underdeveloped, although Yisselda gets a bit of extra characterization during The Runestaff and the world and characters both seemed to exist for the purposes of the plot, with large swathes of the world-building left totally unexplained and seemingly a bit haphazard as it produces plot episodes. It was, however, a fun read with a good adventure and the required eventual victory of good over evil and balance over imbalance. (A particularly interesting issue, since that balance looks in many ways like the victory of Law over Chaos, but from what little of his other work I have read--none of it recently--I suspect that is not actually quite the case). I would recommend this book, but would also be aware that it doesn't break much out of the classic-fantasy-adventure mode in terms of structure and characterization and that should be known before picking it up.
October 3, 2017
Jag gillar Moorcock och hans del i genrens utveckling är något som inte kan förnekas. Men detta var i ärlighetens namn inte speciellt bra, egentligen. Inte dåligt men ej heller något jag kommer rekommendera. Ljuspunkter finns men de är egentligen få. Det mesta blir en ganska typisk och tråkig S&S handling som inte är mer än en serie olika äventyr där Hawkmoon med anhang skall hämta en grej som sedan tjänstgör som Deus Ex Machina. Mannen har fantasi, kan man ju faktiskt ändå säga, då världsbygget fortfarande är bra och förmodligen det starkaste kortet som böckerna har. Moorcock har själv erkänt att han skrivit böckerna för pengar på bara några dagar och, ja, det är ju inte precis ett högvattenmärke. Det börjar lite intressant faktiskt, då huvudkaraktärerna först vill ha så lite som möjligt att göra med något slags krig eller som i Hawkmoons fall är helt tillbakadragen. Men sedan blir det papperstunna karaktärer som inte har någon riktig konsekvent personlighet, som D´Averc eller Flana. Den senare blir hux flux en good guy på slutet.
Det är inget nytt under solen på något sätt, egentligen. Tunna karaktärer, tunn handling och egentligen bara en ursäkt för Moorcock att håva in pengar. Men mannen kan sitt hantverk och han kan det bra. Så det blir egentligen i alla fall ett ganska starkt meh mer än något annat. Egentligen inte läsvärt om man inte är en sådan som vill läsa allt som en viss författare har producerat.
Det är inget nytt under solen på något sätt, egentligen. Tunna karaktärer, tunn handling och egentligen bara en ursäkt för Moorcock att håva in pengar. Men mannen kan sitt hantverk och han kan det bra. Så det blir egentligen i alla fall ett ganska starkt meh mer än något annat. Egentligen inte läsvärt om man inte är en sådan som vill läsa allt som en viss författare har producerat.
This entire review has been hidden because of spoilers.
January 22, 2019
Fantasy of the old school, in my case every time I am less fan of these stories of confrontation between good and evil so extreme.
In the runestaff we find ourselves in a post-apocalyptic Earth future where magic and science coexist in a somewhat implausible way and with a "deus ex machine" effect that makes what is convenient is achieved and what is not, although it seems more feasible, not.
The characters are very flat and simple, there are only two: very good and very bad guys, and even some evolution touching the improbable. Moreover, good guys seem invulnerable and untouchable for moments, even when captured they are freed thanks, sometimes, to keep their personal belongings.
I see a flagrant flaw regarding a ring that allows to put together the story that is difficult to ignore.
The ending is a bit forced and incredible, it had to had a happy ending whatever it was.
The best thing is that despite all its flaws is an entertaining work, easy and fast to read.
Recommended only for hardcore fans of fantasy and for those who have longing, or curiosity, for the beginnings of the genre.
In the runestaff we find ourselves in a post-apocalyptic Earth future where magic and science coexist in a somewhat implausible way and with a "deus ex machine" effect that makes what is convenient is achieved and what is not, although it seems more feasible, not.
The characters are very flat and simple, there are only two: very good and very bad guys, and even some evolution touching the improbable. Moreover, good guys seem invulnerable and untouchable for moments, even when captured they are freed thanks, sometimes, to keep their personal belongings.
I see a flagrant flaw regarding a ring that allows to put together the story that is difficult to ignore.
The ending is a bit forced and incredible, it had to had a happy ending whatever it was.
The best thing is that despite all its flaws is an entertaining work, easy and fast to read.
Recommended only for hardcore fans of fantasy and for those who have longing, or curiosity, for the beginnings of the genre.
December 12, 2024
The History of the Runestaff is a masterpiece. There is no doubt about it whatsoever. I see all these reviews talking nonsensical things about it but let me tell you something - They are obviously not very smart or they are one of those people that like to talk bad about something just because they are unsatisfied with their own lives. This book is so fun, so full of adventure, memorable characters, wild imagination and everything you could ask from a fantasy book. In fact you can`t find book that is better in this genre even if you tried. Compared to the Lord Of The Rings, Sword Of Shannara, The Wheel Of Time, Game Of Thrones and other well known books of the genre this is certainly better and more fun. The Wheel Of Time is good but too damn long for most of the people even to start reading it. Only book that I could name that is better would be Chronicles Of Amber by Roger Zelazny and that would be it. If anyone disagrees it only speaks of their knowledge and wisdom.
Get this book, read it, thank me later or choose to be a boring snob. It is your choice.
Get this book, read it, thank me later or choose to be a boring snob. It is your choice.
February 9, 2020
The epic Moorcock readthrough continues into Hawkmoon - and though it is ultimately four books of very similar escapades and action to other Eternal Champion adventures, there are some very nice touches and a lot of stabbing of the awful Brit-imperial characteristics. The Dark Empire of Gran Bretan, the overwhelmingly bad guys against which Hawkmoon stands, is so plainly the modern Conservative party that you have to wonder whether young Moorcock had a time machine of his own. Other nods to Ballard and Aldiss are hidden in the details and are fun to spot as the gods prepare to exit their machines and help Hawkmoon save the day.
July 30, 2019
Moorcock (especially the early stuff) never disappoints for a bit of brainless fun, and this instalment is no exception. Deep characterisation and scintillating prose, there is not, though there are glimmers of both to be found. But for a swords and sorcery romp, you can't really do better :D Plenty of additional fun to be had in spotting recurrences from other incarnations of the Eternal Champion. The parallels between Granbretan and Elric's Melnibone were particularly interesting...
July 11, 2023
Wow, I really enjoyed Hawkmoon. Michael Moorcock revisits his themes of the equilibrium of of chaos between order and the Eternal Champion who must rise to correct any side from gaining too much influence. Dorian Hawkmoon and company come across as heroes in a grand epic and the mad Empire of Granbraeten make you cheer for the protagonists. The alternate earth setting and cosmic forces give makes this feel like a space opera. A truly satisfying and rousing conclusion. I cannot wait to read the companion book.
March 26, 2018
Ovu sam knjigu procitao kao tinejdžer i tad je ostavila veliki utisak na mene. Zbog toga sam je ponovo procitao. Medjutim utisak je drugačiji. Ovo je ok knjiga ski ipak dosta prazna i plitka uprkos velikom broju stranica. U svakom slučaju nije za više od 3 zvezdice i to možda čak zahvaljujući sećanju na prvo čitanje. Preporuka za čitaoce koji tek počinju sa čitanjem njima će biti dobra a za one koji su stariji i koji su pročitali dosta knjiga bolje da zaobidju ovo delo.
January 17, 2022
It's okay-ish. Has tons of ideas that are undercoocked and underdevelopped in the sake of pace, ends up feeling rushed and expeditive. The ending is particularly unsatisfactory, but at least there's stake.
Way too much deus ex-machina, and the hero feels like he can't really accomplish anything on his own, he's really arms and no brains is all, most of the actual feats are done by others or magical artifacts.
Moorcock didn't want to be Tolkien, and by gosh, Tolkien he indeed is not!
Way too much deus ex-machina, and the hero feels like he can't really accomplish anything on his own, he's really arms and no brains is all, most of the actual feats are done by others or magical artifacts.
Moorcock didn't want to be Tolkien, and by gosh, Tolkien he indeed is not!
November 20, 2023
Malísimo. No sé dónde leí que lo había escrito en tres días. Y tanto que se nota. ¡Qué despropósito! No sé ni por dónde cogerlo. Podía ser pulp (que me encanta) pero no llega. Tampoco fantasía épica. Ni mucho menos una tierra moribunda tipo Jack Vance. No es nada de eso. Es un escenario cutre, con unos personajes con el mismo desarrollo que los maniquíes del Zara revestidos de una estética ochentera muy chunga.
Bfff. Hasta aquí mi acercamiento con Moorcock
Bfff. Hasta aquí mi acercamiento con Moorcock
June 3, 2018
Buenisimas las aventuras de Dorian Hawkmoon en un mundo de nuestro futuro. El rey feto, Huón, está poca madre y el imperio de Londra, increible. No sé por que no lo hacen serie de televisión. Las obras de Moorcocok han sido muy descuidadas en una época en que seria increible verlas en producciones de televisión
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