In the aforementioned collaboration with Lin Carter, he worked to popularize Howard and bring him back into print. Adding their own contributions to the mythos, de Camp and Carter rewrote many of Howard’s unpublished non-Conan tales as new exploits of the Cimmerian. This led to a boom in Conan’s popularity, with the character spilling out into new novels, comic books, and even film, though a 1983 biography of Howard, penned by de Camp and titled Dark Valley Destiny: the Life of Robert E. Howard, had the unintended consequence of refocusing attention on Howard’s undiluted Conan, with de Camp and Carter’s additions and alterations dwindling in public favor.

Sword and sorcery wouldn’t officially be labeled as its own subgenre until 1961, however, when Michael Moorcock published a letter in the fanzine Amra, demanding that the type of swashbuckling adventure story pioneered by Howard be given a name. Ironically, Moorcock originally proposed the term “epic fantasy,” a label that has since come to be applied to the other side of the coin, that of J. R. R. Tolkien and his successors. But Fritz Leiber christened the subgenre when he wrote in the July 1961 issue of Amra, “I feel more certain than ever that this field should be called the sword-and-sorcery story. This accurately describes the points of culture-level and supernatural element and also immediately distinguishes it from the cloak-and-sword (historical adventure) story—and (quite incidentally) from the cloak-and-dagger (international espionage) story too!”

In this same year, Moorcock would pen The Dreaming City, the first tale of his antihero Elric of Melniboné, arguably the only sword and sorcery protagonist to reach Howard’s level of influence. Conceived as an anti-Conan—or, rather, Conan as an angst-ridden teenager—Elric was a sickly, drug-taking albino who relied upon an evil, soul-sucking black sword to feed him the stolen energies to both maintain his life and increase his vitality.