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Year: 2012

Goth Chick News: Beware – The Tall Man Knows Your Name

Goth Chick News: Beware – The Tall Man Knows Your Name

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image008At a recent family function my 11-year-old nephew pulled me aside to say, “A friend of mine at school saw the Tall Man.”

Now it’s common knowledge among all the kids in the family, as well as their friends, that Aunt Goth Chick is conversant with all topics of the otherworldly variety. When they were all a bit younger I had a fabulous time not dispelling the notion that I was a substitute professor at Hogwarts School of Witchcraft and Wizardry.

As they got a bit older my role was to correct misconceptions about whether or not vampires were really afraid of crosses, or whether wolfmen actually turned all the way into wolves at the full moon.

But now, in that misty gray, pre-teen area between believers and skeptics, the local chapter of the Goth Chick Fan Club – Junior League needs to be handled carefully; take them too seriously and I could easily be sidelined as covertly making fun of them, not taking them seriously enough could result in the same.

And frankly, I enjoy my minor celebrity status as much as I enjoy being reminded of a time in everyone’s life when magic and mystery were still very possible and very real.

So even though I had never heard of the Tall Man, the seriousness in the little guy’s face told me it was something important and a topic that I, of all people, should be versed in. Luckily the arrival of dessert saved me from needing to make an in depth response and bought me the time to do a little homework.

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Vintage Treasures: A Science Fiction Argosy, edited by Damon Knight

Vintage Treasures: A Science Fiction Argosy, edited by Damon Knight

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a-science-fiction-argosy2Damon Knight’s massive anthology A Science Fiction Argosy was published in 1972, when I was eight years old. It’s over 800 pages, packed with 24 novellas and short stories plus two complete novels, Theodore Sturgeon’s More Than Human and The Demolished Man by Alfred Bester. It’s one of those big, heavy books I’d often glance at on my bookshelf, thinking “I should really read that. As soon as I finish this game of Solitaire.”

I know Damon Knight mostly as an editor — of the highly acclaimed Orbit series, and dozens of other SF anthologies — but he was also a novelist and short story writer. Late in his career he wrote some exceedingly weird SF novels. Check out the article I published at SF Site in 1997, Jim Seidman’s review of his last novel Humpty Dumpty: An Oval, which centers on a lingerie salesman whose skull is fractured by a stray bullet, and who abruptly finds himself dodging both deadly meteorite storms and the society of dentists that secretly rules the world. Glad Jim read it, as I’m sure he made more sense out of it than I would have.

Damon Knight was also a highly respected critic, famous for his dislike of popular pulp writer A. E. van Vogt (“A pygmy who has learned to operate an overgrown typewriter”), for founding the Science Fiction and Fantasy Writers of America, and co-founding both the Milford Writer’s Workshop and the Clarion Writers Workshop. He was a busy guy.

I finally started reading A Science Fiction Argosy this morning (after blowing nearly four decades of dust off it). And you know what? It’s pretty good. I was particularly charmed by Knight’s introduction, which can be nicely encapsulated with its first and last sentences:

Some few years ago, when I was only teen-aged science fiction addict in Hood River, Oregon, I prowled the stacks of the local library… like a pornographer looking for pornography, I ferreted out science fiction… but I never got enough…

This is the kind of big meaty selection I wish someone had given me when I was a teen-aged science fiction addict in Hood River, Oregon.

That may be the most honest intro I’ve ever read, and it explains a good deal about what Knight was trying to accomplish with A Science Fiction Argosy — and indeed, perhaps, his entire life as a critic and highly vocal advocate for science fiction. The first story, John Collier’s “Green Thoughts,” is from 1931, but the anthology quickly leaps forward (skipping nearly the entire pulp era) to 1949 for the second, Isaac Asimov’s talky SF puzzler, “The Red Queen’s Race.” Henry Kuttner and C.L. Moore’s “The Cure” is even better, a dark and twisted fantasy of a New York lawyer trying to understand an oddly recurring hallucination of suffocation.

That puts me barely 50 pages in. I’m tempted to stop here and write a review, but Knight the critic would not be impressed. So I’ll reserve final judgment until I turn a lot more pages. In the meantime, consider this un-critical word of advice: find your own copy, and don’t wait as long as I did to crack it open.

Name the Dabir and Asim Series

Name the Dabir and Asim Series

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I’m launching a contest to win an advance reader copy (known as an ARC) of the next Dabir and Asim novel, The Bones of the Old Ones. Now Bones won’t actually be available until December 11 of 2012 through bookstores (or via Kindles and Nooks and what have you), but ARCs will start going out to reviewers within the next few months. And one of them could be headed your way.

Here’s the deal. The Dabir and Asim series needs a title. I haven’t yet come up with one that’s especially electrifying, so I’m throwing open the gates, and from now until July 22nd I’m accepting your suggestions for series titles. The series title will appear on the final version of the cover, probably in the place where this version of the cover reads “A Novel,” and on all following Dabir and Asim novels.

Here’s how to enter:

1. E-mail me (with no spaces in the actual e-mail address) at joneshoward AT insightbb.com.

2. Use Dabir and Asim Contest as the subject line.

3. Provide me with the series title you like best, and an e-mail where I can reach you.

4. You can list several ideas in a single entry, or just one. If you’ve already sent me one or more ideas and think of others later, just send me a new entry.

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New Treasures: Tales From Super-Science Fiction, edited by Robert Silverberg

New Treasures: Tales From Super-Science Fiction, edited by Robert Silverberg

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tales-from-super-science-fiction2You really have to admire the team at Haffner Press. These guys must work night and day. Hot on the heels of their last release just two months ago — the gorgeous Kuttner collection Thunder in the Void — they’ve now published Tales From Super-Science Fiction, a thick anthology of fourteen stories from the legendary 50s SF magazine Super-Science Fiction. I’m not sure how they do it.

As usual the team at Haffner is firing on all cylinders, and both the marketing team and the production staff deserve kudos for a top-notch production. The Art Director and Book Designer have hit it out of the park, and —

What’s that? There is no “team” at Haffner Press? It’s just one guy, Stephen Haffner?

Ha. Like I’m going to believe that. Just take a look at their schedule of upcoming titles. There’s nearly a dozen. Maybe Stephen is the front man, but nothing can convince me he doesn’t have two dozen gnomes in a sweatshop in his basement. There’s no other explanation.

However he does it, I hope he keeps it up. Tales From Super-Science Fiction contains fiction by A. Bertram Chandler, Robert Bloch, Jack Vance, Robert Moore Williams, Daniel L. Galouye, Alan E. Nourse, Tom Godwin, Robert Silverberg, and others. Here’s the book description:

Super-Science Fiction was launched during the sf boom of the mid-1950s. Paying a princely rate of 2 cents a word the magazine attracted fiction by Isaac Asimov, Robert Bloch, Harlan Ellison. James Gunn, Jack Vance, and Donald Westlake, and featured cover art by Frank Kelly Freas and Ed Emshwiller. Running for 18 bi-monthly issues (Dec ‘55 to Oct ‘59), the magazine eventually devolved into a publication capitalizing on the then-current craze of “monster” stories. Editor Silverberg traces the genesis of Super-Science Fiction from its beginnings as an outlet for numerous colonization/expedition stories to its conclusion with such stories as “Creatures of the Green Slime,” “Beasts of Nightmare Horror” and “Vampires from Outer Space.”

Tales From Super-Science Fiction is 400 pages, with a cover price of $32. It is illustrated by Ed Emshwiller and Frank Kelly Freas, with cover art by Freas. You can find the complete Table of Contents at the Haffner website.

See the complete list of recent New Treasures here.

Leigh Brackett: American Writer

Leigh Brackett: American Writer

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shannach
The 4th and final Leigh Brackett hardback from Haffner Press, a set collecting all her short fiction.

This 4th of July I thought I’d take a look at one of my very favorite writers, the late, great Leigh Brackett, queen of planetary adventure.

Only a few generations ago planetary adventure fiction had a few givens. First, it usually took place in our own solar system.  Second, our own solar system was stuffed with inhabitable planets. Everyone knew that Mercury baked on one side and froze on the other, but a narrow twilight band existed between the two extremes where life might thrive. Venus was hot and swampy, like prehistoric Earth had been, and Mars was a faded and dying world kept alive by the extensive canals that brought water down from the ice caps.

To enjoy Brackett, you have to get over the fact that none of this is real — which really shouldn’t be hard if you enjoy reading about vampires, telepaths, and dragons, but hey, there you go. Yeah, Mars doesn’t have a breathable atmosphere, or canals, or ancient races. If you don’t read her because you can’t get past that, you’re a fuddy duddy and probably don’t like ice cream.

A few of Brackett’s finest stories were set on Venus, but it was Mars that she made her own, with vivid, crackling prose.

Here. Try this, the opening of one of her best, “The Last Days of Shandakor.” You can find it in two of the three books featured as illustrations in this article, Shannach — the Last: Farwell to Mars, and Sea-Kings of Mars and Otherworldly Stories.

Anyway. On to Brackett.

He came alone into the wineshop, wrapped in a dark red cloak, with the cowl drawn over his head. He stood for a moment by the doorway and one of the slim dark predatory women who live in those places went to him, with a silvery chiming from the little bells that were almost all she wore.

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Art of the Genre: The Art of an inspired Fake…

Art of the Genre: The Art of an inspired Fake…

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418510_207020362733063_100002753026293_274477_1896356296_nHave you ever heard the phrase, ‘This is going to be the next INSERT ICONIC FRANCHISE HERE’? I’m pretty sure we all have, but the one that sticks out most starkly in my memory was from 1997.

I’d recently moved to Maryland and I well remember seeing the trailers for the Bruce Willis science fiction vehicle The Fifth Element. The billing indicated it to be, ‘The next Star Wars’. I was so excited, I dragged my then twenty-five year old wife to the theater in hopes the billing might have some kind of thread of truth.

I well remember her reaction to the film, and most appreciably the movie’s use of the word ‘perfect’. It was truly a painful experience, one that is as fresh today as it was then, and yet over the next couple of years I not only forgave The Fifth Element for not being the next Star Wars, but learned to appreciate it on a level I never thought possible.

I mean, when you get down to it, the next Star Wars wasn’t even ‘The next Star Wars’, Phantom Menace was a complete debacle that somehow manages to look like a Academy Award winner next to The Attack of the Clones and Revenge of the Sith.

Fifth Element isn’t Star Wars, it’s anything but, and yet if you don’t make that connection and simply try to view the movie as a solo performance it’s truly a fun piece of science fiction. Willis renders a great Die Hard-like role, and Milla Jovovich is indeed ‘perfect’, much to my wife’s volcanic fury at the assessment.

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Confessions of a Guilty Reviewer

Confessions of a Guilty Reviewer

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Howard Andrew Jones with his Review Rooster.
Howard Andrew Jones with his Review Rooster.

I used to write occasional reviews for Tangent Online, and once I wrote one that I still regret. I’ve rarely found a slice-of-life story or flash fiction that I enjoyed, so I probably had no business evaluating a piece of short fiction that was both. Yet I read it, and I slammed it. Not because it was bad flash fiction, or because it was a bad slice-of-life story (I had no kind of qualifications for adequately judging either) but because I didn’t like flash fiction or slice-of-life stories. It was the epitome of ill-informed reviewing, where the writer is arrogant enough to know better than fans of an entire genre. Or two.

I didn’t understand my mistake for a while, and when I met the author of the story at a convention years later he was kind enough not to mention my idiocy, or, more likely, hadn’t remembered the name of the idiot who’d written the review.

You’d think that my epiphany about having written such a bad review would have arrived when I started to get my own fiction published more regularly, but it actually hit me faster, probably because it took a loooong time for my fiction to get published regularly.

I began to evaluate game products for Black Gate and it finally dawned on me that I had to consider both a work’s intended function and its intended audience. For instance, if I was looking at a role-playing product, I couldn’t evaluate a retro dungeon crawl by the same standards I looked at a modern story-based adventure with plot arcs.

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Edgar Rice Burroughs’s Mars, Part 6: The Master Mind of Mars

Edgar Rice Burroughs’s Mars, Part 6: The Master Mind of Mars

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master-mind-of-mars-1st-editionI maxed out on Barsoom back in March. After reviewing the first five Martian novels over a span of two and a half months, I switched over to writing about the movie John Carter of Mars. (That is what I’m calling it, dammit, because that’s what the end title card says.) I love the movie, but the box-office and the box-office pundits did not, and although I struggled to keep a positive view, I realized after all of this that I needed a break from Edgar Rice Burroughs’s red planet.

But during a brief pause between my summer movie reviews, the opportunity to zap my Earthly body back to Mars offered itself. So my overview of ERB’s Martian epic resumes at Book #6, with a new Earthman hero, a return to first-person, and the Barsoomian equivalent of The Island of Dr. Moreau.

Our Saga: The adventures of Earthman John Carter, his progeny, and sundry other natives and visitors, on the planet Mars, known to its inhabitants as Barsoom. A dry and slowly dying world, Barsoom contains four different human civilizations, one non-human one, a scattering of science among swashbuckling, and a plethora of religions, mystery cities, and strange beasts. The series spans 1912 to 1964 with nine novels, one volume of linked novellas, and two unrelated novellas.

Today’s Installment: The Master Mind of Mars (1927)

Previous Installments: A Princess of Mars (1912), The Gods of Mars (1913), The Warlord of Mars (1913-14), Thuvia, Maid of Mars (1916), The Chessmen of Mars (1922)

The Backstory

Burroughs wrote The Master Mind of Mars (originally under the less thrilling titles “A Weird Adventure on Mars” and “Vad Varo of Barsoom”) in mid-1925, but his usual markets didn’t pick it up. (Wikipedia, in a [citation needed] moment, speculates this may have something to do with “its satirical treatment of religious fundamentalists.” That seems unlikely, as the book is light on the religious criticism compared to the instant-selling The Gods of Mars, where searing attacks on religion are the center of the plot.) ERB finally sold the book to Hugo Gernsback, inventor of the term “science fiction,” pioneer of magazine SF, and notorious cheapskate, who paid $1,250 for the novel — much less than what the author got from his usual markets. Gernsback made Burroughs’s newest Martian adventure the lead story for his Amazing Stories Annual, an extension of what was at the time the only science-fiction pulp. Burroughs made sense as a circulation-booster, since he helped create magazine SF fourteen years before the first pulp dedicated to it appeared on the stands. …

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Dungeon Crawl Classics – Growing Fresh from Old Roots

Dungeon Crawl Classics – Growing Fresh from Old Roots

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dcc1Dungeon Crawl Classics Role Playing Game
Joseph Goodman
Goodman Games (480 pp, $39.99, Hardback; $24.99, Download)
Reviewed by Howard Andrew Jones

I’m afraid that the Dungeon Crawl Classics role-playing game will hit the modern game audience the way a hard rocking band with great guitar hooks hits teenagers who think greatness is held by those auto-tuned voices and dancing lip-syncers. It might be that they’ll have the sense to understand something good, done right, even if it is artistically out of style, but I can’t help thinking they’ll be too hypnotized by flash and swagger to see the beauty.

Well, I use the term beauty loosely, because the plethora of art in DCC is old-school, in your face, evocative, bloody, and dynamic. It has some of the same aesthetics as counter-culture comics from the 60s, but it’s waaay cooler. Where else can you randomly flip through pages and come first to a wizard riding through a harbor on a giant marauding tentacled thing while being assaulted by an elf riding a hawk? Another quick flip takes you to an armored warrior pointing the way to a sinister cavern carved like the open maw of a monster, and a charismatic spell-caster launching a spray of firebolts.

But the book isn’t just the art – though the art sure aids in suggesting the atmosphere of the game itself. This isn’t your brother’s role-playing game. For that matter, it isn’t your dad’s AD&D, either. Primary creator Joseph Goodman is on record as saying that it’s the first game based on a thorough reading of Appendix N from the original Dungeon Master’s Guide. If you’re not in the know, Appendix N was a list of recommended reading featuring the likes of Robert E. Howard, Michael Moorcock, Fritz Leiber, and all kinds of other creators of literary fantasy goodies, most of which my local library didn’t have back when I was in junior high, or I would have been swept away into some realms of adventure a lot earlier.

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Black Gate’s Closet: Crisiswear

Black Gate’s Closet: Crisiswear

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What the heck does one wear at the end of the world? Sure, yes, most people would answer, whatever you can find, but…why not be prepared, and why wait till disaster strikes? Don’t you want to look like a post-apocalyptic hardass? I mean, come on, who doesn’t want to get their Mad Max and Alice on? Nobody wants to be the tarp-toga guy who ties guns to his belt with bootlaces. It’s unwieldy.

Enter, Crisiswear.

Crisiswear is a Chicago-based clothing company. They specialize in future-forward fashion with industrial elements. All of their clothing is custom made, double stitched and built to last. This is survival gear that you can blow up evil, mutant villains in and then dance around their charred lairs.

Stock up on versatile, hedonistic, cyberpunk apparel at their website, or check out Crisiswear on Etsy.

MedTech Dress by CrisisWear
MedTech Dress by Crisiswear
Kensen by Crisiswear
Kensen by Crisiswear
Vigilante vest by Crisiswear
Vigilante vest by Crisiswear
Solo Leg Holster by Crisiswear
Solo Leg Holster by Crisiswear