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Month: May 2012

Sean T. M. Stiennon reviews Warhammer: Bloodforged

Sean T. M. Stiennon reviews Warhammer: Bloodforged

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Bloodforged
Nathan Longbloodforged
Black Library (416 pages, mass market first edition May 2011)
Reviewed by Sean T. M. Stiennon

Apart from walk-ons, cameos, and bit-parts, every single character in Bloodforged is either a daemon worshiper or a vampire.  That’s really the most concise way I can summarize the novel, and your reaction to that ought to be a pretty good indication of how much you’d like Bloodforged.

Ulrika was the daughter of a family of noble warriors before her rising as a vampire, and she finds herself chafing under the restrictions that her loyalty to the Lahmian sisterhood of Nuln imposes on her.  She flees her vampiric mother and travels north, to the Kislevite city of Praag, hoping to make herself useful to humanity by aiding them in the battle against the Chaos horde besieging the city.  However, Ulrika arrives to find that, not only is the city enjoying relative peace (“peace” being a term fundamentally alien to the Warhammer world), but Praag offers her no true refuge from her undead life.  Her former companions have moved on to new horizons, and she can have no real friendship with humans.

Ulrika finds fresh meaning to her unlife only when she stumbles across a secretive Chaos cult which is kidnapping girls off the streets.  At the same time, the local branch of the Lahmian vampires offers her a choice: Either be bound to them, and returned to the same life of servitude she left in Nuln, or die by their hands.  Ulrika is forced to navigate a narrow line between Chaos sorcery and Lahmian vindictiveness.  Her only clear ally is a dashing young vamp named Stefan, who claims to be out for revenge against his master’s killer, but may be hiding a more sinister motive, even as he introduces her to love beyond the grave.

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May/June Fantasy & Science Fiction Magazine now on Sale

May/June Fantasy & Science Fiction Magazine now on Sale

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fandsf-may-june-20121Great cover on the latest issue of F&SF courtesy of Max Bertolini, illustrating “Maze of Shadows” by Fred Chappell, another tale of Falco the shadow thief. Has there ever been a good dungeon-delving cover on F&SF? No idea, but this one makes up for it. Click on the cover for a humongous version, and check out the creepy dude in the shadows. Here’s the complete table of contents:

NOVELLA

  • “Maze of Shadows”  – Fred Chappell

NOVELETS

  • “Liberty’s Daughter”  – Naomi Kritzer
  • “Asylum”  – Albert E. Cowdrey
  • “Taking the Low Road”  – Pat MacEwen
  • “The Children’s Crusade”  – Michael Alexander

SHORT STORIES

  • “Necrosis”  – Dale Bailey
  • “Typhoid Jack”  – Andy Stewart
  • “City League”  – Matthew Corradi
  • “Grand Tour”  – Chris Willrich

As usual, Lois Tilton has already reviewed the issue in detail at Locus Online. Here’s what she says about “Maze of Shadows”:

Master Astolfo has accepted the commission of a nobleman to guard his house with shadows in order to protect a mysterious treasure within. Falco and his fellow-apprentice Mutano have duly constructed a shadow maze, but a blind man sent to test it easily finds his way through. The chateau [pun, there?] also houses the cat that has Mutano’s voice, while he can only converse in cat – a situation that Mutano wants to remedy…

There’s a thing about series: if built around an ingenious and fascinating notion, such a premise can carry the first story a long way. But in the subsequent installments, we expect and require rather more. There is plenty of more in this one. The shadow trade figures prominently, the details sufficient and comprehensible for the purpose of the story without a lot of unnecessary backgrounding. The mannered narrative voice of Falco is engaging. There is also a neatly complex plot full of interwoven mysteries to keep readers involved. And some extraordinary cats.

The cover price is $7.50, for a thick 258 pages. Additional free content at the F&SF website includes book and film reviews by Charles de Lint, James Sallis,Paul Di Filippo, and Kathi Maio, and the “Curiosities” column by Jack Womack. We last covered F&SF here with the March/April issue.

What Writers Can Learn From Joss Whedon’s The Avengers

What Writers Can Learn From Joss Whedon’s The Avengers

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avengers-movie-poster-1Disclaimer: This article will reference some scenes from The Avengers film. While I’ve tried to avoid specific spoilers about major twists, there are some things that give away plot elements and twists from the other Marvel Comics movies, such as Thor.

If you are a writer, be sure that you get a receipt when you go to The Avengers, because you should be claiming it as a work-related research expense on your taxes this year. (This should not be considered tax advice. Please consult with your tax preparer before making financial decisions.)

There has been no shortage of digital ink spilled gushing over how great the movie is. I’ll provide a link to some of the highlights below if you want to delve into the film itself. However, I wanted to go beyond discussing The Avengers as purely a viewing experience, but to focus on a couple of elements that writers can best take away from it.

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Lost Classics of Pulp: Judex

Lost Classics of Pulp: Judex

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judex_65_2judex01Pioneering silent film director, Louis Feuillade rose to prominence with his stylish 1913 serial, Fantomas which faithfully adapted five of Pierre Souvestre and Marcel Allain’s bestselling pulp thrillers. Feuillade next succeeded in fashioning an enthralling original story based around the Apache street gang which figured prominently in the Fantomas series. Les Vampires are led by the vampish Irma Vep, played by the exotic Musidora (France’s answer to Theda Bara). The 1915 serial was hugely successful and was a highly influential work in its day. Feuillade was tasked with the challenge of trying to follow up these two successes with a third commercial property.

Responding to the criticism that his films glorified crime and violence, Feuillade turned to author and playwright Arthur Bernede for help. Together they crafted a pulp vigilante dressed in a dark cloak with his face partially obscured by a slouch hat. Judex, Latin for “judge,” fought crime with his loyal brother, Roger and a menagerie of amazing beasts and an assortment of colorful companions by his side. These and Judex’s gadget-filled secret lair and private plane had a tremendous influence on the burgeoning pulp fiction market in England and America.

 

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Goth Chick News: An Internet Head-Trip Brought to You by Shaun of the Dead Creator Edgar Wright

Goth Chick News: An Internet Head-Trip Brought to You by Shaun of the Dead Creator Edgar Wright

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image002Two versions of Snow White, TV sitcoms remade for the big screen and (stop me before I hurt myself) the re-release of Titanic…

Think there’s no originality left in Hollywood?

Microsoft apparently agrees with us but is thankfully smart enough not to try and fix it themselves.

Instead they enlisted the talents of Shaun of the Dead director Edgar Wright and Marvel and Lucasfilm illustrator Tommy Lee Edwards (famous for his work on the Batman and Hellboy comics) to create a very cool entertainment concept in the form of an interactive animated story called The Random Adventures of Brandon Generator, launched April 12th.

Think of it as a Choose Your Own Adventure story for the multi-media generation.

Visitors to the site will get a seven-minute video that explains the story of our hero Brandon Generator, who is having severe writer’s block.  One dark night after too much coffee, Brandon wakes from his caffeine-induced blackout to discover prose, sketches and ideas on his Dictaphone that he did not remember leaving.

And you get to provide one or all of those elements.

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Alana Joli Abbott Reviews Grave Dance

Alana Joli Abbott Reviews Grave Dance

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gravedanceGrave Dance
Kalayna Price
Roc (pages 372, $7.99, mass market first edition July 2011)
Reviewed by Alana Joli Abbott

It is infrequent that I find myself reading a second novel in a series that utterly outstrips the first, especially when the first volume is highly enjoyable in its own right. So it was with delight that I flew through the pages of Grave Dance, Kalayna Price’s second Alex Craft adventure. Set a month after the conclusion of Grave Witch, this mystery-come-urban fantasy starts in the middle of the action, with Alex, a magic-wielding private eye, investigating the mysterious appearance of a pile of dismembered left feet. Although a foot is not enough to allow her to raise the shades – the memories stored in dead bodies – that usually make her valuable as a consultant, she soon finds herself embroiled in a case being fought over by her city’s mostly-human police force and the Fae Investigation Bureau.

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Snarky Female Protagonists and Why I Read Them

Snarky Female Protagonists and Why I Read Them

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junoDear Black Gate readers,

I don’t even remember what my last post was. Mea culpa, mea culpa; I was moving across the country, I was getting a job with some Beluga whales, I was joining a writing group,  I was traveling to places I’d never been before, I was reading other people’s fledgling novels and trying to come up with some kind — any kind! — of useful crit for them, I was writing up a storm.

(Several storms. Big magical brouhahas*, with silver clouds and dark lightning and dead swans and such.)

Woe is me, these things are hard, man! But enough of this moaning and groaning. I’m back now, see?  And I’ve been reading.

You know that thing that happens when suddenly you realize how busy you’ve been because you haven’t picked up a book for the sheer pleasure of reading in a while? There are many joys in reading other people’s early drafts of things that are going to turn into magnificently faboosh final drafts, but one of the downers is that when I’m doing that, I feel guilty reading anything for fun. And I’m a fast reader; I’m just a slow dang beta-reader.

However! Last week, I found myself at the Westerly Public Library, a place of golden beauty and polished staircases, browsing. Browsing, I tell you! Do you know how that felt?

Novel.

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Pavis – Gateway to Adventure: The Classic RPG City is Back! (Part Two)

Pavis – Gateway to Adventure: The Classic RPG City is Back! (Part Two)

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pavis_coverLast week I began my review of Pavis – Gateway to Adventure, the new RPG supplement from Moon Design Publications for its HeroQuest roleplaying game in the fantasy world of Glorantha, with a bit of history of this greatest of RPG cities, and an overview of what this massive new book contains. This week, I’d like to look at the book’s content in far more detail, with a chapter-by-chapter breakdown of just what you get in its 416 pages.

Chapter by Chapter

To begin with, the book’s cover is a nice full colour painting depicting a priest of the cult of Pavis, the city god, atop the ziggurat-like temple of Pavis in the new city, facing east over assembled city-folk and worshippers as the sun rises. In contrast to the green and earth tones of the previous two Sartar books, the cover is predominantly pinks, purples, and greys, emphasizing the hazy, desert-like environment of the city. It gives a feel for the predominance of religion – and religious intrigue – in the city.

After credits, contents, and introduction sections, the book launches straight into “Making Your Character”. If you have Sartar: Kingdom of Heroes, you’ll know what to expect here; except that in addition to the Sartarite settlers of Pavis County, there are also HeroQuest keywords and character creation guidelines for Old Pavisites, Sun Domers, Zola Fel Riverfolk, and even Lunar Settlers.

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Art of the Genre: The Top 10 Literary Sci-Fi/Fantasy Covers of the 1980s

Art of the Genre: The Top 10 Literary Sci-Fi/Fantasy Covers of the 1980s

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Can either Keith Parkinson or any artist from a gaming novel crack this list?
Can either Keith Parkinson or any artist from a gaming novel crack this list?

There is a line from the band ELO‘s song Ticket to the Moon, on their concept album Time, that says,

Remember the good old 1980s, when things were so uncomplicated, I wish I could go back there again, and everything could be the same…

I can’t listen to that album [and yes, I listen to ELO often, sue me] without having those words haunt me. You see, the 1980s were ‘my’ time. We all have this period, the decade from childhood to young adult that is seemingly perfect. I went from 9 to 19 in that decade, and it was pure unadulterated magic.

In that time I seemed to be playing GI Joes in my sandbox, blinked, and was attending my senior prom. I can’t tell you where the time went, just that it still resonates in my memory with a warm fuzzy feeling because it was all about me. I mean, isn’t that what your teens should be, a time all about you? There are no mortgages, monthly bills, children to ferry about, wives or husbands to cater to. Sure, there’s school, gas money, some relationship hassle, and a summer job, but realistically that’s window dressing to a period in which you can explore nearly anything you wish and are encouraged to do so.

So, that being established, it isn’t hard to imagine that I see everything that happened in the 1980s with rose-colored glasses. This can certainly be said about the literature of the era. Now given, I’ve gone back and reread a few books from my youth, and each time the shine isn’t what it was on first reading, but nonetheless, the art on those book covers still retains the luster of a bygone age.

It was in the 1980s that I first fell in love with fantasy art, and to a certain degree science fiction art, although I think that particular genre was waning as fantasy came into full bloom with the advent of Dungeons & Dragons. To me, there is nothing better than what I found on the shelves in those years, each title laying the foundation for my life in a profound and lasting way.

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When The Hero Comes Home: A Review

When The Hero Comes Home: A Review

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When the Hero Comes HomeWhen the Hero Comes Home is an anthology from Dragon Moon Press co-edited by Garbielle Harbowy and Ed Greenwood. It’s a surprisingly thin book, given that it holds nineten stories by twenty writers (including two Black Gate contributors, Peadar Ó Guilín and Jay Lake, in collaboration with Shannon Page). Its theme is exactly what it says: the homecoming. The point where the story usually ends. I have some reservations about how the book turned out, but the idea’s intriguing: what do you find when you make it back to where you began? Has the place changed, or have you?

One thinks of Odysseus’ return to Ithaca, or of Frodo’s discovery of what’s happened to the Shire. The conclusion of the story that sums up the themes of all that’s gone before. The last unexpected twist, the discovery that heightens emotion and gives the protagonist one final conflict. Arthur Miller said that every great play has to do with the question “how may a man make of the outside world a home?” But what, ultimately, is home? How do we recognise it?

Not all of the stories in When the Hero Comes Home have these kinds of questions on their minds. Overall, though, the tales do tend to examine the idea of ‘home,’ rather more than they do the idea of ‘hero.’ Then again, the existence of a hero, however defined, is inherent in the theme; it’s the nature of the home that implicitly has to be established. So: these are stories about fairly unambiguous heroes, finding that things at home are more complicated, and often more disappointing, than they’d thought.

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