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Month: November 2012

Vintage Bits: In Search of the Lost Black Crypt

Vintage Bits: In Search of the Lost Black Crypt

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black-crypt-smallSome 20 years ago, shortly after I graduated from the University of Illinois, I bought my first home computer. It was an Amiga 2000, essentially the same as the entry-level Amiga 500 but with a hard drive. The hobby computing industry — which is now dead — was booming in the early 90s, and there were thousands of fun things the dedicated hobbyist could do with a decent home computer. Video editing, BASIC programming, ray trace imaging, indexing Chicken Cacciatore recipes… and if you were cutting edge enough to buy a modem, you could even log into BITNET and post on those electronic bulletin boards everyone was talking about. Crazy.

All of that was very interesting. But I shelled out my $1,500 bucks for one reason, and one reason only: to play games. And that’s exactly what I did.

I played the role playing games I’d been aching to try out in my last year of grad school, while feverishly finishing my Ph.D. thesis: Pool of Radiance, Bard’s Tale, Dragon Wars, many others. I played late into the night, before dragging my weary butt into work at Amoco Oil the next morning. It was an exhausting and emotionally draining lifestyle but, let’s face it, those dungeons weren’t going to clean themselves out. Countless terrified townspeople in tiny electronic villages were counting on me, and I wasn’t going to let them down.

About a year after I bought my Amiga, in March 1992, Electronic Arts published one of the most acclaimed role playing games ever made for that platform: Black Crypt, the first release from Raven Software, future makers of the popular Hexen, Soldier of Fortune, Quake 4, and Call of Duty: Modern Warware 3. Inspired by the legendary game Dungeon Master, another famous Amiga title, Black Crypt was nothing less than a vast trap-filled dungeon crammed with monsters, secret passages, hidden switches, and magical loot. The graphics were gorgeous, and the wonderful sound effects — the distant clanking of trapdoors, odd footsteps, and telltale sounds of the teleporters — immersed players like never before, and made you want to play with the sound cranked up and the lights turned down low.

I played the first few levels and was mesmerized. Then, in November 1992, I got married and moved to Belgium, leaving my beloved Amiga behind. I thought about the game many times in the intervening years, as I returned to the States, got a job at a tiny software company, worked on Internet Explorer 1.0, and was at ground zero of the Internet revolution that transformed the entire country. Some time during those turbulent years, my Amiga was moved to the basement, where it quietly sits today, collecting dust.

In the last few weeks, I’ve been on a quest to find and complete Black Crypt. It’s a quest filled with exactly the kind of twists and turns you’d expect for a man determined to find a long-lost crypt, spoken of only in half-forgotten legend. While critics raved, Black Crypt was released when the Amiga was already in decline, and was never successful enough to be ported to any other platform. It vanished quickly, both from store shelves and collective memory. As I search for the right magical tools that will allow me to open the crypt, I’m well aware that it’s not going to be easy.

But that’s okay. After twenty years, one of the things I’ve learned is that true joy isn’t always in the destination. It’s in the journey.

Our most recent Vintage Bits articles were Sword of Aragon, Lordlings of Yore, and Battletech: The Crescent Hawk’s Inception.

Adventure On Film: The Color of Magic

Adventure On Film: The Color of Magic

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posterOnce upon a very suspect time, a human being by the name of Terry Pratchett conjured up a space-traveling sea turtle by the name of A’tuin, and proceeded to make a sizable fortune from the disc-shaped world he emplaced upon her. In Pratchett’s Discworld novels, magic of the most unpredictable kind is the norm, and so it should come as no surprise that, eventually, somebody had to commit his unique brand of literary lunacy to celluloid.

And so they did. The Color of Magic appeared in 2008, destined for British TV and comprised of two longish episodes.

Now, having admittedly come rather late to the Discworld table –– I read a short called “Troll Bridge” years ago, but didn’t realize it was part of a larger cycle –– my somewhat limited exposure was nonetheless sufficient to convince me that Pratchett’s novels were congenitally unfilmable.

Despite that dire opinion, I am happy to report that Sean Astin is delightfully droll as Twoflower, the Discworld’s first tourist, and David Jason is about as Rincewind as anyone could possibly be. As a murderous and ambitious wizard, Tim Curry simpers and smirks as only Tim Curry can, (although he doesn’t appear to be having nearly as much fun as he did as “Arthur King” in Spamalot). On an ankle-biting budget, the cinematography is generally first rate, as are most, though not quite all, of the props. Death –– a nuisance, and constantly in pursuit of Rincewind –– is lovingly voiced by Christopher Lee, but disappoints the eye. Bearing a cheap-looking sickle, Death appears to have just wandered in from a middling haul of Trick-or-Treats.

Physically, then, in real-world terms, The Color of Magic is of course filmable –– as is just about everything these days, including massive sand worms and infinitesimal specks of pollen. I even recall seeing, on Nova, an attempt to demonstrate string theory’s ten dimensions on the two-dimensional plane of a television screen –– an abject failure, yes, but I blame myself. My limited powers of imagination and whatnot. Me and my four-dimensional mindset.

So let me amend my question: can The Color of Magic be adapted to film successfully?

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An Intro to Warhammer 40K: Explore the Horrors of the Jericho Reach in Deathwatch: The Achilus Assault

An Intro to Warhammer 40K: Explore the Horrors of the Jericho Reach in Deathwatch: The Achilus Assault

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the-achilus-assault-smallI’ve mentioned a few times now that the modern game that has most captured my interest is Fantasy Flight’s Rogue Trader, set in the darkly fascinating Warhammer 40,000 universe.

Let’s back up a bit, because that was probably confusing. What is Warhammer 40,000? Back in 1983, British game company Games Workshop released Warhammer, a tabletop miniatures game which allowed fantasy fans to simulate massive battles between orcs, elves, humans, and the forces of Chaos using thousands of hand-painted lead miniatures.

The game was a major success, and in 1987 wargaming designer Rick Priestley asked the fateful question: “Hey lads — what would happen if we gave orcs space suits?”

Thus was born Warhammer 40,000, a tabletop miniatures game which allowed fantasy fans to simulate massive battles between orks, elves, humans, and the forces of Chaos — in space. And yes, it’s exactly as cool as it sounds.

Of course, a concept as powerful as Orks in Space couldn’t be contained in one genre for long. The tabletop game is currently in its sixth edition, and by 1999 Games Workshop was publishing Warhammer 40K novels and comics through its Black Library imprint. Over the last dozen years, it has produced well over 200 titles, including The New York Times bestselling Horus Heresy series.

The novels have vastly expanded the far-future setting of Warhammer 40,000, filling in the back story of the all-powerful Emperor of Mankind, who sits on his throne on Earth while his Space Marines sweep across the vast reaches of the galaxy, reclaiming the far-flung worlds of man lost in the dark millennia since the treasonous forces of Chaos brought an end to the Golden Age of Mankind. The loyal Marines — and the Rogue Traders who follow closely behind, powerful merchant princes of the stars — come face to face with strange mutant offshoots of humanity, ancient and sinister alien Xenos, gene-stealing Tyranids, and whole civilizations fallen to the corruption of Chaos.

And of course, space Orks.

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Dorian Hawkmoon: The History of the Runestaff and The Chronicles of Castle Brass

Dorian Hawkmoon: The History of the Runestaff and The Chronicles of Castle Brass

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The Jewel in the SkullA little while ago, Fearless Leader John O’Neill posted here about Tor reprints of Michael Moorcock’s first four Dorian Hawkmoon books being remaindered (you can still get them at Amazon). It had been years since I’d read that original Hawkmoon series, and I’d never read the second series of three books that followed, despite having them sitting on my bookshelves. So in the wake of John’s post, I thought it was well worth taking another look at Hawkmoon’s adventures. I vaguely remembered enjoying the first series; would it hold up?

That first series, The History of the Runestaff, dates from the late sixties. The Jewel in the Skull was published in 1967, The Mad God’s Amulet (originally published as Sorcerer’s Amulet) and The Sword of the Dawn both came out in 1968, and The Runestaff (originally The Secret of the Runestaff) was published in 1969. A few years later, Moorcock wrote another three books following the adventures of Dorian Hawkmoon, Duke of Köln, The Chronicles of Castle Brass; these books tied Hawkmoon more closely to Moorcock’s mythos of the multiverse and the Eternal Champion — concepts tying together all Moorcock’s fiction writing. 1973’s Count Brass and The Champion of Garathorm were followed in 1975 by The Quest For Tanelorn, presenting a possible ending for the overall saga of the Champion.

In a post at Tor.com, Moorcock recalled writing the first series:

My old method of writing fantasy novels was to go to bed for a few days, getting up only to take the kids to school and pick them up, while the book germinated, making a few notes, then I’d jump out of bed and start, writing around 15-20,000 words a day (I was a superfast typist) for three days, rarely for more than normal working hours — say 9 to 6 — get my friend Jim Cawthorn to read the manuscript for any errors of typing or spelling etc. then send it straight to the editor unread by me. I have still to read more than a few pages of the Hawkmoon books.

He’s also said that

It took me three days to write the Hawkmoon books. I used to say that I COULD do the job in two days, but it needed a third day for that extra polish… I used to spend a few days in bed thinking over the story, get up to write it, then go back to bed for another day or so. It was to do with best use of energy.

And:

I doubt if I would have written them had it not been for the fact that I’d burned out on doing comics for Fleetway and wanted fiction which was owned by me rather than owned outright by the publisher. Economically I could earn in three days what those books made me ($1000 a book) from Lancer so I gave myself three days to do them in.

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Marvel Feature: Red Sonja 4

Marvel Feature: Red Sonja 4

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marvel-feature-4-coverBefore the story, let’s just look over that cover. It’s a parody of a couple famous Frank Frazetta paintings of Conan, down to the swooning male clutching at her leg. Axe raised defiantly in the air, she cries, “Whatever the battleground, whatever the foe, I shall never falter. So swears Red Sonja!” And the eye naturally focuses on the pile of corpses at her feet, almost missing the outline of this issue’s foe in the background. A defiant pose, a pile of corpses, a looming supernatural threat that consumes the entire background … this is what got kids to pluck down a quarter back in 1976. And the chain mail bikini didn’t hurt.

This issue starts, as so many Red Sonja stories do, with the Hyrkanian swordswoman trying to get a drink. She rides into a village that’s seemingly abandoned, save for the statues seated in the tavern. Of course, the townspeople are merely hiding from a gorgon (except for the ones who’ve been turned into statues already) and once they determine that Sonja is responsible for their troubles (based on the fact that she’s a stranger, apparently), they quickly vote to hang her. (This isn’t the last time Red Sonja is sentenced to hanging, for those who want to keep score.)

By the time the villagers realize their mistake, Sonja’s been rescued by the village idiot, who steals a horse for her and sends her on her way. Of course, it says something about Sonja when she decides to head back to the village to investigate and even the village idiot tells her that’s a bad idea.

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December Asimov’s Science Fiction Now on Sale

December Asimov’s Science Fiction Now on Sale

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asimovs-december-2012-smallOkay, technically, it’s probably no longer on sale. And we usually don’t cover Asimov’s anyway, since it’s chiefly science fiction in content. But as I was putting this issue away, I was so struck by the moody and beautiful cover by Laura Diehl, illustrating Chris Beckett’s fairy-tale inspired “The Caramel Forest,” that I decided to make an exception and feature it here. So sue me.

I can’t just feature the cover, though, as that would be kinda weird, and make for a very short article. So I typed up the contents of the entire issue. You’re welcome.

NOVELLA

  • “Sudden, Broken and Unexpected” — Steven Popkes

NOVELETTE

  • “The Waves” — by Ken Liu

SHORT STORIES

  • “The Caramel Forest” — Chris Beckett
  • “The Wizard of West 34th Street” — Mike Resnick
  • “The Black Feminist’s Guide to Science Fiction Film Editing” — Sandra McDonald
  • “The Pipes of Pan” — Robert Reed

There’s also poetry by Bruce Boston, Karin L. Frank, and Robert Frazier, and the usual features, including “Merry Armageddon,” an editorial by Sheila Williams; a Reflections column by Robert Silverberg; book reviews by Peter Heck; and the SF Convention Calendar by Erwin S. Strauss.

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Carrie Vaughn Steals the Show

Carrie Vaughn Steals the Show

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kitty-steals-the-show-smallI was reviewing science fiction magazines for SF Site when I first encountered Carrie Vaughn. It was in the Fall 1999 issue of Patrick Swenson’s Talebones, one of the best of the small-press magazines, that I read her story “The Girl With the Pre-Raphaelite Hair,” which I noted in my review “delivers a wallop… A tightly-written tale with a powerful ending.”

Not bad for her first science fiction story. Carrie published more than 50 over the next decade, carving out a name for herself. But it was her debut novel, Kitty and the Midnight Hour (2005), that truly catapulted her to stardom. Featuring late-night DJ (and secret werewolf) Kitty Norville — who hosts a Denver talk show about Werewolves, Vampires, and other supernatural creatures — the book was an instant success. The fourth in the series, Kitty and the Silver Bullet (2008), hit The New York Times Best Seller list, and she’s repeated that impressive feat with at least four subsequent volumes.

This industry is hard on new writers, and over the last ten years I’ve seen it defeat more than a few talented authors. So it’s a genuine pleasure to watch someone climb to the very top of the field, from her first short story to the tenth volume of her bestselling series, on nothing more than hard work and talent. If you haven’t tried Carrie Vaughn yet, her latest effort, Kitty Steals the Show, makes a good jumping-on point:

Kitty has been tapped as the keynote speaker for the First International Conference on Paranatural Studies, taking place in London. The conference brings together scientists, activists, protestors, and supernatural beings from all over the world — and Kitty, Ben, and Cormac are right in the middle of it.

Master vampires from dozens of cities have also gathered in London for a conference of their own. With the help of the Master of London, Kitty gets more of a glimpse into the Long Game — a power struggle among vampires that has been going on for centuries — than she ever has before. In her search for answers, Kitty has the help of some old allies, and meets some new ones, such as Caleb, the alpha werewolf of the British Isles. The conference has also attracted some old enemies, who’ve set their sights on her and her friends.

All the world’s a stage, and Kitty’s just stepped into the spotlight.

Kitty Steals the Show was published on July 31 by Tor Books. It is 342 pages, priced at $7.99 for both the digital version and the mass market paperback.

Black Gate Online Fiction: “Godmother Lizard” by C.S.E. Cooney

Black Gate Online Fiction: “Godmother Lizard” by C.S.E. Cooney

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claire-254A young woman makes a dangerous journey across a fantastic desert landscape in a desperate attempt to save her childhood friend:

He heaped down beside me on the sharps of his knees and stared into the murky slime of the pool. “Do you have another lace?”

I felt him there beside me, all along my right side, every thin bone of him. Whenever he twitched, I expected him to rattle like verdy branches. I untied my other sandal and handed over the lace.

“I’m Ro,” I told him.

“Jaks.” He nodded at me. “Your parents are dead?”

“Pretty much dead, yeah,” I agreed. “Buried down in Paupers’ Grave on the corner of B’ihbrid and Nilzi. I live with Great Aunt Irlingard who hates me.”

“I live with my father and sisters,” he said, “in my Mother’s house.”

After a pause, he added, “My Mother is eating my father. Very slowly.”

C.S.E. Cooney’s fiction has been reprinted in Rich Horton’s Year’s Best Science Fiction and Fantasy (2011 and 2012 editions). Her poems and short stories have appeared in Clockwork Phoenix 3, Apex, Subterranean, Strange Horizons, Podcastle, Pseudopod, Ideomancer, Goblin Fruit, and Mythic Delirium. Her collection How to Flirt in Faerieland and Other Wild Rhymes was released by Papaveria Press in May, and her fairytale-with-teeth novella, Jack o’ the Hills, was published by Papaveria in January. She was the recipient of the Rhysling Award in 2011 for “The Sea King’s Second Bride.”

You can see the complete catalog of Black Gate Online Fiction, including stories by Donald S. Crankshaw, Aaron Bradford Starr, Sean McLachlan, Harry Connolly, and Jason E. Thummel, here.

“Godmother Lizard” is a complete 16,000-word novella of weird fantasy offered at no cost.

Read the complete story here.

Vintage Treasures: Al Williamson Adventures

Vintage Treasures: Al Williamson Adventures

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al-williamson-adventures-smallAl Williamson is one of my all-time favorite comic artists. His meticulously-detailed alien landscapes, boundless imagination and kinetic style combined to make him the perfect artist for SF adventure comics.

He started working for E.C. Comics in 1952, illustrating stories by Harlan Ellison, Ray Bradbury, and others, in titles including Valor, Weird Science, Weird Fantasy, and Incredible Science Fiction. I remember him chiefly for his later work, especially his famed Star Wars comic adaptations, and his 80’s art in Alien Worlds and Marvel’s Epic Illustrated. He passed away in 2010 (see the BG obit here).

Fortunately, you don’t have to hunt through expensive old comics to see his very best work. Over the years, a number of excellent retrospectives have appeared, including The Art of Al Williamson (1983), Al Williamson: Hidden Lands (2004), The Al Williamson Reader (2008), Al Williamson’s Flash Gordon (2009), and Al Williamson Archives (2010). One of my favorites is Al Williamson Adventures, a beautifully-produced collection of seven stories spanning his entire career, written by some of the best writers in the business:

“Along the Scenic Route” — Harlan Ellison
“Cliff Hanger” — Bruce Jones
“Relic” — Archie Goodwin
“The Few and the Far” — Bruce Jones
“One Last Job” — Mark Schultz
“Out of Phase” — Archie Goodwin
“Tracker” — Mark Wheatley

Al Williamson Adventures was published by Insight Studios Group in September, 2003. It is 96 pages in oversize hardcover, with an 8-page color section.

New Treasures: Jeffrey E. Barlough’s What I Found at Hoole

New Treasures: Jeffrey E. Barlough’s What I Found at Hoole

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what-i-found-at-hoole-smallJeffrey E. Barlough’s Western Lights series may be the best fantasy books you don’t know about.

I didn’t know about them either, until Jackson Kuhl’s review of Strange Cargo in Black Gate 8. Jackson has called Barlough “a wonderful yet unappreciated fantasist… a talent I invite everyone to sample.” In his review of Anchorwick, the fifth novel in the series, he summarized the intriguing setting this way:

In a world where the Ice Age never ended, a cataclysm has reduced humanity to a slip of English civilization along North America’s western coastline. It’s neither steampunk nor weird western; the technology is early 19th century. It’s kinda-sorta gaslamp fantasy, except there doesn’t seem to be any natural gas. Barlough’s creation is best described as a Victorian Dying Earth — gothic and claustrophobic yet confronted by its inhabitants with upper lips held stiff. As the books are fantasy mysteries, the less said about their plots, the better… mastodons and mylodons mixed with ghosts and gorgons? Yes, please.

Now the seventh novel in the series, What I Found at Hoole, has arrived in a handsome trade paperback from Gresham & Doyle. It picks up at the end of the second volume, The House in the High Wood, which was a nominee for the 2002 Locus Award for Best Fantasy Novel.

Mr. Ingram Somervell has been called to the remote village of Hoole, in the uplands of Ayleshire, to inspect some property bequeathed to him by an uncle he had never met. Almost at once he finds himself plunged into mysteries that confound him. Why had Clement’s Mill, a dilapidated old mill that did no milling, been left to him… Why had his uncle ordered the old chapel on the fellside and its coffin-crypt sealed after the arrival of Miss Petra, his ward and heir? What was the ghostly yellow light that had been seen on Cowdrie Beacon? And what to make of the frightful dreams hinting at some unimaginable catastrophe plaguing young Somervell since he came into Ayleshire?

These novels, with their oddly pastoral cover art — the cover to this one, F.H.Tynsdale’s A Country Cottage and Church, is from the 19th Century — are an entertaining mix of genres, blending fantasy, gothic mystery, and even a dash of period comedy straight out of P.G. Wodehouse. Don’t miss them.

What I Found at Hoole was published by Gresham & Doyle on November 1st. It is 259 pages and priced at $14.95 in trade paperback. There is no digital edition.