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Year: 2013

The Blob: the Making of a Classic B-Movie

The Blob: the Making of a Classic B-Movie

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bk3153The_Blob_posterThe nostalgia for the 1950s has been with us for over forty years now. Blame George Lucas and American Graffiti (actually set during the Kennedy administration, but responsible for engendering nostalgia for the previous decade) for making us so fondly recall the birth of rock ‘n’ roll and the popularity of sock hops, drive-in movies, and the introduction of a fad for 3-D movies that is currently enjoying its third vogue, appropriately enough.

The popular mindset tends to ignore the influential role played by be-bop jazz, the beat poets, film noir’s move to television, and the introduction of Cinemascope in the same decade. Beneath the artificially clean post-war American dream, where everyone on the big screen and small screen appeared to be white, upper middle class, and enjoying cocktails and cigarettes with no ill effects, while watching Rock Hudson pursuing a virginal Doris Day, there were the McCarthy witch hunts, the Red Scare, atomic fears, juvenile delinquency, and shell-shocked WWII veterans unable to readjust to civilian life.

It was in this world that the third wave of the horror film took hold. The steadily growing move from splitting the atom to racing to the moon saw science fiction take a steady hold on the genre that took it far from the space fantasy of decades past into an allegorical means of confronting the dark fears behind the baby boomers’ dream world. One of the most potent and influential b-movies to fill drive-ins during the late 1950s was The Blob.

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Goth Chick News: Kick Starting a Live Horror Show

Goth Chick News: Kick Starting a Live Horror Show

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image002Crowdsourcing, microcrediting, and clickworking have all become buzz words in mainstream corporate America in recent years, but I honestly did not imagine I would use “kickstart” and “live horror show” in the same sentence.

Ever.

And yet here we are, in a place even Dr. Frankenstein couldn’t have anticipated.

After seventeen studio albums, including three horror movie scores and a motion picture of their own, Gothic Halloween Horror music composers and my personal fan girl crushes, Midnight Syndicate have launched a Kickstarter campaign to fund a multimedia concert extravaganza.

And what is a “Kickstarter campaign” you ask?

As has been mentioned here once or twice, Kickstarter is the world’s largest crowdfunding platform. The company’s mission is to help bring creative projects to life and since its launch, nearly 5 million people have funded more than 50,000 creative projects such as films, music, stage shows, comics, journalism, and video games.

People who back Kickstarter projects are offered tangible rewards and one-of-kind experiences in exchange for their pledges and Midnight Syndicate is offering some serious bootie in exchange for your bucks (want to be the show’s Executive Producer for instance?)

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The Series Series: Mage’s Blood by David Hair

The Series Series: Mage’s Blood by David Hair

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Sprawl is my favorite virtue of the novel. Not just this novel, Mage’s Blood, but novels generally, in all their varied glories. I may be the only person on Earth who is not at all perturbed by the ever-increasing length of George R. R. Martin’s Song of Ice and Fire books and I was probably the only reader of Harry Potter who wished J.K. Rowling had made her last volume about fifty pages longer, though this is not the time to say why. Sprawl may be a virtue in novels, but in blog posts, not so much. I picked up David Hair’s first volume of the new Moontide Quartet series because it promised a large ensemble cast arrayed in a family saga big enough to keep all those characters busy for years. The word “Quartet” in the title helps, too, with its suggestion that the author knows where he is going with the series. And if the first volume is anything to go by, I think he probably does.

The world of Mage’s Blood is a sort of fever dream of Europe and its Near East, if the Mediterranean and Black Seas were impassably vast and the Bosphorus were hundreds of miles wide. East is east and west is west, and the twain meet only for two years out of twelve, when the moon–which in this world is close enough to Earth to fill a third of the sky–causes a localized low tide. The greatest feat of magic and engineering in history, the Leviathan Bridge, rises from the waves during the Moontide. For centuries, the Moontide was a time of trade, cultural exchange, and celebration, but the last two cycles of the Leviathan Bridge’s rise have brought catastrophic war to the southern continent. Depending on whose mind the story inhabits, the war is about religious struggle between continents or class struggle within the aggressing empire or secret conspiracies among mage lineages for control of the world.

For the main characters, clustered into three main plotlines, the stakes are of course far more intimate than that.

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In Defense of Fantasy Heroes

In Defense of Fantasy Heroes

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Osprey Bosworth
                 People really did this stuff.

It’s often said that Fantasy abounds with unrealistically heroic heroes and that it overstates the capacity for the individual to shape History.

If that were true, I’m not sure it would be a Bad Thing, as long as victory is properly earned, since you can read the stories as allegory for more mundane real life and since the main function of most speculative fiction is escapism, anyway.

However, I would argue that the Fantasy heroes are in fact realistic, both in their powers and their influence, as long as we bear in mind that the protagonists of Fiction, like Biography, do not have to be statistically representative and that narrative favors the survivors.

For a start, it is very easy to underestimate the disproportionate capacity for violence shared by some individuals.

Studies suggest that something like 95% of pre-modern combatants have a sort of safety catch preventing them from specifically setting out to kill an individual. Something biological seems to translate war into primal dominance displays. We feel happy blazing away in the general direction of the enemy, or shouting and shoving in a phalanx fight — the equivalent of monkeys throwing poo — but not walking up to a person and putting a blade through their face.

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Religion in Fantasy Lit

Religion in Fantasy Lit

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Linus Peanuts

“There are three things I have learned never to discuss with people… religion, politics, and the Great Pumpkin.”
– Linus, Peanuts

Linus may have been right, but I’ve never been one to follow sensible advice. So today, I’m going to talk about religion in fantasy.

Religion is a touchy subject for some people, but it’s long been a tradition in the genre to create fictional deities and use them in a variety of ways. From Tolkien’s Silmarillion to the extensive pantheon of Stephen Erikson’s The Malazan Book of the Fallen series, fantasy is rich with mythology.

Whenever I begin to brainstorm ideas for a new novel or series, one step of my world-building is to imagine what sorts of religions will be present and how they shaped their societies. I have to ask myself questions such as: do the gods actually exist? If so, do they personally intervene in the lives of the characters? Does prayer possess temporal power? What is the role of religion in the daily lives of the common people?

These questions have vast ramifications for the story world. Even if the deities are unable or unwilling to directly intervene in the lives of mortals, the mere presence of belief will shape (or appear to shape) events. And if the deities actually answer the prayers of their adherents, that opens up all kinds of possibilities, which in turn should alter the structure of faith organizations. Just look to the history of Europe during the Middle Ages, when religion affected the politics and practices of great nations, and then imagine how powerful those priesthoods would have been if they could perform regular miracles, like ensuring bountiful harvests for the faithful or restoring the dead to life.

And what if the gods can physically manifest in the story world? How does that alter humanity’s relationship to the supernatural?

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Vintage Treasures: The Pirates of Zan by Murray Leinster

Vintage Treasures: The Pirates of Zan by Murray Leinster

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Astounding Science Fiction February 1959-small The Pirates of Zan Ace Double-small The Pirates of Zan Ace Double2-small The Pirates of Zan-small

[Click on any of the images above for bigger versions.]

Murray Leinster is one of my favorite pulp writers. I reprinted one of his earliest tales, “The Fifth-Dimension Catapult,” which first appeared in the January 1931 Astounding Stories of Super-Science, way back in Black Gate 9. Fittingly enough, when I kicked off my investigation of the Classics of Science Fiction line, I started with one of the finest volumes, The Best of Murray Leinster. More recently, I looked at his creepy pulp SF tale “Proxima Centauri” on August 15th.

But none of those is nearly as well known as his classic space fantasy The Pirates of Zan. Because, hello, space pirates. Also, it was blessed with a terrific series of covers over the three decades it was in print. So here we are with another fond look at the work of Murray Leinster.

(While we’re on the topic, why aren’t there more novels of space pirates? The only other ones I can think of are H. Beam Piper’s Space Viking, CJ Cherryh’s Merchanter’s Luck, Piers Anthony’s Bio of a Space Tyrant, and maybe A. Bertram Chandler’s John Grimes novels, at least the ones featuring his recurring adversary Drongo Kane. That’s pretty sad. Seriously, if there are two things that go great together, it’s unexplored space and pirates. Get with it, science fiction.)

The Pirates of Zan was originally serialized (as “The Pirates of Ersatz”) in three parts in Astounding Science Fiction, starting with the February 1959 issue. The famous Kelly Freas cover, featuring a pirate with a slide rule between his teeth, is one of the most beloved Astounding covers of the era. It’s shown at left above.

Don’t ask what a slide rule is, you damn punk kids.

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Ancient Worlds: The Ghosts of the Past

Ancient Worlds: The Ghosts of the Past

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haunted
This moaic is actually of a monkey skull, which somehow makes it a WHOLE LOT SPOOKIER.

I love a good ghost story.

And who doesn’t? Especially when the nights grow long, the trees grow bare, and the wind howls high up in the treetops. Like most people my age, I have cherished memories of huddling under the covers and reading Scary Stories to Tell in the Dark until I was too terrified to sleep.

(Anyone else vividly remember those drawings? The one with the girl and the spider bite? Just me? I’ll be over in the corner with my nightmare fuel…)

This is nothing new, of course. The Greeks and Romans loved a good ghost story as well. What’s amazing is just how astonishingly familiar they are.

Pliny the Elder famously tells this story about a haunted house:

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The Cleric and the Crucifix

The Cleric and the Crucifix

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vanhelsing

“Come to me, Arthur. Leave these others and come to me. My arms are hungry for you. Come, and we can rest together. Come, my husband, come!”

There was something diabolically sweet in her tones — something of the tingling of glass when struck — which rang through the brains even of us who heard the words addressed to another. As for Arthur, he seemed under a spell; moving his hands from his face, he opened wide his arms. She was leaping for them, when Van Helsing sprang forward and held between them his little golden crucifix. She recoiled from it, and, with a suddenly distorted face, full of rage, dashed past him as if to enter the tomb.

So does Dr. John Seward describe the encounter between Abraham Van Helsing and newly-risen Lucy Westenra in Chapter 16 of Bram Stoker’s Dracula. I’m not knowledgeable enough in literary vampire lore to be able to say with any certainty that the 1897 novel is the first time we see a bloodsucker recoil from a crucifix, but, even if it’s not, I have little doubt that it was probably the most widely-read and influential example of it. Not only has the novel itself sold untold copies in the English-speaking world alone, but motion picture adaptations, starting with F.W. Murnau’s unauthorized 1922 film, Nosferatu, have added much to the popular conception of “the undead” (to borrow Stoker’s own coinage) – and how to combat them.

In the world of gaming, it’s well-known that the medieval miniatures rules, Chainmail, written by Gary Gygax and Jeff Perren, was the immediate predecessor to Dungeons & Dragons, especially its “Fantasy Supplement,” which introduces the option of including magic and monsters so as to “refight the epic struggles related by J.R.R. Tolkien, Robert E. Howard, and other fantasy writers.” Even a cursory examination of Chainmail reveals that there’s nary a mention of religion in its pages, including in the Fantasy Supplement. This shouldn’t really come as a surprise, since the priest isn’t a distinct literary archetype in the pulp fantasy literature that inspired Gygax (as revealed in innumerable posts about his Appendix N bibliography on this site and elsewhere). Consequently, Chainmail includes only “heroes” and “wizards” as individual units.

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God Stalk by P. C. Hodgell

God Stalk by P. C. Hodgell

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God Stalk P. C. Hodgell-smallOut of the haunted north comes Jame the Kencyr to Rathilien’s greatest city, Tai-Tastigon. From the hills above, the city appears strangely dark and silent. She arrives at its gates with large gaps in her memory and cat claws instead of fingernails. She’s carrying a pack full of strange artifacts, including a ring still on its owner’s finger… and she’s been bitten by a zombie. Wary, but in desperate need of a place to heal, Jame enters the city. So begins God Stalk, the first book in P.C. Hodgell’s Kencyrath series and one of my absolute, bar none, don’t-bother-me-if-you-see-me-reading-it, favorite fantasy novels.

When this book first came out in paperback in 1983, my friend Carl bought it at the original NYC Forbidden Planet on 13th Street. Raving about it, he tossed it to me. Then I passed it to someone else. By the time it finished its circuit through the rest of my friends and back to its original owner, its cover was bent, stained, and more than a little torn. I’ve gone through several copies myself over the years, having lost or upgraded it multiple times. When I reread it this past week, I was excited that I enjoyed it as much as, if not more than, I had in the past. I’m so grateful Carl gave me this book thirty years ago. P.C. Hodgell seems so far below the general fantasy radar, I don’t know if I would have ever heard of her at all, which is pretty darn shameful.

The Kencyr are a group of three races sworn to the service of the Three-Faced God and bound together by him to fight Perimal Darkness, a warping force of chaos and evil sweeping over the planes of existence. The rulers of the Kencyr are the human-looking High Born, of which Jame is one. The warriors and artisans are the Kendar, still human-looking but larger and longer-lived. Finally, there are the giant catlike Arrin-Ken, the judges.

As Jame remembers bits and pieces of her missing life, an eons-old struggle against the Darkness is revealed to the reader. The Kencyr fled to Rathilien three thousand years ago after betrayal at the highest level almost led to their extinction. Jame may have an important place in the war and among her people, though every answer leads to another question, some not answered until much later in the series.

The history of the Kencyr and their endless war are really only the background for God Stalk. This novel centers on Jame’s adventures during a year in Tai-Tastigon. From the night of her arrival during the Feast of the Dead Gods, her residency in the great city is one of constant action and intrigue.  She has entanglements with bandits, thieves, innkeepers, and deities. It’s a dangerous place, but also enticing.

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New To View: An Interview With Betwixt‘s Joy Crelin

New To View: An Interview With Betwixt‘s Joy Crelin

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Betwixt Magazine Issue 1Fantasy and sci-fi markets come and go (as, in fact, do periodicals in general). Most don’t survive six months. Some, however, have an aura of staying power, even right out of the gate; it shows in their guidelines, in the way they present themselves to the watching, skeptical world. One such magazine is Betwixt. I recently posed a few questions to Joy Crelin, editor and publisher of Betwixt, to quiz her about her hopes for her new venture and to take her pulse on all things spec fic. Whether you’re a writer, a reader, or a magazine publisher, you’ll want to hear what she has to say.

There are a fair number of fantasy mags and ‘zines on the market. Where does Betwixt fit in the pantheon?

As Betwixt is still so new, its editorial point of view is still evolving — and honestly, I expect it will continue to evolve indefinitely. The gist of the magazine’s ethos is deliberate eclecticism. When it comes down to it, I want to publish the kinds of stories I want to read. That means fantasy, science fiction, horror, magic realism, slipstream, whateverpunk, and all the configurations and mash-ups and niches thereof. I like having the freedom to publish stories that speak to me without having to decide whether they conform well enough to someone else’s expectations of what a fantasy or science fiction story should be — or my expectations, for that matter!

At the same time, I recognize that eclectic can often read as wishy-washy, so it’s important to me that there be at least a degree of internal consistency in each issue of the magazine. Overarching themes tend to develop in most collection works I edit, whether I expect them to or not, and so far Betwixt has been no exception.

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