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Month: May 2020

The Mechanics of a Post-Apocalyptic World: Degenesis Rebirth and KatharSys

The Mechanics of a Post-Apocalyptic World: Degenesis Rebirth and KatharSys

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Degenesis Rebirth
Six More Vodka

In early January, I was at my local game shop (Hero’s Emporium) chatting with a clerk. I was there to run a game and was awaiting the players to show up. As gamers do, we talked about all the games we wanted to run, and he brought up Degenesis Rebirth. I scratched my head. “What is this you speak of?” He found an online trailer (and another). I then found their website (now replaced).

You may recall that in late 2019, Black Gate published a couple of articles (encountering it at Gen Con and discussing the setting) about the game they discovered at Gen Con. Those articles dive into the stupendous design and thought of this game by a German company called Six More Vodka. I will simply add that these are some of the most gorgeous RPG books ever created with one of the most interesting and thorough settings, and like E.E. Knight, I have been obsessing over them. Six More Vodka recently relaunched their website dedicated to the game with a ton of short fiction and setting information and — everything in digital format for free. Free. FREE. Did I say, “Free”?

Set in a world centuries after a series of asteroid collisions with Earth, Degenesis Rebirth’s games take place in a post-apocalyptic world. The asteroids carried (or did their destruction and opening up of the Earth allow something to escape?) an extraterrestrial substance — spores, etc. — that infect the land and people, twisting both to unrecognizable and dangerous new things. This infection upon the land and people was rightly called Sepsis. As Europe and Africa recovered and adapted, a number of cultures and societies (called cults) have established or compete for dominance.

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Looking for a Heist Show? Lemme Tell You About ‘Leverage’

Looking for a Heist Show? Lemme Tell You About ‘Leverage’

LeverageSeason1I recently rewatched most of the episodes of Leverage, which streams 24/7 on a Pluto TV channel. I had watched every episode during the initial run on TNT, from 2008 through 2012. It’s said to bear a strong similarity to a British show called Hustle, which aired from 2004 through 2012, though I’ve not seen the latter. Leverage is a throwback to the classic caper/heist movies of the sixties and seventies. If you like Mission Impossible, or Ocean’s Eleven – or even The Rockford Files, for a feel good tone – this is your kind of show, developed by Dean Devlin. Devlin wrote the screenplay for the Will Smith smash, Independence Day.

Timothy Hutton, who I’ve written about as Archie Goodwin in A&E’s A Nero Wolfe Mystery, is the show’s star, though it’s as ensemble-centric as you’re likely to find. Nathan Ford had been the best insurance investigator in the business (maybe Johnny Dollar trained him), but then the mega-company he worked for refused experimental treatment for his critically ill son. When the son died, Nate went off the rails. Job, marriage, everything: he becomes an unemployed alcoholic.

In The Nigerian Job (the pilot), the chance to get back at his former employer draws Nate to team up with three thieves he had pursued before. They form a team to retrieve some stolen airplane plans which had been stolen in the first place. The con goes awry when the client, played by the excellent Saul Rubinek (another Nero Wolfe regular), double crosses the team. Nate adds a fourth member to the team, plans a new con, and they take down the client, for a satisfactory ending. In episode two, The Homecoming Job, a soldier wounded in Iraq comes to Nate for help. Nate summons the team from around the world for another job, and Leverage Consulting & Associates is born.

Nathan is represented as an honest man, who knows all the ins and outs of thieves. Which makes him the perfect head for the team. Dungeons and Dragons players know that a well-rounded party is of great benefit. Computer-generated parties often give you a fighter, a thief, a magic user and a cleric of some sort. That’s so the party has the myriad of skills required for different demands. The Leverage team is built on the same principle.

Sophie Deveraux, played by Gina Bellman, is a grifter. She was the late addition to the team. As an attractive female who is also an actress (in the role), she is an asset to any con. She also has the strongest emotional ties to Nate as the series progresses, and is the only one who can get through to him when despair and his recurring alcoholism come into play. She becomes Nate’s voice of reason, though she’s often unsuccessful at it. Bellman had starred in the British show, Coupling.

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The Art of Author Branding: The Ace Robert Silverberg

The Art of Author Branding: The Ace Robert Silverberg

The Seed of Earth Silverberg-small The Silent Invaders Silverberg-small Recalled to Life Silverberg-small
Next Stop the Stars Silverberg-small Collision Course Silverberg-small Stepsons of Terra-small

The Ace Robert Silverberg: skewed titles and unclutterd art. The Seed of Earth, The Silent Invaders, Recalled to Life,
Next Stop the Stars, Collision Course and Stepsons of Terra. All from 1977. Covers by Don Punchatz

If you cruised the bookstore and supermarket racks in the 70s and 80s for science fiction paperbacks, Robert Silverberg was everywhere. I mean, everywhere. It wasn’t just that he was enormously productive — that was certainly true. But his books remained in print, or were returned to print, countless times by different publishers.

This was the era when agents would package up backlists by top writers en masse, selling the rights to multiple novels, and publishers would release them virtually simultaneously, usually with the same cover artist. If you had a popular novel — and Silverberg had many — a diligent agent could package and re-package it many times. That’s how Silverberg’s Hawksbill Station was released by Doubleday, The Science Fiction Book Club, Avon, Tandem, Berkley, Star, Warner Books, Tor, and many others between 1968 and 1990, just to pick one example.

The 1977 paperback edition of Robert Silverberg’s Collision Course was one of the first science fiction books I bought (the other was Star Trek 2, by James Blish). Mark Kelly reviewed it for us here last month, calling it “a fascinating, ordinary 1950s science fiction novel.” The mix of far-flung space adventure and galactic intrigue was perfectly pitched for a 13-year old however, and I loved it. Naturally I returned to the bookstore to find more in the same vein, and lo and behold, I did: five more Robert Silverberg novels, cleverly packaged by Ace Books to capitalize on the natural brand loyalty of young SF fans (see above).

This practice of bundling authors, and creating custom cover designs for each, was by no means unique to science fiction, of course. But if you’re a student of SF art there’s an enormous amount to learn by examining the visual language built up around the most popular SF authors in the 70s and 80s, and the ways editors and Art Directors at the major publishers used that language to draw in readers with familiar images and themes, and simultaneously differentiate themselves from the competition on overcrowded paperback racks.

There are countless examples, of course. But for our purposes, I’m going to single out Robert Silverberg, mostly because he’s the one I think of when I think of author branding. Well, Silverberg and Larry Niven (whom we’ll get to in a minute).

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Uncanny X-Men, Part 11: Storm, the FF and Phoenix in John Byrne’s The Hidden Years

Uncanny X-Men, Part 11: Storm, the FF and Phoenix in John Byrne’s The Hidden Years

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Welcome to my 11th installment of my epic rereading of the X-Men, starting in 1963. I say that like it’s a big thing I’ve done, but to put things in perspective, I’ve done 10 posts before this and I haven’t even gotten to Giant-Sized X-Men #1 yet! Partly for that reason and partly because there are some swings and some misses in X-Men: The Hidden Years, and I really want to get back to the Bronze Age appearances of the X-Men.

Let me start with some of the negatives with X-Men: The Hidden Years. I don’t start here to scare anyone off. I think the things that don’t work are generalized problems with this series and are also certainly not fatal. X-Men: The Hidden Years was in fact selling well and was only cancelled at 22 issues because Marvel saw it had too many X-Men books at the same time and needed to cut one.

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Wendy N. Wagner will Assume Editorial Reins at Nightmare Magazine with Issue #100

Wendy N. Wagner will Assume Editorial Reins at Nightmare Magazine with Issue #100

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Recent issues of Nightmare Magazine. Covers by Alexandra Petruk / Adobe Stock Images

Nightmare may well be the best magazine of horror and dark fantasy on the market. In the last twelve months, under the skilled editorial guidance of John Joseph Adams, it’s published original fiction by Simon Strantzas, Adam-Troy Castro, Brian Evenson, Rich Larson, Ray Nayler, Senaa Ahmad, and many others.

However, JJA is a busy guy. In addition to Nightmare he also edits the acclaimed Lightspeed magazine, a line of popular anthologies, including the Best American Science Fiction and Fantasy and the upcoming Dystopia Triptych, and — let’s not forget — John Joseph Adams Books, an imprint of Houghton Mifflin Harcourt, which published my novel The Robots of Gotham. I guess holding down three full time jobs starts to wear on a guy after a while, and on May 20 John announced that, effective with issue #100, Managing Editor Wendy N. Wagner would be taking over the reins at Nightmare.

Soon yours truly will be passing the editorial torch… although she will be newly minted in title, the editor has a name and face you already know: Our long-time managing/senior editor, Wendy N. Wagner. If you’re a diligent Nightmare reader, you’re already familiar with her editorial contributions: She was the guest editor for our Queers Destroy Horror! special issue back in 2015. But in truth if you’ve read any issue since 2014 you’ve seen Wendy’s input; she’s been my stalwart advisor and lieutenant for more than six years. I know that I’m leaving the magazine in the best possible hands…

Issue 100 will be my last issue as editor of Nightmare, but despair not, friends, for I honestly can’t think of a better person to take the reins . . . and I for one can’t wait to see where Wendy leads us next.

Wendy is a terrific choice, in my opinion. In addition to her editorial chops, she’s a fine author. We’ve covered two of her previous novels here, An Oath of Dogs (Angry Robot, 2017), and the Pathfinder Tales novel Starspawn (described as “Pathfinder Meets Lovecraft”). Garrett Calcaterra interviewed her for Black Gate back in 2013.

Read the full announcement here, and check out the latest issue of Nightmare, with fiction by Yohanca Delgado and Claire Wrenwood, Jarla Tangh, Adam-Troy Castro, and Steve Toase. You can purchase individual issues for $2.99 each, or subscribe for just $11.94 for six months here.

Weird Tales Deep Read: March, 1933

Weird Tales Deep Read: March, 1933

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Weird Tales, March 1933. Cover by Margaret Brundage

This installment of the deep read of the Unique Magazine examines the nine stories in the March, 1933 issue of Weird Tales. We see some familiar names from the previous column: Seabury Quinn, Robert E. Howard, Clark Ashton Smith, and Harold Ward, as well as a couple who might be familiar to fans of pulp fiction, Otis Aldebert Kline and Paul Ernst. Kline is probably best known for his imitation Edgar Rice Burroughs planetary adventure novels. He was also Robert E. Howard’s literary agent for awhile, which will no doubt come up for discussion at the appropriate time. Paul Ernst was a rather prolific pulpster, possibly remembered mostly today for writing the Avenger hero pulps, but he was also a frequent contributor to Weird Tales.

Some stats for this issue before we get to the individual stories, then a few comments on some of this issue’s offerings. Locations: US (4/9; 44%), fictional realms (2/9: 22%), Venus, UK, France, Tibet (all 1/9: 11%). Contemporary setting: 6/9; 67%). Past: (2/9; 22%), Future: (1/9; 11%). Four of these stories (44%) are part of a series: Quinn, Howard, Kline, and Smith.

Seabury Quinn [Jules de Grandin] (2) “Thing in the Fog, The” [US, PA, Harrisonville, fictional town; Contemporary] Occultist de Grandin and Dr. Trowbridge literally run into a man on the street being attacked by a werewolf. He’s only injured but his companion is killed by the creature. They soon learn that his future wife was once the werewolf’s fiancee and that he’d initiated into his clan. After the wedding, the bride is again transformed into a wolf by a potion given her anonymously by her werewolf ex, but she attacks him while both are in their canid forms, giving de Grandin the opportunity to deliver a fatal shot. De Grandin then releases her from her curse by using an incantation in the form of a prayer. [Medical doctor. Occultist. Occult being, werewolf. Death by occult being, werewolf. Love triangle. Magic potion. Werewolf transformation by magic potion. Magic incantation, prayer]

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Goth Chick News: Sigourney Weaver is Back Kicking the Snot Out of Aliens – Right Now

Goth Chick News: Sigourney Weaver is Back Kicking the Snot Out of Aliens – Right Now

Get Away from Her

Socially distant Zoom call. Earlier this week:

Black Gate Photog Chris Z: Do you think they’ll ever fix the Alien franchise?

Goth Chick: By ‘fix’ do you mean ignore the hot mess of Aliens 3 and 4, along with the travesty that was those Prometheus movies?

BGPCZ: Though I’m clearly not as emotionally scarred as you, basically yes.

GC: I am still holding out hope for the Neill Blomkamp / James Cameron reboot that picks up Ripley and Hicks’ characters after Aliens 2. You know, the one Ridley Scott utterly destroyed with his announcement he was coming up with something better?

BGPCZ: The ‘something better’ that gave us Prometheus.

GC: (gagging noise) Yes. Cameron was hinting it was a go early last year, so there’s still hope.

And that, dear BG readers is what caused me to go hunting to see if there were any new developments on that front, which is when I discovered this – embarrassed as I am to be so late to this party.

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Isaac Asimov’s First Actual Novel: 1950’s Pebble in the Sky

Isaac Asimov’s First Actual Novel: 1950’s Pebble in the Sky

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Pebble in the Sky by Isaac Asimov; First Edition: Doubleday 1950.
Cover by Richard Powers (click to enlarge)

Pebble in the Sky
by Isaac Asimov
Doubleday (223 pages, $2.50 in hardcover, 1950)

Isaac Asimov’s most famous works are likely the Foundation Trilogy and I, Robot, but these are story cycles, not novels. Concurrently with the publication of those books, Asimov published his first three actual novels: Pebble in the Sky; The Stars, Like Dust; and The Currents of Space, from Doubleday in 1950, 1951, and 1952. They share a common future history background (presaged by earlier short fiction like “Black Friar of the Flame” and “Mother Earth”), in which humanity has colonized many planets across the galaxy, while Earth, for reasons of apparently having suffered a nuclear war, is a backwater, despised by the outer worlds. Yet the books vary in the degree to which they are science fiction, and not merely space opera (that is, melodramas with good guys and bad guys fighting for dominance) or historical incidents translated into future settings. Asimov was a sophisticated writer, and all three of these early novels offer complex mysteries in which problems must be solved and villains identified. But in terms of their speculative content, they vary: the middle book, The Stars, Like Dust, is the weakest; the third, The Currents of Space, the strongest; and this first, Pebble in the Sky, somewhere in between.

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Star System Politics and Factions: Dell Science Fiction Reviews

Star System Politics and Factions: Dell Science Fiction Reviews

Asimov's Science Fiction May-June 2020-small Analog Science Fiction and Fact May-June 2020-small

Dominica Phetteplace is a name to which I pay attention, after having read many of her works now in Asimov’s. If I don’t point out her work enough, it’s because Phetteplace doesn’t usually construct whirling plots or astonishing metaphysics*, but instead sculpts a very convincing and immersive (what the literary genre calls “slice of life”) simulation of normal people living in a near-normal future. Phetteplace’s vision, on average, is ingenious, and “Digital Witness,” in the current issue of Asimov’s, is a standout.

Phetteplace’s attitude about our social-media-saturated future is both accepting of it and pragmatically cynical. This story, despite all of its darkness, is not a shrill prophecy about dystopia. If there are warnings here, then they are that marketing and digital commodities will have to be altruistically revolutionized. Rather, Phetteplace’s meditation seems resigned to how “business” will be conducted, how it will affect relationships and “true” social lives. Any canny reader should recognize that this reality is upon us now. And, if Phetteplace’s protagonist in the story actively works in the field of data mining, Phetteplace herself seeks to avoid self-commodification. In the editorial foreword, Phetteplace says that the story was inspired by herself choosing not to download an app that her physical therapist claimed would be of use to Phetteplace in monitoring back pain. In context of the story that Phetteplace ended up writing, it is clear that Phetteplace expected that following her therapist’s advice would infringe on her privacy and result in her information being traded within the digital marketplace.

In short, this is what this story is about: data mining as a business, showing what nefarious uses may result from it, and how commonplace in our world this already seems to be. Phetteplace strikes me as a very powerful and literary writer of science fiction.

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New Treasures: The Aleph Extraction, Book II of The Galactic Cold War by Dan Moren

New Treasures: The Aleph Extraction, Book II of The Galactic Cold War by Dan Moren

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The Galactic Cold War novels, from Angry Robot.
Cover for The Aleph Extraction by Georgina Hewitt.

I met Helene Wecker at the World Fantasy Convention two years ago, at a reading for her novel The Golem and the Jinni, and she impressed me with her knowledge of (and passion for) the genre. Someone like that you pay attention to. So when she called the opening novel in Dan Moren’s Galactic Cold War series “Ocean’s Eleven in zero gravity,” it stuck in my mind.

She wasn’t the only one to notice. Publishers Weekly called The Bayern Agenda “one of the most entertaining genre mashups within an astronomical unit.” I hate being left out, so I bought a copy and wrote about it here, just so I could sound hip too.  The second in the series arrived right on time from Angry Robot this month; here’s the description.

Aboard a notorious criminal syndicate’s luxurious starliner, Commonwealth operative Simon Kovalic and his crew race to steal a mysterious artifact that could shift the balance of war…

Still reeling from a former teammate’s betrayal, Commonwealth operative Simon Kovalic and his band of misfit spies have no time to catch their breath before being sent on another impossible mission: to pull off the daring heist of a quasi-mythical alien artifact, right out from under the nose of the galaxy’s most ruthless crime lord.

But their cold war rivals, the Illyrican Empire, want the artifact for themselves. And Kovalic’s newest recruit, Specialist Addy Sayers, is a volatile ex-con with a mean hair-trigger who might put the whole mission at risk. Can Kovalic hold it all together, or will the team tear themselves apart before they can finish the job?

The Galactic Cold War series is definitely getting interesting quickly. The Aleph Extraction was published by Angry Robot on May 12. It is 418 pages, priced at $15.99 in trade paperback and $8.99 in digital formats. The cover art is uncredited.

See all our recent New Treasures here.