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The Granddaughter of Fu Manchu

The Granddaughter of Fu Manchu

MSMM 0181Mike Shayne, the redheaded tough guy private eye, was introduced in the decidedly more lighthearted detective novel, Dividend on Death penned by the pseudonymous Brett Halliday in 1939. The character was an instant success and Michael Shayne (as he was initially known) quickly became a cottage industry leading to another 77 (mostly hardboiled) detective novels through the mid-1970s, over 300 short stories through the mid-1980s, 11 B-movies in the 1940s, a radio drama series that lasted nearly a decade, an early 1960s television series that made it for a full season, a TV tie-in Dell comic book that lasted three issues, and his own magazine digest that ran for nearly 30 years. The character may seem like just another clichéd private eye today, but over the years a number of very talented authors hid behind the fedora and turned-up collar of “Brett Halliday” – Bill Pronzini, Dennis Lynds, James Reasoner, Frank Belknap Long, and the ubiquitous Michael Avallone among them.

The reason we have turned our attention to this particular ginger with the mean disposition is a trilogy of stories that appeared in Mike Shayne Mystery Magazine in 1981 and 1982 featuring a character known as the Black Lotus. As the storyline developed “Brett Halliday,” in this instance James Reasoner, strongly suggested the Black Lotus was the granddaughter of Fu Manchu. Mr. Reasoner was cautious and did not name names, of course, but elements of the three stories read like a Sax Rohmer tribute – including the Black Lotus’ real identity, Leiko Smith sharing the surname of the protagonist of the Fu Manchu stories, Nayland Smith. The character’s first name (which is Japanese, rather than Chinese) was likely borrowed from Leiko Wu, the love interest from Marvel Comics’ contemporaneous Master of Kung Fu series (1973-1983) which licensed the Fu Manchu characters from Rohmer’s literary estate. I first learned of the Black Lotus storyline from Win Scott Eckert’s very useful Fu Manchu chronology. My friend, Don O’Malley was kind enough to send me scanned copies of the three issues in question in order that I finally have a chance to read them.

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More Metal on Metal: Swords of Steel II edited by D.M. Ritzlin

More Metal on Metal: Swords of Steel II edited by D.M. Ritzlin

oie_905944pvOdEQohFrom its emergence out of the hard rock genre, heavy metal has drawn from the inspiration of swords & sorcery. “The Wizard” is the second track on what is considered the first metal album, the eponymous Black Sabbath. Uriah Heep upped the ante with its albums Demons and Wizards and The Magician’s Birthday. Manowar’s epic song “Battle Hymns,” from the album of the same name, channeled all the blood and thunder of heroic fantasy into 6 minutes and 55 seconds. Behold:

Gone are the days, when freedom shone – now blood and steel meet bone
In the light of the battle’s way, the sands of time will shake
How proud our soldiers stand, with mace and chain in hand
Sound of charge into glory ride, over the top of their vanquished pride

Other bands have gone as far as spinning songs directly from actual stories and novels. The Sword, for example, has Game of Thrones-inspired “To Take the Black,” and Manilla Road drafted both the plot and title of of a Robert E. Howard story for their “Queen of the Black Coast.”

The point is, metal and S&S have been fist in glove for many a year now. They have the same penchant for extremes — the big gestures not the subtle, small ones. The idea that heavy metal musicians could turn their love for S&S into prose makes perfect sense.

And that’s exactly what D. M. Ritzlin has encouraged, starting with last year’s Swords of Steel, an anthology of heroic fantasy written by members of heavy metal bands. While I gave it a mixed review, I was utterly sold on the idea. The authors’ ardor was undeniable, even overwhelming weaknesses in some of the stories. Each story was illustrated with a work of hand-drawn lo-fi art that harks back to sketches on the backs of D&D character sheets and murals painted on the sides of vans. Flaws be damned, I enjoyed the book and was happy to learn that a second volume was being planned.

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The Public Life of Sherlock Holmes: Austin’s Jack the Ripper

The Public Life of Sherlock Holmes: Austin’s Jack the Ripper

AustinKiller_XmasheadlineThis morning’s post would have been about Houdini and Doyle, the new TV series airing Monday nights on Fox. Except I missed the pilot: and contrary to much public opinion, I only write posts on subjects I know something about. Maybe not much, but… From what I can tell, it’s a buddy cop show in which the pair, one a believer in supernatural phenomena (Doyle), the other a skeptic (Houdini), investigates crimes. Brings to mind a poor man’s Mulder and Scully, but I’ll give it a chance.

And I’m about the last Black Gater you’re going to see a post from regarding the mess that is the Hugo Awards, so that’s not happening here. New fictional TV show aside, Sir Arthur Conan Doyle was quite interested, and occasionally involved with, real-life crimes.

I wrote about the George Edalji case here (and even put the world’s first private consulting detective into the crime in Volume III of The MX Book of New Sherlock Holmes Stories). I talked about his involvement with The Crimes Club in this post. And when time permits, I’m going to refresh my knowledge regarding the Oscar Slater case and write about that.

But my interest in Holmes and other Victorian mystery fiction, as well as hard-boiled mysteries, has resulted in reading about true crimes from those eras. Of course, there’s Jack the Ripper, various ‘trunks on trains’ murders, a plethora of poisonings (Florence Bravo is a particular interest area of mine) and more to delve into.

I lived in Austin, TX for a few years in the early 2000’s. While there, I read Steven Saylor’s A Twist at the End, and was fortunate enough to attend a lecture he gave on the killings. What killings, you say? Read on.

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Self-Published Book Review: Bitterwood by James Maxey

Self-Published Book Review: Bitterwood by James Maxey

If you have a book you’d like me to review, please see this post for instructions to submit. I’ve received very few submissions recently, and I’d like to get more.

Bitterwood-coverThis month’s self-published book review is of Bitterwood by James Maxey. I’m stretching the definition of self-published in this instance, as Bitterwood was initially published by Solaris in 2007. But the version I’ve been reading is in Bitterwood: The Complete Collection, which appears to have been published by the author, and includes new material. The reason that I’m stretching definitions here is that I’ve received very few submissions recently. So if you’re interested in seeing your novel reviewed, please submit it to me.

Bitterwood is the story of a world ruled by dragons. These are not your standard fantasy dragons, though. They are four limbed — two hind claws, and two wings with foreclaws that allow manipulation — and they do not breathe fire. They’re also considerably smaller than fantasy dragons, the smaller ones being not much larger than a man, but they are considerably more civilized. They have a well-developed culture, and a hierarchy ruled by the large sun-dragons, served by the deft and scholarly sky-dragons, and the worker, earthbound earth-dragons. And beneath them all are the humans who work the fields and pay tribute. The dragon king, Albekizan, owns the entire known world, and everyone lives on it at his sufferance. The humans are considered little better than parasites, held in contempt and hunted for sport.

Except for Bant Bitterwood. Converted at a young age to a harsh form of Christianity by the wandering prophet Hezekiah, Bant was force to abandon his family by the prophet, and subsequently lost them to the dragons. Bitterwood abandoned his faith and swore vengeance, and has been hunting dragons ever since. Every dragon knows his name, and fears him as The Ghost Who Kills — a man who should be dead, who comes and goes like a ghost, and kills without mercy.

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Headshots and Cusswords, Baby: The Return of TV Executive Jay Odjick to Indie Comics!

Headshots and Cusswords, Baby: The Return of TV Executive Jay Odjick to Indie Comics!

Jay Odjick isjay1 a Canadian graphic novelist who in 2014 became the Executive Producer and lead writer for the animated TV series Kagagi: The Raven, which was an adaptation of his own indie graphic novel. His TV show about a teen native American superhero is running on APTN in Canada and FNX in the USA and other foreign markets have shown considerable interest.

In the fall of 2016, Jay will have a new graphic novel coming out called The Outsider, and the 12-page The Outsider #0 is available for free download right now here. I caught up with Jay this week to talk about his return to comics.

Thanks for the chance to talk Jay! What’s the concept pitch for The Outsider?

It’s just your average run of the mill post-apocalyptic, ultraviolent, exploitation/grindhouse, Western with a dash of fantasy, gonzo Saturday morning cartoon on acid. Y’know, one of those old yarns!

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The Hugo Nominations, 2016; or, Sigh …

The Hugo Nominations, 2016; or, Sigh …

2007 Hugo Award-smallI wasn’t sure I should bother writing this this year, as I’m not sure I have anything new or interesting to say that hasn’t been said, but I feel like getting some thoughts off my chest. This isn’t, I should add, my detailed analysis with voting thoughts … that will come later, after I’ve read the stories.

As most of you know by now, the Hugo Nominations for 2016 were dominated to an even greater degree than last year by the Rabid Puppies slate, organized by Theodore Beale (“Vox Day”). The Sad Puppies also put forth a recommendation list (“Not a Slate™”), and indeed they seem to have done so in good faith – openly gathered a set of recommendations from readers, and using that set put together a list of the most-recommended items in each category, a list longer than the nomination ballot. I don’t see anything whatsoever wrong with this. That said, their direct influence on the final ballot seems to have been minimal – which is, or should be, just fine: so was Locus’ influence, so was mine, etc.

The Rapid Puppies slate took over 75% of the ballot, and apparently the percentage would have been higher except that some nominees withdrew. There are very interesting analyses at Greg Hullender’s Rocket Stack Rank and Brandon Kempner’s Chaos Horizons. Using slightly different statistical models, they came up with estimates of 200 or so to 300 or more Rabid voters. (Vox Day claimed 750 adherents.) It seems likely that the Rabid nominators were much more disciplined in sticking to slate voting this year.

A cursory glance at the fiction entries on the ballot shows that there are some worthwhile, Rabid-supported, entries on it. In Best Novel, for instance, the two Rabid choice, Neal Stephenson’s Seveneves and Jim Butcher’s The Cinder Spires: The Aeronaut’s Windlass seem pretty reasonable. Likewise in Best Novella, all four of the Rabid entries are at least decent.

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One More Time(Piece)

One More Time(Piece)

Robinson Kill EditorIn my last post I talked about John D. MacDonald’s The Girl, the Gold Watch and Everything, and today I’d like to take a look at Spider Robinson’s homage to that classic story, Kill the Editor.

I should begin by telling you that Kill the Editor was published separately as a limited edition (1991) but also appears as the first two thirds of his longer Lady Slings the Booze (1992), which is in itself a follow-up (avoiding the dreaded “s” word) to Callahan’s Lady. In Lady Slings Robinson tips his hat to several other mystery/crime writers in his acknowledgements, but it’s MacDonald’s watch that interests me here.

As you’ll recall if you read my last post, Kirby Winter inherited a watch that would stop time for the person holding it. A ton of other people wanted to get his secret from him – most without knowing exactly what the secret was – and defending himself and defeating the bad guys constitutes the plot of that story. (Or the plot of pretty much any story, I suppose.)

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The Series Series: Guile by Constance Cooper

The Series Series: Guile by Constance Cooper

Guille with Constance CooperGuile begins with the girl, but here we must begin with the town.

First, posit a dream-logic variation on Louisiana, a region of lovely old towns sinking inexorably into swamp, linked along their river by villages of stilted cabins. People here live by their river, inevitably — subsistence fishing is the most common livelihood — but the river can’t be trusted. Not just because it floods, but because of the mysteries it carries from dangerous lands upstream.

Because this is a dream-logic Louisiana, the pollution the river carries is not a thousand miles of industrial effluent, but the residual magic of a civilization that collapsed long ago. It’s a pervasive, contaminating magic, full of advantages for those who understand it — but it also breaks down the dividing lines between humans, beasts, and objects. People cope poorly when such boundaries get blurred, so even though the effort to police them is futile, policing them nonetheless is one of the principal priorities of this world’s customs. The heroine’s high town relatives are what you might get if H.P. Lovecraft and his prissy Providence aunts had made their respectable home just a mile from a slumful of Deep Ones.

The river might make a tool so intent on the task it was cast for that anyone who touches it can do nothing else. It might warp the bodies of divers who gather old artifacts to sell, webbing their fingers and gilling their throats. Animals who narrowly avoid drowning in the river emerge in a new kind of danger, endowed with human intelligence and speech, to the sometimes violent horror of actual humans. And minds contaminated by the magic can detect the magic, come to recognize its forms and functions, and use it where they find it, while those who’ve kept clean remain magic-blind.

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The Iron Dragon’s Daughter: A Wholly Biased Review

The Iron Dragon’s Daughter: A Wholly Biased Review

The-Iron-Dragons-Daughter-smallAh, The Iron Dragon’s Daughter. John O’Neill asked me for a review a few weeks ago, and I thought, “Really? You want me to be objective when she and I are so very much in love?”

Because it is love, you know? And it burns hot enough to turn all negative comments to ash.

I’ve driven friends away with this obsession. “What do you see in The Iron Dragon’s Daughter?” they ask. “She’s so incoherent. She has practically no… no character.”

Yes, all right, all right. We’re talking about a book here. I knew that. Ink and paper, rather than flesh and bone. Born — apologies! — published in 1993. To some, like myself, it became a classic, but others greeted it with bewilderment and it has collected a slew (31%) of apathetic reviews on sites like Amazon.

The book has flaws, you see? It takes the type of liberties that would have most sane reviewers flinging stars away like wasps found on a beloved child.

“Where’s the plot?” they cry.

“Why is the main character so bland?”

Both of these accusations ring true. Michael Swanwick’s story does have an arc that flows from the first page to the last, but rather than a rushing torrent, what we have here meanders across an exotic plain of wonders, leaving half-finished tales behind like so many oxbow lakes.

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Once More Into the Primal Land: Tarra Khash: Hrossak! by Brian Lumley

Once More Into the Primal Land: Tarra Khash: Hrossak! by Brian Lumley

oie_331744OeH2c07SWith Tarra Khash: Hrossak!, the British horror luminary Brian Lumley returns with six more stories of derring-do and magical skullduggery set in his primeval land, Theem’hdra. (Two years ago, I reviewed The House of Cthulhu, his first collection of swords & sorcery stories, here at Black Gate.) For those not familiar with the great island-continent, it’s another prehistoric land shoehorned into the Lovecraft Mythos timeline that includes Mu, Lemuria, Hyboria, Hyperborea, and several other forgotten places. It’s the sort of place endemic to tales of swords & sorcery, replete with strong-muscled heroes, conniving merchants, demon-haunted tombs, backstabbing villains, and dastardly wizards with faces hidden in deep cowls (all of which are found in this book).

Any moderately-read consumer of S&S will have experienced these elements, if not to the point of boredom, at least a whole bunch. To get away with the use of such hoary elements, an author must use them without a bit of irony, and with brio. Lumley does exactly that.

Lumley told Robert M. Price that his inspiration for The House of Cthulhu was the work of Clark Ashton Smith and Lord Dunsany, and it’s a claim only bolstered by the tales in this collection. While his prose is never as ornate or bejewelled as his models, there is a similar love for exotic, haunted landscapes draped in mystery and populated by ancient deities and uncanny magic.

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