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Range of Ghosts

Range of Ghosts

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range-of-ghostsI’ve always wanted to write an epic fantasy.

A real epic fantasy, something with sweep and scope, tumbling empires, wizards and warlocks, monstrous fantastical beasts and horses of supernatural speed and stamina and crooked old gods vying for power. Something in the sword-and-sorcery mode, but not exactly a Leiberesque low fantasy… or a Tolkienesque high fantasy either. Rather, a book–a series of books, really, because what I had in mind wouldn’t fit in a hundred and fifty thousand words or so–in which the fate of kingdoms hung in the balance, but which wasn’t uncritical of the role of kings.

I wanted to write a book that had the sense of scope and sense of wonder of the books I loved as a young adult… but I kept running into the same problem.

There’s so much epic fantasy out there. And so much of it looks strangely similar. Not identical, of course… but like different chefs’ versions of the same recipe. The ingredients are all the same.

I’m a fan of Guy Gavriel Kay’s Fionavar books, for all their slightly string-pulling manipulativeness. I love the way he takes every possible overplayed trope of fantasy and dumps them all into the same pot–and then pokes them with sticks and makes them fight. But I knew I didn’t want to do that. I wanted a narrative with elements of quest in it, but not simply a quest to reclaim or destroy the magic widget that makes the story go. I wanted a book that would shift scenes from city to city, from culture to culture — and I knew I wanted a world that wasn’t inhabited by nothing but Europeans.

In fact, I was pretty sure I wanted to dispense with the Europeans all together.

In the meantime, I was researching Central Asia and North Africa and their border cultures, and trying to come up with my own world inspired by those settings but not too derivative of them. I didn’t want to write a historical fantasy — or even an ahistorical fantasy, like Conan, which purports to take place in the antediluvian history of our own earth. I very much wanted a fantasy world, it’s own place, with a few thousand years of history as backdrop.

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Art of the Genre: Why and how I build a Kickstarter

Art of the Genre: Why and how I build a Kickstarter

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lyssa-lobby-card-kickstart-lockwood-serpent-2Yes, yes, I’m trying to keep up with my Kickstarter theme each Saturday, but as I’m releasing a new Kickstarter myself, and its progress will be tracked right here on Black Gate at the bottom of my posts, I thought I’d show you what I was thinking as I did it. Keep on sharing the knowledge, you know, because the more people I can help get onto this platform, the better it is for all those already using it. So, here is a run down of what goes on in my head as I start one of these projects.

First, I go back into my ‘nostalgia archives’ and find something I loved. In this case it was the old-school shared anthology. Considering what it would mean to bring something like this back, especially since I work for a short fiction publisher in Black Gate Magazine, I couldn’t resist the temptation.

To do this, however, I needed authors that filled the bill, so I promptly went out and got some, eight to be precise. With these creative folk in the fold, I then created a website to host as a kind of creative sand box for all the authors to help build a world in. I decided we’d start small, inside a single city, and work our way out from there as success allowed.

However, you know me, I couldn’t do this without art, so I got an artist to start doing conceptual work on the world using the ideas of the authors and myself. Then, once concept art was in play I found a cover artist who had no peer in the fantasy genre, and signed him on as well. [Note: You would be surprised how much creative people love the thought of working freely on stuff like this, especially after spending the bulk of their time doing what others want instead of what their own creative mind is telling them.]

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Clarkesworld Issue #66

Clarkesworld Issue #66

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cw_66_300The March  issue of Clarkesworld is currently online. Featured fiction: “Sunlight Society” by Margaret Ronald, “The Bells of Subsidence” by Michale John Grist and “From Their Paws, We Shall Inherit” by Gary Kloster.  Non fiction by E.C. Ambrose, Jeremy L.C. Jones and Neil Clarke.  The cover art is by Sergio Diaz.

All of this is available online for free; there’s even an audio podcast version of all three stories read by Kate Baker. However, nothing is really free. The magazine is supported by “Clarkesworld Citizens” who donate $10 or more.

We last covered Clarkesworld with issue #64.

New Treasures: The Wesleyan Anthology of Science Fiction

New Treasures: The Wesleyan Anthology of Science Fiction

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wesleyan-anthologyWow. This may be the finest SF anthology I’ve ever seen. It’s certainly the best I’ve come across in many years.

Editing an anthology — especially a reprint anthology — is a delicate balancing act. You want to include the very finest stories you can, of course. But you’d prefer not to fill your book with tales your readers have seen a dozen times over.

I’m not sure I’ve seen a book that manages this as well as The Wesleyan Anthology of Science Fiction. Starting with Nathaniel Hawthorne’s “Rappaccini’s Daughter” (published 1844) and ending with Ted Chiang’s “Exhalation” (2008) it spans 164 years of science fiction publishing, including some of the finest SF stories ever written — Edmond Hamilton’s “The Man Who Evolved” (1931), James Patrick Kelly’s “Think Like a Dinosaur” (1995) — alongside dozens I’ve never read. Virtually every major SF and fantasy short fiction writer of the last 164 years is represented, from H. G. Wells, C.L. Moore and Stanley Weinbaum to Samuel R. Delany, Philip K. Dick, Gene Wolfe and Charles Stross.

The Wesleyan Anthology has a grand total of six editors, which tells you right off the bat it’s an academic endeavor targeted at libraries and school curriculum. All six are editors for Science Fiction Studies, DePauw University’s long-running critical journal, and they do a fine job of introducing the tales. Now, academic anthologies like this usually don’t appeal to me. They typically devote a considerable page count to proto-SF of the late 1800s or early 1900s, and that stuff puts my feet to sleep.

Not this time.  By the fifth tale we’re already into the 1930s, and the editors pay proper respect to both the Golden Age of SF — the Campbell authors of the 1940s like Asimov and Simak — and the earlier pulp writers of the mid-30s such as Hamilton and Leslie F. Stone. They’ve even plucked some tales from the pulps that I’ve never heard of, and that takes some effort.

I first laid eyes on The Wesleyan Anthology at Wiscon last year when SF author Richard Chwedyk showed me his copy with some wonder and amazement. Alice bought me my copy for Christmas, and I’ve been slowly (very slowly) making my way through it. The Wesleyan Anthology is $39.95 for 787 pages in trade paperback, and is published by Wesleyan University Press. Do yourself a favor and check it out.

The Big Barbarian Theory

The Big Barbarian Theory

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the-sorcerers-shadowConan, King Kull, Cormac, Bran Mak Morn — characters often imitated, never duplicated. These creations of Robert E. Howard started the sword-and-sorcery boom of the 1960s and early 1970s.

Then there are the barbarian warriors inspired by Howard — Clonans, as one writer recently referred to these sword-slinging, muscle-bound characters.

A fair observation, but in some cases, not so true.

We prefer to think of these tales of wandering barbarian heroes as “Solo Sword and Sorcery” because the majority of these characters are lone wolves, without sidekicks or even recurring companions. This is a big part of their appeal, in fact.

We’ve read many, if not most, of the Conan pastiches, including the novels based on Howard’s other creations. Karl Edward Wagner’s, Poul Anderson’s, and Andy Offutt’s portrayals of the Cimmerian come within a sword’s stroke of Howard’s vision.

L. Sprague de Camp and Lin Carter, in commodifying the character, arranged the long, informal saga of Conan in chronological order and, by extenuating these adventures with dozens more, made of Howard’s original vision a long-form series similar to the episodic success of a television show on a prolonged run of diminishing returns.

For some readers, however, the advantage of this development is that it provided a sort of character arc as Conan grows from a youth to an older man.

That said, however, it is better to read the Conan tales in the order in which Howard wrote them.

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Lost Classics of Pulp: Guy Boothby’s Dr. Nikola and Pharos the Egyptian

Lost Classics of Pulp: Guy Boothby’s Dr. Nikola and Pharos the Egyptian

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nikolapharos-book-first-editionOne doesn’t have to dig very far to discover my devotion to the works of Sax Rohmer. Peter Haining was, I believe, the first commentator to propose that Australian writer Guy Boothby’s works were a likely influence on Rohmer in the excellent survey, The Art of Mystery and Detective Stories. I first stumbled upon Boothby’s name and that of his most famous creation, Dr. Nikola courtesy of Larry Knapp’s brilliant Page of Fu Manchu website. Finally, it was a very informative piece written by that eminent Sherlockian, Charles Prepolec that convinced me I had to read the Nikola series for myself.

Five Nikola books were published between 1895 and 1901. The best editions available today are in the two-volume The Complete Dr. Nikola published by Leonaur Press. Dr. Nikola is a criminal mastermind with an occult twist. Think Conan Doyle’s Professor Moriarty (introduced only one year before Nikola) eerily anticipating Aleister Crowley and you have a pretty good idea of Boothby’s ambitions.

Like much fantastic fiction of the Victorian era, the books are more about how others fall into Nikola’s web than they are about the sinister doctor himself. This was the same approach taken by Bram Stoker with Dracula and Rohmer with his Fu Manchu series. The Nikola books are also globe-trotting adventures that move rapidly from Australia to Europe to Egypt to London to Africa to Tibet. The sense of mystery that pervades these exotic settings in those imperialist days of empire-building is part of the books’ nostalgic appeal today.

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Goth Chick News: Full Length Trailers for Shadows and Prometheus: It’s Getting Interesting…

Goth Chick News: Full Length Trailers for Shadows and Prometheus: It’s Getting Interesting…

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image004This week saw all sorts of new goodies being released to moisten your pallet for what will surely be two of the upcoming summer movie season’s biggest box office draws.

Let’s start with Dark Shadows and my assertion that if Barnabas Collins were really in his grave somewhere, he’d probably be spinning like a rotisserie ham.

It’s because the original vampire Collins wasn’t particularly heartthrob material (and proper vampires really shouldn’t be) that I didn’t mind some of the initial low-quality stills that came from Tim Burton and Johnny Depp’s rewind of the 1960’s TV cult classic.

Depp had his hair plastered down and was sporting a seriously pasty complexion.

Okay, fair enough. I did fret ever so slightly about the borderline comical nature of his look but, well, that’s just Burton and Depp.

Then on March 16th we finally get the goods: a series of character portraits and a full length trailer of Dark Shadows to hold us over the 55 or so days until its release on May 11th.

Oh joy, oh rapture, oh…. seriously?

A comedy?

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INVADING FANTASY

INVADING FANTASY

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CONQUER THIS

Lebor Gabála Érenn — it just rolls off the tongue, doesn’t it? Literally: “The Book of the Taking of Ireland” or, as it’s usually rendered in English: “The Book of Invasions”, or even, “The Book of Conquests”. It’s a medieval history in case you hadn’t guessed. A full and not very frank account of every event that ever happened on the island of my birth.

Jim Fitzpatrick did some amazing illustrations for his version of the story.
Jim Fitzpatrick did some amazing illustrations for his version of the story.

People love to visit Ireland, apparently, and it’s even more fun when you bring an army with you. They’ve all done it, every horde and its crazy gods: Patholonians, Fomorians, Nemedians, Belly Men, The People of the Goddess Danú (who later fled underground to become the Sidhe) and *finally* — drum roll — The Gaels.

I say “finally”, because that’s where The Book of Invasions ends, but just as WWI didn’t quite live up to “the War to end all wars”, and the unification of Germany failed utterly to “end history”… well, Ireland’s attraction for blood-thirsty tourists only got stronger after that.

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Art of the Genre: Art of the Iconic Female #1; Dejah Thoris

Art of the Genre: Art of the Iconic Female #1; Dejah Thoris

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campell-255Yeah, so I saw John Carter, and like everyone else that I have heard saw it, I love the movie. In fact I was so taken by it that I decided I had to start a new thread in Art of the Genre, so appropriately the lovely and fierce Dejah Thoris will be the first icon in this series.

Now it’s both funny and sad to say this, but the marketing of the female lead in both science fiction and fantasy has been, and will ever be, the epitome of male chauvinistic. My wife loves nothing more than to rail against the infernal machine that is the business in which I’ve chosen to make my livelihood from [or lack thereof], but it’s hard to fight such a powerful Goliath.

So, I move through this art business as best I can, trying to navigate the turbulent waters between what is overtly offensive to women and acceptably sexy to all viewers. Since the business model, however, is geared toward young teenage boys, you can see how it’s difficult to try to sell anything other than sex.

Thus we find images of Dejah Thoris sprawling in half-naked glory all over the internet, and yet when I saw John Carter I could have stood up and cheered for Disney’s take on the showing of flesh in this particular film.

Dejah, as beautiful as she was, didn’t flaunt anything the men of the move didn’t as well, and I was twice as taken with that fact that although John Carter of course went barbarian bare-chested as any slave should, that red Martian warriors wore armor that fully exposed their midsections, no matter if they were male or female.

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Orson Scott Card’s The Lost Gate

Orson Scott Card’s The Lost Gate

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lostgateThe Lost Gate (Amazon, B&N)
Mither Mages Book 1
Orson Scott Card (Tor, $7.99, Jan. 2011)

Reviewed by Andrew Zimmerman Jones

As I mentioned in my recent review of the short story collection Keeper of Dreams, I’ve been a fan of Orson Scott Card since reading Ender’s Game and Speaker for the Dead as a teenager and have read most of his novels. In my experience, this is a very hit-and-miss proposition, especially when it comes to series.

The Lost Gate demonstrates some of the best and worst of Orson Scott Card’s writing at the same time, which makes me think that it’s a toss-up as to how the series as a whole will ultimately go. The setting and magical system – which Card’s been carrying around in his head since the late 70’s – contain a lot of potential, but the narrative seems to also go on pointlessly for many pages, getting bogged down in relative minutiae and plot threads which never go anywhere. Some of these might be setting the stage for future books, of course, but right now they just seemed out of place, distracting, and somewhat haphazard.

The story focuses on Danny North, a boy who has grown up among the remnants of ancient demigods, trapped on Earth centuries ago when the Norse god Loki destroyed all the gates linking this world to their home realm. While his various cousins have learned how to manipulate their basic magical energies, he has manifested no such talents … until he realizes that he has the rarest of gifts. He is a gate mage, possessing the ability to create portals from one location to another.

Unfortunately, after the devastation that Loki wrought, his family has vowed to destroy any gate mage that they find, including Danny. Forced to go on the run, Danny has to learn more about our modern world, his own powers, and how he wants to wield this power … in the service of himself or others. …

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