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Art of the Genre: Darrell K. Sweet [1934-2011]

Art of the Genre: Darrell K. Sweet [1934-2011]

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I walked into the Black Gate L.A. building this morning and Kandi read me the following message as I passed the reception desk:

“Fantasy and Western Artist Darrell K. Sweet passed away on Monday morning.”

I looked at her, those silky blues eyes staring back at me as if to ask what she should do. I had no answer, simply taking the note and walking into my office before closing the door…

I’d spent the past year working to get in contact with Darrell, all my attempts falling short, and now it was too late. Too late to find some unknown tidbit of information from one of the most recognizable fantasy artists of the past thirty years.

When I did my infamous ‘Top 10 Fantasy Artists of the Past 100 Years’ article earlier this year, I didn’t include my personal Top 10 list, only the added and evaluated contributions of 50 industry experts. Darrell didn’t make their list [actually he didn’t get a single vote other than mine], which I thought was a huge travesty, but nonetheless he’d made mine prestigious list because I can’t readily remember fantasy literature without him.

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Godzilla & Rodan & Mothra & Alice: Destroy All Monsters on Blu-ray!

Godzilla & Rodan & Mothra & Alice: Destroy All Monsters on Blu-ray!

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destroy-all-monsters-japanese-posterLast month, the second Godzilla film to reach Blu-ray in North America made its thundering, skyline-flattening debut, courtesy of Media Blasters: the 1968 science-fiction monster mash Destroy All Monsters (Japanese title: Kaiju Soshingeki, “Charge of the Monsters” or “Monster Invasion”). The only Godzilla movie to beat it onto Blu-ray is the 1954 original, which will get a re-release as part of the Criterion Collection in January 2012. (The Criterion Collection! Godzilla has gained a well-deserved highbrow victory and sits on the same shelf with Kubrick and Bergman!) Later this month will see the third Godzilla Blu-ray release, 1973’s Godzilla vs. Megalon. This is arguably the worst movie of the long series, but I welcome it onto Hi-Def nonetheless: three cheers for glittering mediocrity!

But Destroy All Monsters is anything but mediocre: like Universal’s House of Frankenstein over twenty years before, it pulls together all the science-fiction candycorn goodness available to give audiences a mad monster party for the ages. The plot is simplistic, the characters even more so, but the movie pops with color and spectacle of a bygone age of entertainment without irony. It isn’t the best of the Godzilla series, but until 2004’s Godzilla: Final Wars, no monster movie could boast a larger monster cast. Eleven of Toho Studio’s stable of big beasts crowd into its hundred minutes, and the result is a giddy confection no ten-year-old or ten-year-old at heart can resist. If geekdom has a defining film, here it is.

Destroy All Monsters was one of the first of Japan’s giant monster films to reach DVD in North America. At the time it seemed like a miracle to have a Godzilla film available in a letterboxed edition. However, the 1999 disc from ADV Films is the textbook example of a barebones release: the only language option is the inferior of the two English dubs (I’ll explain the dubbing situation later), the picture isn’t enhanced for widescreen TVs, and the disc doesn’t even have a menu. As better quality Godzilla DVDs came out in the 2000s, Destroy All Monsters became a black hole on collectors’ movie shelves. ADV re-released the movie to DVD in 2004 packaged with a soundtrack album as part of Godzilla’s Fiftieth Anniversary, but the movie disc is exactly the same.

The Media Blasters/Tokyo Shock Blu-ray fixes all these problems: not only is the film in glorious Toho Scope 1080p, but the disc contains both English dubs, the original Japanese mono soundtrack, a 5.1 lossless re-mix, and commentary from two Japanese fantasy film scholars, Steve Ryfle and Ed Godziszewski, who have done informed and lively commentaries for previous Godzilla DVD releases.

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Fantasy Out Loud

Fantasy Out Loud

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the-hobbitNearly every night, I read aloud to my boys.   For Evan, my seven-year-old, I have lately been reading The Hobbit.  Two nights ago, no sooner had I begun than Evan interrupted, saying, “It’s funny how they spell ‘Smaug.’”

“Oh?” I asked.  “How would you spell it?”

“S-M-O-G.”

“Good,” I said.  “That is how you would normally spell it.”  But privately, I thought how wonderful it was that Tolkien chose this other, more evocative spelling.  It also occurred to me that without Evan’s commentary, I might not have even noticed.

What we choose to read to our children has ramifications almost beyond counting.  Certainly, a shared reading experience is pivotal to the in-home dynamics and shared knowledge of any family, but insofar as one tackles a diet of writing that qualifies as “fantastic,” reading aloud is also crucial to the development and enculturation of an entire new generation of fantasy readers.  Given a world that grows ever more hectic, and therefore has less and less time for “pleasure” reading, this is no small thing.

I am fortunate to have two children, both boys, and I can see the results of my reading choices –– the goblin fruit, as it were, of my labor –– as if I had scrawled on their souls with indelible ink.  Corey, my older boy, now reads nothing but fantasy fiction, at least not by choice.  (He has also, to my dismay, discovered comics, and for this, too, I blame myself.)

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Interzone November-December # 237

Interzone November-December # 237

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interzone-394The November – December issue of Interzone contains substantial new stories by Lavie Tidhar (“The Last Osama”), Jim Hawkins (“Digital Rites”), Douglas Lain (“Erasing the Concept of Sex from a Potobooth”), and Caspian Gray (Caspian Gray); artwork by Richard Wagner, David Gentry, Steve Hambidge; “Ansible Link” genre news and miscellanea by David Langford; “Mutant Popcorn” film reviews by Nick Lowe; “Laser Fodder” DVD/Blu-Ray reviews by Tony Lee; book reviews by Jim Steel and other contributors.

Interzone alternates monthly publication with sister dark horror focused Black Static, published by the fine folks at TTA Press.

You can subscribe to the print version here, or the electronic edition here; there’s also a special discounted rate for a joint subscription to both Interzone and Black Static. Lifetime subscriptions are also available. What you’re buying, in essence, is a 10-year subscription at the current rate.  If you think you’re going to live for at least another decade, and you think Interzone will also be around for as long, this could be a bargain for whatever time you and the magazine have after that. If that weren’t enough, you can also opt for joint lifetime sub that gets you sister publication Black Static for a slightly reduced rate.  Sign your life away here.


Blogging Sax Rohmer’s The Hand of Fu Manchu, Part Four – “The Queen of Hearts”

Blogging Sax Rohmer’s The Hand of Fu Manchu, Part Four – “The Queen of Hearts”

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stoll-fu-3stoll-fu-4“The Queen of Hearts” was the fourth installment of Sax Rohmer’s The Si-Fan Mysteries. The story was first published in Collier’s on November 25, 1916 (after a surprising gap of five months after the last installment) and was later expanded to comprise Chapters 15 – 18 of the third Fu-Manchu novel, The Si-Fan Mysteries first published in 1917 by Cassell in the UK and by McBride & Nast in the US under the variant title, The Hand of Fu Manchu. The US book title marks the first time that the hyphen was dropped from the character’s name, although it was retained within the text.

“The Queen of Hearts” finally gives readers the return of the Devil Doctor they had been so eagerly awaiting since first learning Fu-Manchu still lived six months earlier. The story starts with Rohmer’s trademark abrupt beginnings (in this instance Dr. Petrie yells, “Come in!” rather than “Who’s there?” in the opening line) with the unexpected arrival of a telegram from Cairo announcing that Petrie’s fiancée, Karamaneh will reach London by boat the next day. Nayland Smith speculates that the Si-Fan is the cause of her sudden departure from Egypt. That night, Smith awakens Petrie to inform him that Sir Baldwin Fraser, the prominent surgeon has been abducted and the description of the cab driver suggests that Zarmi has resumed her earlier disguise. They are joined by Inspector Weymouth at Sir Baldwin’s home in Half-Moon Street where they interrogate the surgeon’s secretary and learn that a beautiful Eurasian (whose description matches Zarmi) had been an unexpected visitor the prior night claiming her mother needed immediate medical attention. It was only after Sir Baldwin failed to return that his secretary learned the address given was a false one.

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New Treasures: Strange Worlds

New Treasures: Strange Worlds

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strange-worldsBack on October 7th I reported on a promising little artifact called Strange Worlds,  an anthology of sword and planet stories from Space Puppet Press, collected and edited by Jeff Doten.

Now I’m holding a copy in my hot little hands, and I can report that it’s just as cool as it looks.

Strange Worlds collects nine pieces of original fiction from Ken St. Andre, Charles A. Gramlich, Paul R. McNamee, Lisa V. Tomecek, Charles R. Rutledge, and others.

Each story is also illustrated by Doten with a full color plate, done in loving homage to the Ace Doubles of the 50s and 60s, where much of the most-loved sword & planet in the genre first appeared.

Doten also provides some fine black & white interior illustrations for each story.

Interior color plate by Jeff Doten
Interior plate by Jeff Doten
It’s a quality package, and no mistake. There’s even a 13-page full-color “Strange Worlds” comic, written and illustrated by Doten, rounding out the book.

It’s very clear to me that Doten knows his stuff, and his love and knowledge of the genre comes across on every page. There’s even a three-page Suggested Reading list, an invaluable reference for modern fans covering virtually every major practitioner of the genre — from Edgar Rice Burroughs, Otis Adelbert Kline, Gardner Fox, Leigh Brackett, and Lin Carter, all the way up to more modern writers experimenting in the same playground, such as S.M. Stirling.

In his introduction Doten says Strange Worlds was “my effort to rectify the tragic lack of Sword and Planet stories in the modern world.” He has succeeded with flying colors.

Strange Worlds is 189 pages printed on quality stock in oversize format. It is available from Space Puppet Press for $27 plus $3.75 U.S. shipping, and richly deserves your support.

Order today from strangeworldsanthology.com.

Goth Chick News: Just in Time for Holiday Gift-Giving: Frankenhooker

Goth Chick News: Just in Time for Holiday Gift-Giving: Frankenhooker

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frankenhookerOver the long weekend I received an anonymous email entitled “Goth Chick Fodder” which at once triggered several different responses in my tryptophan-addled mind.

First, I was wary.  I mean, there was a real chance this could be some sort of nasty virus reminiscent of what the character of Dennis Nedry did to Jurassic Park in the first movie, and undoubtedly visited upon me by some Fundamentalist Christian group (Goth Chicks are in constant peril of this sort of thing for some reason).

Then I became skeptical. It could just as easily be an advertisement from a purveyor of medieval restraint devices and clothing made from petroleum products; which happens so frequently it’s gone from being interesting to boring and is now swinging back to mildly interesting again.  After all, who doesn’t like a good, sturdy set of wooden stocks and a rubber corset?

Finally, curiosity got the best of me and being woozy from a carb-overdose, I threw caution to the wind and opened the email, crossing my fingers that the contents would be simply what they said they were: something interesting to tell you about.

I’m still not sure how to qualify what I found but here it is; you decide.

It was a major media announcement.

Frankenhooker Now Available on Blu-ray!

Wait.  What?

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Aesthetically Speaking interviews C.S.E. Cooney

Aesthetically Speaking interviews C.S.E. Cooney

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cseLisa Findley at Aesthetically Speaking has interviewed Black Gate website editor C.S.E. Cooney on writing, art, blogging, the role of collaboration, her artistic influences — and the power of road trips to conventions.

Road trips — especially with other writer friends — to these sorts of things are where character, plot and story are all born.

There’s something about movement, the freedom of the road, really late nights in highway darkness, that get all the good weird stuff of the soul stirred up. There’s also a great deal of history moving outside your window. The good, the bad, the pretty and the ugly all buried in that landscape with the bones. Horizons you’ve never seen. Roads you’ve never traveled. Music on your friend’s iPod you’d never listen to on your own. Really vulgar jokes. Weird roadside pranks. All of it full of story.

There’s a reason there’s a whole genre of novels called “picaresque.”

Speaking as someone who’s roadtripped with her to a convention or two, I can confirm that all that is true — especially that bit about late nights, and weird stuff of the soul. Everyone should take a road trip with C.S.E. Cooney at least once in their life. And bring a notebook.

Check out the complete interview here.

Pathfinder Tales: Death’s Heretic by James L. Sutter

Pathfinder Tales: Death’s Heretic by James L. Sutter

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Death's Heretic-smallIf there’s one potential flaw in reading stories set in roleplaying game settings, it’s that the emphasis is more on the mechanics of the system and magical setting than on the development of the characters. The best stories, of course, are able to avoid this and create complex, dynamic characters that resonate among some of the most memorable in all of fantasy. Raistlin Majere, Elminster, and Drizzt Do’Urden all come to mind as iconic characters born in roleplaying tie-in novels.

Into this esteemed category steps Salim Ghadafar, the protagonist of James L. Sutter’s Death’s Heretic (Amazon, B&N), an upcoming addition to the Pathfinder Tales fantasy novel series from Paizo Publishing. Salim serves the goddess Pharasma, the Lady of Graves, goddess of birth, death, and prophecy, but he does so only grudgingly. This unusual tension, together with a compelling plotline, draws the reader deeply into the world of the story.

Salim is called upon by Pharasma to investigate a man who died shortly after obtaining one of the greatest treasures available to mortals: the sun orchid elixir, which grants near immortality. The details of his death are of secondary concern, though, compared to the events that followed. Pharasma is far more concerned with why her priests are unable to resurrect him. His soul has gone missing … seemingly stolen from the goddess’s very realm of the dead, the Boneyard itself. Salim’s investigation takes him – and the victim’s orphaned daughter, who is bankrolling the investigation – from local rivals for the elixir, including a crimelord and a gorgeous half-elven brothel madame, to the outer planes and Pharasma’s Boneyard. The investigation brings him face to face with creatures who predate the creation of the world itself, with the power to thwart the natural laws of life and death.

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THE ART OF RICHARD ANDERSON: Princes, Kings, and Sorcerers

THE ART OF RICHARD ANDERSON: Princes, Kings, and Sorcerers

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Rich Anderson's fantastic cover for SEVEN PRINCES. The book hits stores on January 3rd.
Rich Anderson's cover for SEVEN PRINCES. The book hits stores on January 3rd.

Rich Anderson grew up in Montana, moved to Seattle in 2000, and went on to revolutionize the field of fantasy art by incorporating classic concepts with digital virtuosity. He’s been an illustrator for Wizards of the Coast, Guild Wars, Tor, Random House, and this year Orbit Books tapped him to do the cover for SEVEN PRINCES.

Praise for the book’s striking cover has been both loud and frequent. Rich’s “golden sunset” silhouette approach provides an iconic image that is perfect for the novel. I’ve also seen his advance sketch for the cover to SEVEN KINGS–it’s going to be another masterful vision. He will also be doing the cover for SEVEN SORCERERS, the Third Book of the Shaper.

Rich’s art is turning heads everywhere, so I thought I’d probe the mind of the Artist Himself in a brief yet enlightening interview. More of his work can be found at his web site and blog: http://www.flaptrapsart.com/

JRF: Who are your biggest artistic influences?

RA: I would have to say John Singer Sergent. Love the way you can almost see his decision-making in his paintings. Frank Frazetta is another one of course, so much style and knowledge. There really is so many.  I find so many people around me inspiring me probably the most [and] I’ve been very lucky to work with some amazingly talented people.

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Rich Anderson piece from Guild Wars 2 - http://www.guildwars2.com

JRF: What is your typical day like? How often do you create pieces of art?

RA: I recently worked at The Moving Picture Company in London, doing concept work for visual effects and film work. In the beginning of January I’ll be starting at Framestore, working on pre-production concepts for film. Concept work is a lot different than my illustration work. It’s a lot more functional. My illustration work, like your cover, is where I get to play a lot more and just get into the “art mode” if you know what I mean. I love it.

JRF: Your art is such a terrific blend of classic fantasy imagery and modern digital style. How in the world do you achieve this unique and eye-popping blend of techniques? (Do you do part of the work by hand, or is every step done on the computer?)

RA: Ha! Thanks. Yeah, everything is drawn right in Photoshop. I love playing with textures and blending things and trying to get stuff closer to what I love seeing in traditional pieces.

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