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Character Trends: The Gentle(r) Man

Character Trends: The Gentle(r) Man

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I’ve always liked this image. I got this from 1001freedownloads.com.

Good morning, Readers!

First, let me preface this by noting that I grew up in the 80s and 90s, where the concept of masculine heroism was, let’s be perfectly honest, pretty damned toxic and one-dimensional, two at most. With the the depictions of male characters from that era falling into two main tropes; the skirt-chasing misogynistic jock hero type; the hyper violent, suffers no consequence for the terrible shite they’ve experienced, whose writers conflated arrogance and misogyny for charm and charisma, or the “nice” nerd (with often the exact same shortcomings as the jock hero type), depending on the story being told, I find myself so often struck by the change I’ve seen in male characters in recent times.

Also, I am wildly aware that the above tropes were not completely universal in the 80s and 90s, but it was prevalent enough that now, when I see how male characters are written now, the difference is absolutely striking.

And I’m here for it.

There are several characters who’ve made it plain that this outdated, toxic perception of masculinity is changing, and I’d like to take the time to celebrate them. I’m drawing a lot from film and video games, as those are the mediums which often lack the time and space to explore characters as fully as they do in books.

Anyway, here I go.

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Black Gate Fiction: Everybody Comes to Rick’s (Casablanca Chronicles)

Black Gate Fiction: Everybody Comes to Rick’s (Casablanca Chronicles)

Casblanca_CafeFrontCasablanca is my all-time favorite movie. And I few weeks ago I posted a story I wrote starring Captain Renault; set immediately after the movie ends. That was actually the second Casablanca story I wrote. Here’s the first. It is pure cheese. Some day I will go back and turn it in to a proper story. But back before I became a decent writer, I did this oust of love for the best film I have ever seen. Be kind to me (Maltese Falcon reference there).

Rick stood next to the bar, watching the floor, where a few couples were dancing to the slow tune which the orchestra was playing. He took a drag on his cigarette, glad that it was a good crowd tonight. His place always did strong business during the holidays. People wanted to get out for a nice night and forget the insignificance of their daily lives. Carl had decorated the place, putting bows on the doors, and stringing lights along some of the columns. There was even a big pine tree with various oddments hanging from it. Christmas didn’t mean much to Rick: hadn’t since he’d left Chicago.

Sam was setting up his piano near the band. His break would be over in a few minutes. Rick turned his attention to the door where a large man was just coming in. He was over three hundred pounds but carried his weight without difficulty. The man caught Rick’s eye and came towards the bar.

“Good evening, Rick. I see that you have some of my customers here tonight.”

Ferrari ran the Blue Parrot, Rick’s main competition in Casablanca. It had the feel of a local kasbah, while his own Café Americain would have been a comfortable fit in Monaco. It was the most elegant joint in town, and it had an honest gambling room in the back. There weren’t too many honest places in Casablanca. Certainly none associated with Ferrari.

“You know my motto, Ferrari – The customer is always right.”

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Horror in a Time Of Coronavirus

Horror in a Time Of Coronavirus

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The Nightmare, Henry Fuseli, 1781

Horror is a reflection of its times.

All story-telling is: you can read the words of any time and find its birthday stamped in all its pages. Jane Austen couldn’t write a Renaissance novel, Hemingway didn’t write regency fiction, and Shakespeare couldn’t write in the sparse, bare bones prose that Hemingway did.

But horror is rather specifically tied to its own moment. When it works, it grows out of not just an individual’s fear but the atmospheric fear of an age.

Every generation of Horror has its own kind of terroir (a term from wine making that means the taste-remnants of every factor that goes into a bottle, from sun to rain to the trace minerals in the soil to the specific woods in the barrel a vintner uses). Frankenstein is stamped with Mary Shelley’s own biography (the loss of her children, her strained and strange relationship with her father and the ghost of her mother), but also a Romantic-era tension between technology and nature, Humanism and the ideas of divinity. Dracula is most obviously steeped in Edwardian era anxiety about sexuality, women’s role in society, and how rapid social changes are affecting both.

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Nineteen 1950’s SF Movies To Help Get You Through the Next Few Weeks

Nineteen 1950’s SF Movies To Help Get You Through the Next Few Weeks

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Caltiki, The Immortal Monster

Let’s face it, most of us are going to be stuck at home for the next couple of months and although we all probably have a lot of reading to catch up on, ennui is inevitably going to set in sooner or later. Fortunately, we are living in the golden ago of home video and there’s a lot out there to explore. Here’s a list of what I (generally) consider the best science films of the 1950s, not limited to those made in America, but  also those shown in America. The ratings are on a 10+ to 1 scale (no “1’s” on this list) and all are readily available, with eBay being a great source of affordable entertainment you can own and not just rent, though I wouldn’t be surprised to see that many of these are also on streaming services for those who eschew physical ownership.

19. Caltiki, The Immortal Monster (1959: 8+): An Italian production filmed in Mexico. Accounts vary, but it is the first film at least partially directed by Mario Bava, who also did the moodily atmospheric cinematography. The story opens with archaeologists investigating Mayan ruins where they comes across a blob-like monster which they ultimately destroy, but save a bit in a small, glass-topped aquarium (never a good idea) and bring back to Mexico City. Also, something about a comet. Sub-genre: Blob movies.

18. Fly, The (1958: 8+): A decent effort, even it does devolve into “there are things that man is not meant to know” territory. Two weak spots are the cat’s audible meows after being sent off somewhere (and I didn’t like the family pet being used as an experimental animal) and the fact that the guy who gets the fly head retains human intelligence. Vincent Price does a nice turn as the scientist’s brother. Way less grotty than the remake. Sub-genre: science gone wrong.

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Writing Advice: Embrace Boredom

Writing Advice: Embrace Boredom

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This image reminds me a lot of a culture I have in an as-yet unfinished
five book series I’m working on. It’s like someone reached into my head
and pulled the image out. I love it. Nabbed it from wallpaperaccess.com.

Good morning, Readers!

I am just beginning my third week of working from home, and I’m getting a little too used to it. Returning to the office is going to be difficult, I think. There is something that I’ve noticed, though, now that I’m not away from the house at work, or at martial arts training, or teaching, as I usually am. I actually got bored yesterday.

I feel we’re all so obsessed over being productive human beings, we fill our days with work; most of it unnecessary or superfluous, pointless or meaningless just to keep boredom at bay. As a writer, however, I have a slightly different view of boredom, and if there is one thing I have to impart on aspiring writers,* it’s this:

Embrace boredom.

*I am published, but so very unknown, so take my advice with a giant helping of salt. Similarly, just because it works for one person, doesn’t mean it’ll work for all people, so take all writing advice with a giant helping of salt, no matter the source. Okay, good. Now let’s continue.

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Creating, or Not, in New Territory

Creating, or Not, in New Territory

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It all feels a bit weird, doesn’t it?

Good morning, readers!

I am writing to you from isolation. Well, I say isolation. I share this house with a flatmate and two cats, so I’m not really all that isolated. I am, however, not at work. It seems my office has finally decided to start taking this pandemic seriously, and has requested that I stay home this week. I’m glad they’re at last taking it seriously. I am also fortunate, because I get to keep my job (thus far), and don’t have to worry too much about my next meal. I also live in Canada, where there is a promised safety net if I do happen to lose my job. It’s not as comprehensive as I would like (I rent ’cause I can’t afford a house, so the mortgage freeze doesn’t apply to me), it’s still a damned sight better than many other places. I’m extremely fortunate.

In fact, all I have to do is make a minor adjustment to my daily life.

Yet, I find that minor adjustment has translated into some pretty major issues. Creation has become all but impossible, or it was last week. Here are some steps I’m taking to combat the anxiety-induced malaise that has overcome me since this pandemic got started. I’m sharing them here just in case someone else is similarly struggling. Perhaps this might help those folks get back on track, with a fairly large caveat.

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Rogue Blades author: Robert E. Howard, Conan and Me

Rogue Blades author: Robert E. Howard, Conan and Me

Howard changed my lifeBelow is an excerpt from author John C. Hocking’s essay for the upcoming book, Robert E. Howard Changed My Life, from publisher Rogue Blades Foundation.

I was a precocious reader.  By the time I was seven years old, guided by the taste of my father, I was reading Jules Verne, H.G. Wells, E.R. Burroughs, E.E. Smith, and Lester Dent’s Doc Savage stories.  Around this time my father, an art and history teacher, a martial artist and collector of swords, became a little frustrated that my mother was less than keen to accompany him to see a new, supposedly pretty hardboiled, Western movie called A Fistful of Dollars, so he took me.

In addition to thrusting upon my youthful eyes an unimagined example of cinematic style, the film presented a powerful vision of a highly qualified good and a frighteningly believable evil in stark conflict beyond anything I’d encountered before.  Every aspect of the movie resonated with me, but the depiction of fearsome, believably dangerous villains being faced down by a hero who was actually dangerous enough to confront and destroy them instantly made most of the reading, TV and movies I’d known seem somehow inadequate, even false.

Then, in the summer of 1967, my Dad brought me a copy of Lancer’s Conan the Adventurer.  The Frazetta cover promised much, but I read the first story in that collection, Robert E. Howard’s “The People of the Black Circle,” on a quiet sunny morning and it blew my little mind.

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Tabletop Looting in Riot Quest

Tabletop Looting in Riot Quest

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The current storyline in Privateer Press’ Iron Kingdoms setting is leading toward the apocalypse, as otherworldly Infernals swarm across the nations of Immoren. Characters familiar from the Warmachine/Hordes game setting will (and already have) died, but others may escape Immoren to become the progenitors of the upcoming Warcaster science fantasy wargame (with 3 days left on its Kickstarter).

But what of those who survive, left behind on the Immoren after the Infernals have harvested souls, and broken the nations that make up the Iron Kingdoms? When the swan of Cygnar has fallen, and even the undead cannot remain safe within the land of Cryx? Well, at that point … might as well start some looting.

That is the theme of Riot Quest, released at GenCon 2019. It is a miniature arena game, where players field teams of models to go up against each other to collect treasure and cool equipment. As your team appears on the field, randomly located near one of 6 spawn gates, players try to make it to treasure chests located at randomly-determined treasure points. Once a treasure is obtained, another treasure spawns, and the race is on again. As you gain treasure, and defeat opponents, you gain loot tokens that can be used to buy special Riot Gear cards to boost your characters’ abilities.

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“Authenticity” in Sword & Sorcery Fiction

“Authenticity” in Sword & Sorcery Fiction

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Where Have All the Cowboys Gone?

These days, in intersection with my Conan gaming (I enjoy both Monolith’s board game and Modiphius’s roleplaying game), I have been reading a lot of two things: weird fiction from the turn of last century into, maybe, the 1940s; and sword & sorcery — anything that, on its cover, features a muscled male wielding medieval weaponry — predominantly from the ‘70s or ‘80s. (This latter does the double duty of encouraging me to work out.)

As is to be expected, these works offer various levels of quality. Early-last-century weird fiction is in a class of its own, and, though writers of that era freely borrowed tropes, themes and elements from each other (they very much appear to have been in conversation, literally or otherwise), the form of the weird tale is not as calcified as that of sword & sorcery appears to be by the ‘80s. Even within this latter’s straitjacket, however, I have encountered some standouts, including John Dalmas’s The Orc Wars (beginning with The Yngling, 1971), Gordon Dickson’s and Roland Green’s Jamie the Red (an unofficial Thieves’ World novel, 1984), and John Maddox Robert’s The King of the Wood (1983). Why I like these is for the reasons that one would like any work of fiction, of course, but with one addition: they present a sense of verisimilitude. I should add here, for anyone who might not be privy to how sword & sorcery is supposed to be subdivided from its parent genre of fantasy, that sword & sorcery is supposed to be more “realistic.” The world presented in such tales is premodern. Life is hard. The cultures do not have our present technology (nor magic — magic, in this subgenre, if not “low,” is rare and mysterious and terrifying and usually very, very “wrong”) with which to ease the drudgery of existence. In other words, the characters in such stories live in the way that folks in the Middle Ages lived, possibly in the way that many of our grandparents or great-grandparents lived, if they were homesteading somewhere.

This is why I no longer write sword & sorcery. I am a city boy. I am modern. I have no idea what “real life” is like. And yet I somehow have enough of one to know — intuitively or otherwise — when a writer knows even less than I do. To catalog the many errors of some of our most famous current fantasy writers is outside of the scope of these observations, but I’ll point to the occasion that spurred me finally to write on this topic here.

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The Public Life of Sherlock Holmes: Holmes On Screen – All of ‘Em!

The Public Life of Sherlock Holmes: Holmes On Screen – All of ‘Em!

Sherlock Holmes dang itI started out with  a Holmes on Screen website many years ago, about the great detective’s appearances in film and on tv. Later, I added stage performances.  Eventually I took it down and moved on to Solar Pons, but I never lost my interest in the subject matter, and over the years, I’ve written over two dozen posts about Holmes on small and big screen. So, I figured I’d put up one post with links to all of them. I go all the way back to 1900’s Sherlock Holmes Baffled, right up to BBC Sherlock and Elementary. I happen to think there’s some pretty neat stuff mixed in here. Pick a topic and do a little reading!

1900-1920 Holmes’ Before Eille Norwood
1914 James Bragington – A Study in Scarlet
1916 William Gillette – Sherlock Holmes
1921-1923 Eille Norwood – Stoll Pictures
1922 John Barrymore – Sherlock Holmes
1931 Raymond Massey – The Speckled Band
1931-1937 Arthur Wontner – Five Films
1933 Reginald Owens – A Study in Scarlet
1939 – 1946  Basil Rathbone – The Secret Weapon  & The Scarlet Claw
1949/1951  Alan Napier & Alan Wheatley – Alans on TV
1954 -1955 Ronald Howard – The Adventures of Sherlock Holmes & The First Episodes

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