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Analog, February 1966: a Retro-Review

Analog, February 1966: a Retro-Review

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analog-feb-66And now the third of three consecutive months of SF magazines I recently bought, each a different specimen of the canonical “Big Three” of that time. The first, the December 1965 Galaxy, is here, and the January 1966 issue of The Magazine of Fantasy & Science Fiction is here.

Todd Mason complained last time about this designation of Analog, Galaxy, and F&SF as the “canonical Big Three” SF magazines of the ’60s. He noted, correctly, that Galaxy‘s sister magazine If was winning Hugos as best magazine, and that Amazing and Fantastic were tremendous magazines under Cele Goldsmith Lalli (though by 1966 the magazines had been sold and Lalli was no longer editing them — and their quality suffered immensely).

Fair enough comments — but there is little doubt that Analog, Galaxy, and F&SF were regarded then — even by those who voted for If for the Hugo! — as the most prestigious SF magazines in the US. They paid better. Analog and Galaxy published more fiction per issue, though F&SF was as slim as If and Amazing/Fantastic. They were regarded as more “serious” — each in different ways, mind you. (And I think that very lack of seriousness was a big part of If‘s appeal.) Anyway …

This issue of Analog comes very late in John W. Campbell’s long tenure. The magazine is all but universally regarded as having declined in quality by this point, relative to Campbell’s best years. But this issue is really quite a good one.

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Thoughts on Joanna Russ (1937-2011)

Thoughts on Joanna Russ (1937-2011)

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69150827_130420433114I first read Joanna Russ as an assignment for a graduate seminar in science fiction. The story was “When it Changed.”  The 1972 Nebula Award winner for Best Short Story, and a 1973 Hugo nominee, it depicts the visitation of male astronauts on the entirely female world of Whileaway.

I didn’t get it.

In this exemplar of feminist SF, women on a (temporarily, it turns out) manless world act in many ways like men, particularly in terms of violent behavior. The casual way the female narrator notes she has fought three duels and that the funny thing about her wife is that “she will not handle guns” bothered me. Here I thought feminism was supposed to be about rejecting this kind of macho behavior.

What I didn’t get was that the story isn’t advocating gunplay as necessarily a good thing, but rather that women should have the right to make the same choices as men, unhampered by patriarchal-imposed expectations and restraints. Even if they are not very good choices that don’t fit into some mother-goddess worshipping, nourishing pacifist utopia.

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The moral of “When I Changed” is that even when women are somehow allowed to make whatever choices they want, without imposing values of “masculine” or “feminine” on what those choices should be, men get involved to screw things up.

Here’s a quote from The Female Man, which features Janet Evason, the narrator of “When It Changed,” as one of four women from alternate universes who cross over into each other’s realities:

As my mother once said, ‘The boys throw stones at the frog in jest. But the frogs die in earnest.”

You don’t need to be from an alternate universe to realize the truth of that.

John Devil and the World of Paul Feval

John Devil and the World of Paul Feval

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john-devil-301888-4fantomasJohn Devil was my first introduction to the works of Paul Feval. At nearly 650 pages, it is a massive tome and without the efforts of scholar and translator Brian Stapleford and editor and publisher Jean-Marc Lofficier and his Black Coat Press imprint (named after Feval’s long-running crime series) it is likely few readers outside of France would ever have discovered the work or any others by its author.

John Devil is noteworthy as a book of firsts. Written in 1861, Jean Diable is believed to be the first novel detailing a police detective hunting down a master criminal. That is not to suggest that John Devil offers anything approaching standard fare for the genre. The novel was originally published as a serial and consequently is heavily padded with literally dozens of characters, dual identities, and countless interconnecting plotlines. While certainly not as difficult a read as the seminal penny dreadful, Varney the Vampire, John Devil is nonetheless a far cry from Feval’s later more polished works.

John Devil is the code name for a long line of brilliant, but savage criminal masterminds. When one John Devil is killed or imprisoned, another comes along to take his place. The character reads like a dry run for both Dr. Mabuse and Fantomas. Feval’s emphasis on contrasting the lives of the aristocracy with that of the common working class very much put me in mind of Pierre Souvestre and Marcel Allain’s Fantomas series in particular. The similarity is emphasized by the cover art for the US edition of John Devil from Black Coat Press which deliberately recalls the famous artwork for the original Fantomas.

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The new CONAN movie: Okay, I’m in.

The new CONAN movie: Okay, I’m in.

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CONAN is coming. Okay, I’ve had serious doubts until now, based on the “teaser trailer” I’d seen. But this new trailer does it. I’m sold. I’m officially excited and enthused about this new CONAN movie. The Hyborian Age settings look terrific; Rose McGowan looks creepy as hell–nice touch having a female villain; the costuming and design looks superb; the creatures are well-done CGI beasties.

Is this the Arnold S. Conan from ’82? Is it the John Buscema-drawn Conan? Or the Frank Frazetta-painted Conan? No…it’s a new incarnation. Actor Jason Momoa reminds me of the Young Conan–the one Barry Windsor Smith drew in the 70s at Marvel Comics. If only he had that two-horned helmet and that three-disc necklace, he’d be a dead ringer. It’s a younger, rawer Conan, fresh from Cimmeria and the siege of Venarium. The Conan from Howard’s “Tower of the Elephant” story: a savage youth set loose in a civilization of decadent savagery.

I’m a HUGE fan of the original CONAN THE BARBARIAN film–the one directed by John Milius and co-writen by Oliver Stone. But I’m ready to jump in and experience this new take on Robert E. Howard’s most enduring character. For a guy who grew up reading Conan books, comics, and magazine–and someone who considers the original a classic–that’s saying a lot.

Of course, you can only tell so much from a trailer…but I’ve got a good feeling about this one. That said, I’m going to skip the 3D version and see the 2D instead…except for AVATAR, 3D tends to ruin most movies these days.

Judge for yourself at Yahoo:
http://movies.yahoo.com/summer-movies/conan-the-barbarian/1809953260#first

And if the movie still sucks, despite all this going for it: Crom help us all!

I reserve my final verdict until I actually see the film.

Art of the Genre: The Fighter

Art of the Genre: The Fighter

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My stolen hero, Sir Alec Fleetwood, by Jeff Easley circa 1983
My stolen hero, Sir Alec Fleetwood, by Jeff Easley circa 1983
Do you ever wonder why we fight? What is it in our DNA that makes us want to pound something if the mood strikes? I suppose I’d say it’s simple human nature, because what other reason makes sense? I mean, I always hated the saying ‘boys will be boys’ and yet when my son was two I took him to a park to play and got an odd wake-up call. You see, my wife and I took every pain and precaution to be sure that he never, ever, saw or was around a gun, and yet he walked right up to two abandoned squirt guns, lifted them up like he was in a John Woo movie and started pretending to shoot stuff. Seriously, I was looking around for the release of doves and a slow motion jump from the slide to the sand-pit.

I guess at our very core there’s a fighter in all of us. It’s probably the reason why Jon Schindehette over at ArtOrder was so surprised with the response to his art request for an ultimate fighter art composition. People just plain like human fighters, and the numbers involved in the impetus of the competition hold to that fact.

Certainly, the groundwork for many a gamer starts with the fighter. He’s essentially the ‘easy one’, the character class you give the new player because all you have to do is swing a weapon and hope the dice are lucky. There are no magic spells to learn, no prayer lists, holy symbols, or thieves tools. It’s just put on some armor, grab a sword, and go, and you know, I really love that!

So, when I started my rather epic quest in the realms of RPGs, just like discussed in my discourse on Basic D&D’s Red Box, I of course played a fighter. As a matter of fact, I was so obviously unoriginal, I stole Frank Mentzer’s Sir Fleetwood name example right along wth Jeff Easley’s image for the fighter I wanted to play and went from there.

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Welcome to Bordertown: Part the Third of a Brobdingnagian Review

Welcome to Bordertown: Part the Third of a Brobdingnagian Review

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bgbordertownDon’t you believe for a nanosecond that the reason I didn’t finish up this Welcome to Bordertown blog was because I didn’t finish the book. Not for the flicker of a fly’s eye!

The trouble is, as soon as I finished it, I had to go and read the other Bordertown books: Will Shetterley’s Elsewhere and NeverNever, followed by Emma Bull’s Finder. I even started The Essential Bordertown, and it is bliss! Bliss, I tell you! I even had a Long Lankin dream.

Don’t know what a Long Lankin is? Boy oh boy. Dark magic, that. Am I gonna tell you all about it? NO! You must read these books for your own sweet selves!

But now that I’m mostly done with my huge Bordertown stack o’ goodies and am calming down some, I figured I should probably wrap up this, for lack of a better word, “review,” the first two parts of which can be read here and here, for those of you whose patience stretches even unto eternity.

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Supernatural Spotlight – Episode 6.19 “Mommy Dearest”

Supernatural Spotlight – Episode 6.19 “Mommy Dearest”

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Sam and Dean have a chat with Eve, who decides to take the form of their dead mother.
Sam and Dean have a chat with Eve, who decides to take the form of their dead mother.

Eve’s up to no good in the town of Grant’s Pass, Oregon, by being unusually charming to a college student (named, as we shortly learn, Edward Bright). She runs her hand across his cheek, which cannot be a good thing. He wonders away from the bar she enters. Eve kisses another boy, then walks through and begins touching people. The whole place goes insane with a monstrous, vampiric feeding frenzy, as she sits and calmly watches.

Dean is making bullets filled with Phoenix ashes, but isn’t sure it’s going to work. The ashes certainly aren’t burning him. In fact, it’s all a bit of an exercise in futility without a location, so they summon Cas to try to get a bead on Eve. He has no information, but Sam has the idea of trying to track down an empathic monster to see if they can get Eve’s location from one of them.

Castiel is able to track down a cult favorite: Amber Benson, from Buffy: The Vampire Slayer fame. (For those who weren’t avid Buffy fans, Benson played Tara, the lesbian love interest of Willow. Her season 6 death at the hands of a misogynistic nerd nearly triggered the destruction of the world at Willow’s hands. Tara also had the best song in the classic “Once More, With Feeling” musical episode of Buffy, also from Season 6. If you have not seen it, Season 6 of Buffy is some of the best television ever made.)

Fortunately for fanboys like me, Benson also played the non-killing vampire Lenore, who was introduced briefly in Season 2 of Supernatural.

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Teaching Fantasy Part 1: Rewards, Backfires, Escapes

Teaching Fantasy Part 1: Rewards, Backfires, Escapes

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bgolympian“What do you do when nobody’s making you do anything?”

His parents are making him meet with me for tutoring in the first place, so why should the kid trust me? I look like any other English teacher to him. No matter what he does when he’s free, he assumes I’ll disapprove. He’ll answer with embarrassment, and be surprised when nothing bad happens.

“And what do you read when nobody’s making you read anything?”

Most of my students, boys and girls both, answer, “Fantasy.” They say that with embarrassment, too, because English teachers are famous for their aversion to fantasy.

Yet when you read around in books about teaching teenagers, or teaching writing, or the intersection of gender and learning, it’s common to find the authors lamenting that fantasy is not just a boy genre (as the reviewer Ginia Bellafante notoriously called it), but the boy genre, the only one their male students read voluntarily. Why does the education community fall into this error? Is it that the girls are able to conceal their preferences better, or that they’re able to stomach the tedious mainstream books they’re assigned better? Or maybe it’s that the kinds of fantasy novels girls prefer are less vexing to their teachers? I don’t know.

I will concede that the boys I tutor tend to be more shut down as learners, and more shut down about literacy, than my female students are. Some education writers have explored this widely observed disparity eloquently and imagined fantasy literature as one of a range of remedies for it. In Boy Writers: Reclaiming Their Voices, Ralph Fletcher implores his English teacher readers, whom he assumes will be mostly female and uniformly hostile to genre fiction, to allow their students to read and write fantasy at school. He takes particular pains to advocate for fantasy stories that incorporate violence.

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Conan Notes

Conan Notes

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Conan, the MovieA few days ago, the comics site Bleeding Cool put up a link to some press notes for the new Conan the Barbarian film, which had appeared on the web site for Lionsgate Entertainment. I read through them; they seemed pretty standard. Like most press notes, they’re relentlessly upbeat, and give strong lip service to the importance of fidelity to the source material for the production. Who knows? Maybe it’s honestly meant. But the more closely I looked at the notes, the less convinced I was by the approach they suggested the movie was taking, or by the reading they presented of Howard and Conan.

I understand the need to change elements in the process of adapting a work from one medium into another, but there comes a point where you wonder what the point of an adaptation is; what is it about the original work that the adaptation is seeking to convey? Or, conversely, would the work have been better served without the framework of the pre-existing story? Personally, I don’t see the character of Conan as I recognise it in these notes. I’m not a Howard scholar, but I’ve read the stories, and to me they were fairly consistent in the depiction of Conan across several decades of his life. That character isn’t in these notes. The film may still be good, of course, but if so I doubt it’ll be because of any fidelity to the themes of the source material.

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