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Rogue Blades Presents: What Would Your Hero Say to You?

Rogue Blades Presents: What Would Your Hero Say to You?

weird talesWhen I started out as a writer of fiction in the late 1980s, one of my favorite magazines was Weird Tales. Over the next decade or so, I submitted a half dozen stories to Weird Tales, none of which were ever accepted for publication. Still, even though none of my tales ever landed there, I learned a lot from the letters I received from one of the editors, George H. Scithers.

Perhaps you’ve heard of Mr. Scithers. If not, surely you’ve heard of some of his work. He was the first editor for Isaac Asimov’s Science Fiction Magazine, for which he won two Hugo awards. He was also editor at Amazing Stories, and of numerous anthologies. At Weird Tales, he won a World Fantasy Award along with Darrell Schweitzer. He was known among writers and readers and editors.

Unfortunately we lost Mr. Scithers a decade ago, but his legacy lives on in the work he produced and in fandom. Many of today’s readers probably don’t even realize how much they owe to this gentleman.

And “gentleman” is not a word I use lightly. I never knew Mr. Scithers personally. He and I never met. I can’t speak to his everyday attitudes and demeanor. Yet he was always kind and supportive in the reply letters he wrote back to me as a budding writer. He always had good things to say while not being afraid to point out where I needed to polish. He could be critical without being overbearing and negative, a trait that seems lost in today’s world. Also, I’ve met with or had correspondence with other people who actually did know or had at least met Mr. Scithers, and every single one of those individuals has had good things to say about George. So I feel my calling him a “gentleman” is most apt, especially as every correspondence I had with him was most friendly and congenial.

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Brazzaville — The Sequel to Casablanca That Was Never Made

Brazzaville — The Sequel to Casablanca That Was Never Made

CasablancaPoster1Now, I think that Casablanca is the greatest movie ever. I’ve seen it far more times than any other movie, and I rarely pass up a chance to sit down and watch it again when TCM runs it. I had never seen a Humphrey Bogart movie until my early twenties. Then, I went to the Ohio Theater, an amazing place on the National  Register of Historic Places, to see Casablanca on a HUGE screen. There was even organ music during the intermission. I was hooked for life and I now own almost every movie Bogart appeared in. I’m a virtual Cliff Claven of Casablanca trivia, and I’ve even written two short stories centered around the movie.

Frederick Stephani was a screenwriter who had penned the first Flash Gordon movie that Buster Crabbe starred in. He also did the screenplay for Johnny Holiday, a hardboiled movie starring William Bendix. After the success of Casablanca, Warners had him write a treatment for a sequel, working title Brazzaville – after the Free French garrison that Renault suggests he and Rick visit as they walk away from the airport at the close of the film.

BRAZZAVILLE – CASABLANCA SEQUEL

Rick and Renault drive to Rick’s Cafe to find some unhappy Germans waiting for them. The Germans demand that Renault either arrest Rick, or turn him over to them. Rick says he’d rather be arrested. I can see Bogart wryly saying that. Renault smiles and looks at his watch; it’s 6:00.

He asks his aide, presumably Lt. Casselle, how long it takes to get a cable to, and a response from, Vichy. He is told, ‘six hours.’ He asks the Germans what charge is to be made against Rick. That’s reminiscent of him telling Strasser he has no reason to shut down the cafe in Casablanca. The Germans tell him some trumped up charges. Unlike the incident with Strasser, he stands up to them. He explains that Casablanca is still a free territory and they need to substantiate their charges. He adds that anyone can prefer charges, but if they can’t be proven, it will cause trouble for Renault.

The Germans, knowing that Renault is with Vichy, are confident, but don’t see the wink that he gives Rick. Rick then levels some made up charges against them! Rains decides he likes Rick’s charges better and arrests the Germans. They are furious and threaten vengeance. Renault offers to let them use the cables to contact Vichy to complain (Nobody plays cool and urbane like Claude Rains). Bogart is bemused.

Later, in Rains’ office, Bogart tries to find out what Louis is up to, but Renault puts him off and tells him to concentrate on their chess games. Renault is unconcerned by his very unhappy German prisoners.

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Uncanny X-Men, Part 10: John Byrne’s The Hidden Years #1-4

Uncanny X-Men, Part 10: John Byrne’s The Hidden Years #1-4

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Holy cow! We’re into double digits of my reread of the X-Men story that began in 1963. I include a full set of links to the post series at the bottom of this post. As we saw last time, some later creators have had some fun in writing stories that fit into those empty years between 1970 and 1975 when X-Men was just a reprint title. One of the most famous is John Byrne’s 1999-2001 series X-Men: The Hidden Years. 

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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

The Nightmare Henry Fuseli-small

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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