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Peplum Populist: Goliath and the Vampires (1961)

Peplum Populist: Goliath and the Vampires (1961)

goliath-and-vampies-lobby-card

Okay, another Maciste film! Let’s do this!

When writing about Maciste’s history in silent movies, I promised that the next Peplum Populist article would hurtle ahead to Maciste’s first appearance in the sword-and-sandal boom of the 1960s, Son of Samson (Maciste nella valle dei Re). But I have a DVD of Goliath and the Vampires (Maciste contro il vampiro) lying here on the shelf, and it’s about time I completed the “dark fantasy” trio of peplum classics after writing about Hercules in the Haunted World (1961) and Maciste in Hell/The Witch’s Curse (1962). Although Goliath and the Vampires doesn’t have the same visual imagination, it’s in the 90th percentile as far as sword-and-sandal fun goes.

Goliath and the Vampires features more stock genre situations than those two other films. The fantastic elements don’t dictate the story as much as they’re pasted onto the pre-fabricated framework of what sword-and-sandal films were quickly solidifying into.

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The Wonderful Adventures of “Mr. Jones,” the Electric Man

The Wonderful Adventures of “Mr. Jones,” the Electric Man

1913-02 The Black Cat cover

A special treat this time: a lost robot story that nobody has seen for more than a century.

Supernatural tales, ghost stories, odd occurrences, mysterious disappearances, and bizarre inventions all found a home in The Black Cat, a magazine founded in 1895, a year before the first pulp magazine appeared. Mike Ashley calls it “a spiritual ancestor to Weird Tales.” The stories were proto-genre, a mixture of what then got called “unusual” stories, a term that must have had more currency in the 19th century. It was founded by 44-year-old Herman Daniel Umbstaetter, who went by the initials H. D. Not content with being editor and publisher, he seeded the magazine with his own stories, some under pseudonyms, until it took off on its own. Covers were illustrated by his much younger wife Nelly, usually with some variation of the stylized black cat staring spookily out at the reader that appeared from from the first issue.

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A (Black) Gat in the Hand: Norbert Davis’ Ben Shaley

A (Black) Gat in the Hand: Norbert Davis’ Ben Shaley

Gat_DavisDime

“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandlers’ The Big Sleep

(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

Like many pulpsters, Norbert Davis wrote for several different markets, such as westerns, romance and war stories. But he was at his best in the private eye and mystery field. Davis could write standard hardboiled fare, but he excelled at mixing humor into the genre, and many argue he did it better than anyone else.

Joe ‘Cap’ Shaw, legendary editor of Black Mask, didn’t feel that Davis’ hardboiled humor fit in to the magazine and the writer only managed to break into Black Mask five times between 1932 and 1937.  Davis had success in other markets, however, with eighteen stories seeing print in 1936, for example. And several stories appeared in Black Mask after Shaw departed.

Ben Shaley appeared in the February and April, 1934 issues of Black Mask and represent two of the five Davis stories that Shaw chose to print.

Shaley was a Los Angeles PI introduced in “Red Goose.” I like Davis’ description: ‘Shaley was bonily tall. He had a thin, tanned face with bitterly heavy lines in it. He looked calm; but he looked like he was being calm on purpose – as though he was consciously holding himself in. He had an air of hardboiled confidence.’

The humor that Davis is best known for is pretty much absent from this story, but that proves he could hold his own writing ‘straight’ hardboiled. Though Shaley’s exasperation with the nerdy museum curator, as the detective tries to lay the groundwork for the case is amusing.

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Origins Game Fair: Pathfinder Society Organized Play

Origins Game Fair: Pathfinder Society Organized Play

PathfinderPlaytestEarlier this week, I spoke briefly about attending my first Origins Game Fair event in Columbus, OH, over last weekend, and about the Origins Awards they handed out for best game products of the year. But I wasn’t there for the awards, of course. I was there for the games themselves.

Origins gave the one of the first real opportunities in the wild to see the upcoming Pathfinder Playtest in action. (It has previously been available at GaryCon, PaizoCon, and the UK Games Expo.) We have previously discussed the announcement by Paizo to release a public playtest at GenCon 2018 for their Second Edition, which will then release at GenCon 2019. Unfortunately for me, those events were fairly consistently sold out, and busy enough they didn’t want too many loiterers around the table to slow down the game for those actually playing. The tables were in a fairly accessible location, though, and the people playing seemed to be really enjoying themselves, but my attempt to get a glance at the character sheets were consistently thwarted. (I am signed up in one of the first Playtest slots at GenCon, though, so that I can provide feedback at that point.)

I’ve been following Paizo’s releases about the Pathfinder Playtest on their blog with interest, though, and was able to have a discussion with Paizo’s John Compton and Tonya Woldridge, to get some answers to the questions I had about how this would all play out … so to speak. John and Tonya are focused on the Pathfinder Society (and Starfinder Society) Organized Play program, so that’s where we spent the majority of our conversation. But before getting into the Organized Play questions, I wondered what to expect from a story-based perspective: Will Pathfinder Playtest (or Pathfinder 2nd Edition) come with a realm-shattering storyline?

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Remakes And Do-overs

Remakes And Do-overs

sherlock2There’s one thing that novelists, as a rule, don’t need to worry about and that’s having a remake done of one of their books. Sure, there are movie adaptations, but that’s not really the same thing.

Films and TV shows, on the other hand seem to get remade frequently. Often. All the time, even. Some more successfully than others. I’ve seen 5 different Hamlets, and that’s not counting live drama. Come to think of it, I’ve seen at least 3 Henry V’s. It’s actually expected that someone will make a new version, whether performed or filmed, of King Lear, or Romeo and Juliet, or Murder in the Cathedral.

An iconic character is a shoe-in for a remake – a few just keep re-and-reappearing. It would take some effort to figure out whether Tarzan or Sherlock Holmes has appeared in more films or TV series, or how many different actors have played these leads. Some are more successful than others, while some, especially in the case of Tarzan, aren’t successful at all. There are more recent Tarzans, but for many people the quintessential Lord of the Jungle is still Johnny Weissmuller, in the films of the 1930’s and early 40’s. That was certainly the only really successful movie series of the character.

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Traveller Resources Without Dice #1: The Travel Survival Guide by Lloyd Figgins

Traveller Resources Without Dice #1: The Travel Survival Guide by Lloyd Figgins

Travel Survival Guide
How travel works beyond the developed world

“That moment when you realise some of the people you follow on Twitter are Traveller characters…”

We’d been chatting about buying a second hand (deactivated) Bren Gun. (I once nearly impulse bought one, but ended up saving the money to spend on swords and armour like most if the other responsible adults I knew.) This led to a consensus that fair fights are bad. Then @wandering_andy tweeted:

30 years, mostly in the crappier parts of the world has developed what I would like to be my new family motto;
‘If you find yourself in a fair fight, you got your strategy wrong’

Not as catchy as the current one I guess… but more realistic

Intrigued, I clicked through to his profile and found:

Listening – Watching – Advising. Covert Intelligence, Security Adviser to UHNWI & Trainer

Yep, from that and his tweets,  he’s a British veteran turned security contractor. Up until this point I’d mostly been interacting with gamers and writers who only play at this sort of thing. Hence my tweet.

That moment when you realise some of the people you follow on Twitter are Traveller characters…

Guess what Andy tweeted back?

Free Trader Beowulf…

Why didn’t I use that as my twitter name!!!

A tingle went down my spine. Marc Miller’s immortal text:

This is Free Trader Beowulf, calling anyone… Mayday, Mayday… we are under attack… main drive is gone… turret number one not responding… Mayday… losing cabin pressure fast… calling anyone… please help… This is Free Trader Beowulf… Mayday….

Somebody out there who had rolled the dice was now walking the walk.  A very odd feeling.

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Origins Game Fair: Origins Awards

Origins Game Fair: Origins Awards

256 Starfinder CoreLast week and weekend, gamers descended upon the city of Columbus, OH, for Origins Game Fair. Running from June 13 to 17 – Wednesday through Sunday – the event is five solid days focused on playing some of the best games out there. And this year was my first time attending.

I have pretty extensive experience with smaller literary conventions, and I’ve gone to GenCon every year for about a decade at this point, so Origins felt pretty familiar to me. It filled the Columbus Convention Center, but had a smaller and less commercial feel than GenCon, on some level. There is more emphasis on playing games than on big marketing pushes, new releases, or even really game sales. The exhibit hall is a fraction the size of that at GenCon, and many major publishers don’t even have a sales presence at the convention.

My son turned 13 on Friday and the trip to Origins was part of his birthday present. Turns out that he wanted to spend all day on Saturday playing through three Starfinder sessions … which I suppose explains why the game won the Fan Favorite Best Roleplaying Game category in the Origins Awards.

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On to Khatovar: Shadow Games by Glen Cook

On to Khatovar: Shadow Games by Glen Cook

oie_193232fSIKM2J0If the previous book, The Silver Spike, told of endings, Shadow Games (1989) is about beginnings.

Picking up at the end of The White Rose (and taking place at the same time as The Silver Spike), Croaker, newly elected captain of the Black Company, decided he and any remaining members would return to Khatovar. With only six soldiers and Lady, it’s the only thing Croaker can think of doing: return the Company to its home. Unfortunately, neither Croaker nor anybody else knows precisely where Khatovar is (other than two continents away to the south) nor what it is. The Company’s annals describe it as one of the Free Companies of Khatovar, but the volumes from the first of the Company’s four centuries of existence were lost somewhere along the way. Trouble magnet that it is, and with a lost history brimming with evil deeds, the Black Company is certain to have a difficult path to Khatovar.

Shadow Games is the fifth of The Black Company books I’ve revisited, and so far my favorite. I suspect some will cry “Heretic!” So be it. Again be warned, there be spoilers below.

Even more than in the earlier books, Croaker is the lead character. As Captain, it’s he who is now responsible for the Company’s actions. Before, he was only an observer of the goings on of great men and women, now he is one of them. Cook presents him as the same snarky romantic from the previous volumes, but now he’s constrained by his position as the face and brains of the Company. The reader also gets to see the various levels of military preparation, only alluded to before, that go on in the Black Company.

As given to introspection as he’s always been, several of Croaker’s ruminations are deeper, and underline his separation from the world beyond the Company.

I ordered a day of rest at the vast caravan camp outside the city wall, along the westward road, while I went into town and indulged myself, walking streets I had run as a kid. Like Otto said about Rebosa, the same and yet dramatically changed. The difference, of course, was inside me.

I stalked through the old neighborhood, past the old tenement. I saw no one I knew — unless a woman glimpsed briefly, who looked like my grandmother, was my sister. I did not confront her, nor ask. To those people I am dead.

A return as imperial legate would not change that.

Something Croaker has mentioned several times over the series is that the Company is constantly changing. At one point in past centuries, the men of the Black Company were actually all black. By the time of the original trilogy, the only such member is One-Eye. As Croaker and friends go south, they slowly enroll new members. The greatest find are the Nar in the city of Gea-Xle. They are the descendants of members of the original Company who put the city’s reigning dynasty in power and stayed on as a hereditary caste of warriors. Croaker describes their leader, Mogaba, as the “the best pure soldier” he ever met. Gradually, Croaker builds on his pitiful remnant and something resembling a real fighting force, able to at least protect itself from the dangers of the road, is reborn.

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Birthday Reviews: Vivian Vande Velde’s “The Granddaughter”

Birthday Reviews: Vivian Vande Velde’s “The Granddaughter”

Cover by Bran Weinman
Cover by Brad Weinman

Vivian Vande Velde was born on June 18, 1951.

Her novel Never Trust a Dead Man received the Edgar Award for Best YA Novel in 2000 and Heir Apparent was nominated for the Mythopoeic Award for Children’s literature in 2003.

Vande Velde initially published “The Granddaughter” in her 1995 collection Tales from the Brothers Grimm and the Sisters Weird. The story was selected by Terri Windling for inclusion in The Year’s Best Fantasy and Horror: Ninth Annual Collection, edited with Ellen Datlow. Asdide from those appearances, the story has not been reprinted.

Retellings of fairy tales have a long established role, in fact the earliest version of fairy tales are often just the first version of a retelling of an oral tradition. Vivian Vande Velde has targeted the story of “Little Red Riding Hood,” which dates back at least as far as the tenth century and has been retold by both Charles Perrault and the Brothers Grimm. In “The Granddaughter,” Vande Velde’s focus is on the wolf, who can speak and is good friends with the title character’s grandmother.

Little Red Riding Hood, who is also known as Lucinda in this version, although she prefers the nickname, is an aspiring actress, almost completely self-centered, and horrified that her grandmother would be friends with a wolf, even one who can speak. The wolf, for his part, is equally horrified at Lucinda’s attitudes and inability to allow anyone else speak during a “conversation.” Not, at first understanding the grandmother’s reluctance to have Lucinda visit, the wolf quickly comes around to her point of view and works to rescue the woman from her granddaughter’s visit.

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Two, Count ‘Em, Two Nazi Robot T-Rexes

Two, Count ‘Em, Two Nazi Robot T-Rexes

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We’re back in the wild, ineffable chaos of the comic book in its infancy. Superman had debuted in 1938, an instant smash. The audience clearly wanted more Supermen, but what did that mean? The 1938 Superman barely resembles today’s omnipotent cosmic hero. He couldn’t fly, couldn’t see through objects, couldn’t move at super-speed, couldn’t freeze objects with his breath, couldn’t emit beams from his eyes, couldn’t survive in space. These gaping holes in his resume gave competitors openings to try to beat Superman at his own game.

Maurice Coyne, Louis Silberkleit, and John L. Goldwater, all veterans of the pulp magazine world though none was yet 40, yoked their first initials together to form MLJ Comics in 1939, launching four titles in four months: Blue Ribbon Comics, Top Notch Comics, Pep Comics, and Zip Comics, which would introduce Steel Sterling, the literal man of steel – a cyborg, though, not a robot. MLJ floundered at first. Blue Ribbon #1 started with Rang-A-Tang, the wonder dog, Dan Hastings, fighting the Mexidians on Mars, and Buck Stacey, young range detective.

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