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The Romance of Robot

The Romance of Robot

1937 W.P.A. Federal Music Project The romance of robot poster

Franklin Roosevelt had only one true ideology during the Great Depression: try it, maybe it will work. The range of innovative,productive, uplifting, unworkably idealistic, and just plan crazy plans had something for everybody to love and to hate. Federal Project Number One exemplified these extremes.

FPN1 devoted itself to the radical idea that creatives were human beings deserving of dignity and of meaningful work inside their professions. And to the even more radical idea that it would hire qualified minds without discrimination regarding race, creed, color, religion or political affiliation. Over the few years from its start in 1935 until World War II the creatives of FPN1 created lasting monuments of American culture.

Although names mutated rapidly, as Roosevelt’s alphabet agencies were wont to do, most people have probably heard the usual titles of FPN1’s subgroups, The Federal Writers Project, the Federal Art Project, the Federal Theater Project, and the Historical Records Survey. Perhaps least known is the Federal Music Project (FMP), which concentrated on highbrow performances of original music, as guaranteed a portent of ephemerality as can be found in American culture.

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A Tale from the Archonate: A Wizard’s Henchman by Matthew Hughes

A Tale from the Archonate: A Wizard’s Henchman by Matthew Hughes

a-wizard-s-henchman-hardcover-by-matthew-hughes-[3]-3997-pI hate Matthew Hughes’ book, A Wizard’s Henchman (2016). Not for the wonderfully complicated cosmogony of its universe; not for the ease with which it slips between dark humor and nightmarish horror; not for its uber-compentent, sympathetic hero, Kaslo. No, I hate it because, although it’s the first volume in a new series, it turns out it’s also a culmination of sorts for Hughes’ long-running Archonate series, and I didn’t know that going in. I had no idea until well into AWH that it serves as a major hinge point in his fictional universe, where one type of reality is supplanted by an entirely different one. Now, if I limit myself to the expoits of master discriminator Henghis Hapthorn, I have three novels and a collection of short stories to read. If I don’t limit myself, there’s another ten books to add to the list.

Obviously, I don’t hate A Wizard’s Henchman. In fact, I love it — for all the reasons I mention above and more. Many comparisons have been made between Hughes and Jack Vance, even by Hughes himself (where he describes the Archonate’s explicitly Vance-inspired origins). On the surface, it’s easy to see similarities in the two authors’ works: a love of rarely-used words; sly humor; non-stop inventiveness harnessed to creating oddball societies ruled by idiosyncratic rules and rulers; etc. Hughes, though, is no mere mimic. Like Michael Shea and Neal Barrett Jr., Hughes clearly carries a torch for Vance, but it does not outshine his own talent, originality, and powerful instincts as a creator of captivating stories and great originality.

Up until now, most of the Archonate stories have occurred in Earth’s stellar arm among thousands of settled worlds, collectively called the Spray. Apparently, (SOMETHING I WOULD HAVE KNOWN IF I’D READ ANY OF THE OTHER BOOKS FIRST) one of the central conceits in the series is that magic is staging a universal comeback, at which point it will completely replace cause-and-effect empiricism. Hughes created the sci-fi version of the Archonate as the last age before that of Jack Vance’s Dying Earth stories. (As a side note, let me say that if you haven’t read them you should be ashamed. Buy them now and read them tonight). In Vance’s books, old Sol is a fading crimson orb illuminating an Earth that’s a long way down the path toward extinction, and where more magic has been forgotten than is even remembered anymore. A Wizard’s Henchman is about the days following the transition of the Universe to a place where sympathetic magic rules everything and the laws of physics have lost much of their sway.

Like a James Bond movie, AWH opens with a mini-adventure. Erm Kaslo, a licensed confidential operative, has arrived on the world of Cheddle to enforce an arrest warrant for Binnie Varshun for defrauding Diomedo Obron. As soon as he meets the local police chief, Kaslo is knocked out, then wakes up in a prison camp. In the aftermath of his escape, Kaslo starts to learn that certain people, his employer, Obron, among them, believe the Universe was once run by magic and is about to be again.

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Modular: Fox Trot Plays Dungeons & Dragons

Modular: Fox Trot Plays Dungeons & Dragons

FoxTrot_OrlandoBill Amend’s Fox Trot is a comic strip that ran daily from 1988 into 2006, then switched to a Sunday-only format. Still around today, it tells the story of the Fox family. Dad Roger is a loveable goober who wishes he was better at golf and chess. Mom Andy is the common sense core of the family unit. Sixteen year old Peter is a wannabe athlete, with fourteen year old Paige a typical teenage girl. And ten year old Jason lives to torment Paige and is a school geek. He’s got a pet iguana named Quincy who acts like, well, an iguana, but can really be the center of a strip.

The dynamics and shifting alliances of the three kids are instantly relatable to anyone who grew up with at least one sibling. as Calvin and Hobbes’ creator Bill Watterson wrote in the introduction to the first collection:

Fox Trot particularly captures the Machiavellian nature of adolescents. The balance of power between Peter, 16, Page, 14 and Jason 10, is a constantly bartered commodity, and alliances are fragile and short-lived. No collusion will survive an opportunity to get a sibling in trouble, and hesitant parents are goaded with the cry of, ‘Punish him! Punish him! Ground him! Ground him!’

Meanwhile, the challenges of parenting and marriage are amply represented by Roger and Andy. It’s one of my all-time favorite strips and with my nine year old son going through all my collections, I’m enjoying the Fox family all over again.

Jason is a Black Gate kid. His interests are all over pop culture: Star Wars, Star Trek, Lord of the Rings, horror (he loves Halloween, to his family’s pain), Christmas lists, Indiana Jones (even Young Indiana Jones) and cultural tropes such as westerns and Sherlock Holmes. Naturally, being a brainy geek, he’s into Dungeons and Dragons, usually playing with his best friend, Marcus. One rainy spring break, Paige found herself lured into playing D&D with Jason.

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Thick As Thieves by Ken Lizzi

Thick As Thieves by Ken Lizzi

CaptureSwords & sorcery and hard-boiled crime stories share significant crossover in themes, characterization, and worldview. Both tend to have solitary heroes possessed of highly personal codes of behavior, flourish on the margins of civilization (be it the steppes of Turan or Poisonville), and over all, equal parts world-weariness and cynicism is de rigueur. Ken Lizzi’s newest novel, Thick As Thieves, amps up the comparison by being a hard-boiled swords & sorcery heist story.

Thick As Thieves’ opening echoes one of roleplaying’s hoariest tropes, by introducing all its primary characters during a fight, if not in a tavern, just outside one in the frontier city of Kalapo. Brick is a giant slab of a man, a veteran of the Merchant’s War, and given to bouts of berserk fury in battle. In dire need of work, he took up the post of bouncer at The Chipped Mug, a less-than-reputable tavern noted for its vinegary wine and its owner, Shib. Shib is Haptha, a non-human race derisively called Sharks for the dorsal ridge that runs atop their skulls. The Haptha are a race of capitalist empiricists who launched and won the war against the human Clackmat Confederacy and Leyvan Hierocracy to force them to give up their mercantilist ways. Glum Arent, an ever-present fixture in the bar, is by trade a poet, but makes most of his living writing letters for the illiterate, penning panegyrics for priests and politicians, and acting as general informant for those same clients.

A wagon wheel on one of Haptha Trader Vawn’s wagons breaks outside The Chipped Mug. While repairs commence, Vawn and one of his bodyguards, Dahlia, a relatively rare Leyvan swordswoman, enter the tavern. Outside, members of Kalapo’s Cartage and Drayage Guild take offense at the trader’s team fixing the wagon themselves. A fight ensues. When the guildsmen attempt to attack Vawn inside the tavern, Brick makes it clear he will brook no trouble, then proves it when his warning is rejected.

“Get the f–k out of the way, freak.” The leading red tunic reached out and prodded Brick — rather scornfully, Brick thought — in the midsection with the tip of his cudgel.

“Don’t,” said Brick. He felt the advance hints of the Fury, a faint haze of red specks at the edge of his vision. The jab with the club was insulting. And the tavern, and the safety of the people within was his responsibility. His job. He tried to keep the anger at bay, though not in great earnest. He recognized the dangers of surrendering to rage, but he liked the Fury. It was what made him a good soldier. It was what had allowed him to ignore fear — not dismiss it, not conquer it, but ignore it. It was what let him tear gaps in enemy positions, be the tip of a human wedge driving into a shield wall. He recognized the disadvantages in civilian life. Slipping the leash from impulse control could be a problem outside a war zone. So, he kept the Fury tightly reined in. But he missed it. And if this punk ass guildsman jabbed him again…

The punk ass guildsman jabbed him again.

The Fury descended like a curtain of crimson sparks. Pent up frustration spewed from Brick like wine from a punctured goatskin bag. He batted aside the cudgel and grabbed the wrist, yanking the man towards him. Brick squeezed and twisted, hearing tendons pop and little bones grind together. At the same time, his other hand shot forward and gripped the guildsman below the armpit of his red tunic. Brick lifted the man, continuing to twist and pull on the wrist. The guildsman screamed as first elbow then shoulder dislocated.

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1970s Horror Comics, Old and New: Eerie and Bloke’s Terrible Tomb of Terror

1970s Horror Comics, Old and New: Eerie and Bloke’s Terrible Tomb of Terror

Eerie 52-small

In time for coincidence with Hallowe’en, a friend recently pointed me at Bloke’s Terrible Tomb of Terror, a magazine walking in the path of such 1970s Warren horror magazines as Creepy and Eerie. I picked up a pdf copy just before the etsy store went on a bit of a break while The Bloke (Jason Crawley) moves house and shop. (30 October, 2017: The Bloke’s site is back up and I just bought two more issues at the online shop.)

I was surprised by how much I enjoyed it. I was really only a superhero guy and a light Marvel horror/monster guy (Son-of-Satan (blogged about here), It, Strange Tales) when I was 10-15 years old, so the Warren style wasn’t really my bag back then.

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Nothing To Be Afraid Of

Nothing To Be Afraid Of

Bradburyillustrated_manI often find that the idea of something is more frightening than the thing itself – unless you have a phobia, of course, in which case the reality is much, much worse than you imagined.

There’s a difference between fear and horror, but only because horror is, I think, a bit more existential. You can be afraid of something specific and not lose your grasp on the world, but horror is a feeling that sweeps over you like a wave, that’s bigger than you are, that momentarily stops your existence. In a manner of speaking, horror is a form of the sublime – the feeling you get when you come face-to-face with something that’s too big for your finite mind to grasp.

So for me, all the slashing, blood-spurting, bug-crawling, chain-saw wielding, limb-chopping stuff is just icky. Startling, sure, if it’s well done. It might make me recoil, it might frighten me, but it doesn’t stop my breath. It’s not horror.

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Modular: Tabletop Terror in the Tomb of Annihilation

Modular: Tabletop Terror in the Tomb of Annihilation

Tomb of Annihilation-smallAs the season of ghosts and ghouls is upon us, it’s a good time to have a terror-filled gaming experience. The most recent Dungeons & Dragons 5th edition adventure book, Tomb of Annihilation (Amazon), provides a good framework for a unleashing undead horrors upon a group of innocent fantasy adventurers.

Tomb of Annihilation is set in the land of Chult, an Africa-inspired continent setting in the Forgotten Realms. The players begin in a thriving metropolis, Port Nyanzaru, in which adventurers can race dinosaurs for fun and profit. As they move deeper into the jungles of Chult, investigating a powerful death curse that affects resurrected people throughout the world, they eventually come upon an ancient temple that is under the sway of a powerful archlich. Along the way, the players will interact with tribal shamans, zombie dinosaurs, and flying monkeys.

This isn’t the first 5th edition adventure that fits well thematically with a horror-based mood. Curse of Strahd (Amazon) re-invents the gothic horror of the Ravenloft setting, while Out of the Abyss (Amazon) explores demonic enemies spreading throughout the Underdark. The collection of deadly dungeons Tales of the Yawning Portal (Amazon) contains the chapters Dead in Thay and Tomb of Horrors.

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October Short Story Roundup

October Short Story Roundup

GdM13_500x375Things were a little thin on the ground for swords & sorcery this past month. Only  Grimdark Magazine crossed my radar this month with new tales of adventure, and three out of three in the latter publication weren’t S&S.

Grimdark Magazine #13 is packed with three stories and the usual spate of interviews, reviews, and commentaries on the subject of grimdark. If anyone will ever convince me that grimdark is a real, definable sub-genre and not just a marketing ploy, it will be the magazine’s editor, Adrian Collins. His choice of stories and non-fiction is solid and consistently presents grimdark as something far more than just gory rape and murder. In his magazine, there’s room for much subtlety and nuance.

The non-fiction is the usual magazine mix of good and poor. Though I disagreed with much of what he said, I enjoyed the interview with Nicholas Eames, author of Kings of the Wyld. Deborah A. Wolf has a fun article titled “How to Land a Rockstar Agent in Ten Excruciating Steps.”

Normally, I don’t write much about magazine’s non-fiction, but article in particular needs to be pointed out. In “Barbarians or Philosophers?,” Matthew Cropley and Victoria Bridgland make an argument that grimdark readers are a more discerning group than those who prefer more traditional fantasy. It’s more complex than that, drawing on things said by authors, as well as psychological studies, but that’s its general conclusion.

In the debate between those who love grimdark, and those who hate it, there is, I’ll concede, some evidence for either side. For those who claim that grimdark fans read because they enjoy the thrill that comes with depictions of violence, there’s some research, as noted above, to back this up. However, there seems to be much more recent evidence that supports grimdark fans gaining a deep fulfillment and enhanced personal well-being by engaging with grimdark fantasy. The dark and violent aspects of grimdark help it reflect the human condition in all its complex glory, whereas heroic fantasy is limited to an idealized portrayal of good and evil. Lack of material rewards and the unfairness and violence of grimdark worlds mirror our own, and help us see that the true rewards in life are increased wisdom and understanding of the nature of reality. Grimdark fans like the sub-genre because its anti-heroes share their high regard for justice and righteous vengeance, and that disposition means that the violence common to grimdark doesn’t detract from deep engagement with exploration of humanity, in all its glorious shades of grey.

I could spend an entire post unpacking the various claims made in that statement, but I’ll skip it that today. Suffice it to say, I disagree with most of what they say. Much of what passes for “increased wisdom and understanding of the nature of reality” is no more than easy cynicism and affected world-weariness. The only time I find humanity reduced to “shades of grey” is when I deliberately choose to filter out all the other colors of the spectrum.

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Ghosts, Strange Science, and Trains That Vanish: The Tales of Arthur Conan Doyle

Ghosts, Strange Science, and Trains That Vanish: The Tales of Arthur Conan Doyle

Tales of Twilight and the Unseen Arthur Conan Doyle-small Tales of Terror and Mystery Arthur Conan Doyle-small Tales of Long Ago Arthur Conan Doyle-small Tales of Adventures and Medical Life Arthur Conan Doyle-small

We bow to no one in our appreciation of Arthur Conan Doyle here at Black Gate. Bob Byrne’s long-running Monday column The Public Life of Sherlock Holmes explored all facets of the career of his most famous creation, and over the years William Patrick Maynard, Mark Rigney, Ryan Harvey and other folks have written here about Doyle’s work and its many adaptations.

But Doyle made many contributions to the fantasy, detective and horror genres during his long career, and over the decades his work has been reprinted in numerous anthologies like Horrors in Hiding (1973), Famous Fantastic Mysteries (1991), Ancient Egyptian Supernatural Tales (2016), and many others. From 2014-2015 British publisher Alma Classics gathered dozens of his tales into four collections, all of which are still available, and all of which are worth tracking down.

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