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When Fantasy and Theology Collide: Some Thoughts on Satan

When Fantasy and Theology Collide: Some Thoughts on Satan

Lord_of_DarknessI recently met a woman whose father-in-law had been a federal prison guard at a medical prison that held the “Blind Sheikh” back around the time of the 9/11 terrorist attack. The Blind Sheikh (Omar Abdel-Rahman) was an associate of Osama bin Laden and the planner behind the 1993 World Trade Center bombing — one of the early “masterminds” of Al Qaeda. In other words, a real life counterpart to the nastiest, most nefarious villains in our fictional thriller novels and cinema fare.

She told me that her dad-in-law spoke to the Sheikh a couple times, as could be expected: casual banter will occasionally happen between guards and the imprisoned criminals they are guarding. She said the Sheikh seemed friendly enough to her father-in-law, but she added, “The Sheikh told him that we worship three gods. That was a big issue he had with us, that we worship three gods. So much of it was cultural misunderstanding.”

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Things Your Writing Teacher Never Told You: The Many Faces of Bob Weinberg

Things Your Writing Teacher Never Told You: The Many Faces of Bob Weinberg

Bob Weinberg and Tina Jens-small

Robert Weinberg and Tina Jens

In many ways, Bob was like the Tony Randall character in the movie 7 Faces of Dr. Lao. In the movie, Tony Randall is the “owner“ of a mysterious circus that visits a western town. He appears in different guises to teach the townspeople what they each need to know to become better people. Based on a novel by fantasy writer Charles G. Finney, the screenplay was written by one of Bob’s favorite authors, Charles Beaumont. To one townsperson, Dr. Lao is the oracle Apollonius; to another, the music-loving, goat-god Pan; to yet another, Merlin the magician and wizard.

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Modular: Adventuring in Dangerous Terrain – Frog God Games’ Perilous Vistas

Modular: Adventuring in Dangerous Terrain – Frog God Games’ Perilous Vistas

Fields_CoverBack in 3rd Edition D&D, there were five supplements that fell under the ‘Environmental Series’ category (I’d argue it should only be the first three, but I don’t make that decision):

  1. Sandstorm: Mastering the Perils of Fire & Sand (Bruce R. Cordell)
  2. Frostburn: Mastering the Perils of Ice & Snow (Wolfgang Baur)
  3. Stormwrack: Mastering the Perils of Wind and Wave (Richard Baker)
  4. Dungeonscape: An Essential Guide to Dungeon Adventuring (Jason Buhlman)
  5. Cityscape: A Guidebook to Urban Planning (Ari Marmell & C.A. Suleiman)

It’s not uncommon to hear one of those books cited as a favorite by players from that era. They gave Dungeon Masters lots of material to incorporate into their adventures. Necromancer Games (who you read about here, right?) added to the concept with Glades of Death (a wilderness book) and Dead Man’s Chest (sea adventuring).

The concept has been continued by Frog God Games (surely you read this post about them!) for Pathfinder, Swords & Wizardry and 5th Edition D&D under the moniker, Perilous Vistas. Along with an updated Dead Man’s Chest, there have been four releases so far, all written by Tom Knauss:

Dunes of Desolation (Deserts)
Fields of Blood (Plains)
Marshes of Malice (Wetlands)
Mountains of Madness (Mountains)

The fifth installment, Icebound (Frozen Wastes), is in the works!

The general idea is that if the Dungeon Master wants to infuse some atmosphere and environment into the adventure, these supplements provide a myriad of options. Sure, they can just have the party get to the abandoned fort in the desert, or have them uneventfully move through the mountains to the deserted abbey or the monster-infested dwarven hall. Some folks like to just get to the dungeon crawl and start hacking away. That’s fine.

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The Poison Apple: Shared Worlds All Over the World – A Q & A with the Dynamic Duo, Ellen Kushner and Delia Sherman

The Poison Apple: Shared Worlds All Over the World – A Q & A with the Dynamic Duo, Ellen Kushner and Delia Sherman

Ellen Kushner and Delia Sherman - Black Gate interview

Authors Ellen Kusher (left), Delia Sherman (right), 2017. Photo by Elizabeth Crowens

Ellen Kushner is a former editor at Ace Books and Pocket Books, hosted the national public radio series Sound & Spirit via WGBH in Boston and was the winner of the 1991 World Fantasy Award, 1991 Mythopoeic Award and 2007 Locus Award for Best Fantasy Novel, has won Audie Awards, etc.

Delia Sherman is a former consulting editor from Tor Books. Her novel The Freedom Maze won the Andre Norton Award for Young Adult Science Fiction & Fantasy, a Prometheus Award, was a SWFWA winner, and made the Tiptree Honor List. She won the Mythopoeic Award for The Porcelain Dove, etc.

You were married in 1996 and are one of the long-time couples of speculative fiction. How did the two of you meet?

Ellen: Actually, we were married many times — illegally in 1996 and legally in the State of Massachusetts in our backyard there in 2004. Jane Yolen introduced us at Boskone — not for any romantic reasons, but because Delia had taken a course in writing fantasy at the U. Mass, Amherst.

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Don’t Mess With the Amazons: The Wonder Woman Movie

Don’t Mess With the Amazons: The Wonder Woman Movie

Gal Gadot as Wonder Woman

Gal Gadot as Wonder Woman

A lot has been said about Patty Jenkins’ movie Wonder Woman, pretty much all of it by people smarter and more qualified than I.

But given that I do a lot of comic books musing for Black Gate, and that I also reviewed Rogue One and Dr. Strange, I wanted to give Wonder Woman the attention it deserves.

Superhero movies are what they are.

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The 33% Mark: When it’s OK to Stop Drafting Go Back and Edit

The 33% Mark: When it’s OK to Stop Drafting Go Back and Edit

"Ticket to the last station!"
“Ticket to the last station!”

When you’re writing that first draft, standard advice is: Don’t go back to edit!

Make like Omar Khayyám:

The Moving Finger writes; and, having writ,
Moves on: nor all thy Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it.

Or if you prefer, Guderian:

Ticket to the last station.

Yes, the ideal first draft is a blitzkrieg: rampage onward with the story, ignore pockets of resistance, you can catch them on the second draft.

However, you are neither a medieval Persian ruminating on life, nor a Panzer general.  For all we like to skin it with the aesthetic or the macho, writing is its own activity. The truth, so I’ve learned, is more complex.

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The Play’s The Thing

The Play’s The Thing

Leiber Ghost LightHere at Black Gate we often have posts on films and TV shows as they connect with or pertain to our favorite genre(s). If we don’t talk as much (or at all) about live drama, it’s probably because there’s not as much SF or Fantasy happening on the stage as there is on the screen. I’d think we’d all agree that with a very few exceptions stage effects are simply not equal to the kind of special effects SF and Fantasy often need.

But if we don’t see our favourite novels and stories on the stage, we certainly do see the opposite: we see the stage in our novels and stories.

We’re all familiar with the “play within a play” concept since we had to read Hamlet in high school. After all, practically every Fred Astaire movie musical is about a musical production, and there can’t be anyone alive who doesn’t know that Singing in the Rain is about making a movie musical. But again, what I’m looking at here is play-within-the-story. We should note that if we follow in Shakespeare’s footsteps, the device has to have purpose. In Hamlet, the play was “the thing to catch the conscience of the king,” that is, it played an integral part of the plot. The same should be true if we see the device in a short story or novel.

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“A World Gone to the Dogs”: City by Clifford D. Simak

“A World Gone to the Dogs”: City by Clifford D. Simak

These are the stories that the Dogs tell when the fires burn high and the wind is from the north. Then each family circle gathers at the hearthstone and the pups sit silently and listen and when the story’s done they ask many questions:

“What is Man?” they’ll ask.

Or perhaps: “What is a city?”

Or: “What is a war?”

from the Editor’s Preface to City

oie_671529XHRO0a33City (1952), by Clifford D. Simak, unfolds over thousands of years, telling of the end of humanity, the rise of dogs and robots to terrestrial preeminence, and finally, the near abandonment of Earth. It’s a fix-up of nine stories, eight written between 1944 and 1951, and one more, added to later editions, in 1973. It is a book conceived of in anger and despair, yet one that strives to posit a better, more humane world — even if it’s one devoid of humans.

Perhaps because we, by which I mean the post-WW II generations, have grown up aware of the deepest, most evil tendencies of humanity, it’s difficult to appreciate completely the anger and despair over what happened during the 1930s and 40s. Years after its publication, Simak said:

“The series was written in a revulsion against mass killing and as a protest against war.”

That revulsion was so intense that Simak contemplated the extinction of his own species and its replacement by a better one.

I suppose following the First World War, there was some hope that humanity would avoid that sort of mass slaughter again. Instead, it only increased by many magnitudes. In an essay on City, Robert Silverberg wrote that the story “Desertion” was written in 1943 in direct response to reports from Europe about the Holocaust. Simak was a gentle writer, so there is little anger or bitterness in the novel, but he wasn’t prone to sentimentality either. His depiction of humanity’s downfall and supplantation is remorseless.

When Simak collected the stories, he presented them as a tales told by dogs to each other as perhaps no more than legends. For each story, Simak wrote an interstitial explaining what different dog philosophers thought about the veracity of each story, as well as any meaning it might hold for their society.

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Support the Literary Wonder & Adventure Show!

Support the Literary Wonder & Adventure Show!

Literary Wonder & Adventure Show

Dream Tower Media, fine folks behind the Literary Wonder & Adventure Show, have launched a Patreon site to help fund it and offset some of the extensive costs of creating a top-notch audio program. And you know what that means. That’s right — you can now help support the creation of new episodes in this fine podcast series!

And Robert Zoltan (and his pal Edgar the Raven) have some terrific new episodes in the pipeline. They will be following up their popular interviews with BG blogger Ryan Harvey, fantasy author Scott Oden, and neglected genius Howard Andrew Jones, with THE GOLDEN AGE OF SCIENCE FICTION. With Special Guest, Hugo, Locus and Robert A. Heinlein award-winning author, Allen Steele in Part 1, and Hugo-nominee Becky Chambers (A Closed and Common Orbit) in Part 2.

Check out some of their earlier episodes, and learn more about how to support this worthy project at the Patreon site.

In 500 Words or Less … Never Now Always by Desirina Boskovich

In 500 Words or Less … Never Now Always by Desirina Boskovich

oie_21364ndRY5yGNever Now Always
By Desirina Boskovich
Broken Eye Books (88 pages, $9.99 paperback, June 2017)

A while back I had an idea for a short story about people caught up in a massive alien invasion, where humanity is rounded up and imprisoned in gray, windowless compounds while their captors run nefarious experiments, all of which is part of some mysterious, overarching plot a la Lost and the like. Then I told myself something like that has been done so many times that it wasn’t worth bothering, and I tucked the idea away on a mental shelf and haven’t looked at it since.

I bring this up because the novella Never Now Always by Desirina Boskovich takes that core premise of people imprisoned and experimented on by mysterious overlords and spins it so effectively, adding layers of dark surrealism and uncertainty to create a deeply compelling story. Never Now Always has a War of the Worlds/The Fifth Wave vibe with a literary style, propelled by the fact that the story’s three protagonists (and practically the only characters focused on) are constantly having their memories stolen and/or modified, stripping away most of their identity by removing the thing that makes each of us distinct. Main character Lolo knows that she has to find her sister, Tess, but everything else is an uncertain blur, to the point that she doesn’t even know the words for things. Boskovich weaves those language gaps into the narrative with a subtlety that is also easy to read and follow – something that a lot of surrealist and literary fiction doesn’t pull off.

There are cycles repeated here, as Lolo and the others try to find and support each other and ultimately escape, but the ongoing layers of mystery means that there is never a moment without intrigue. Is their bizarre prison on Earth, or somewhere else? Are Lolo and the others children, or adults who have lost their semantic and episodic memories – or something else? Are the Caretakers around them seeking to experiment, indoctrinate, or possibly protect these humans from self-inflicted harm?

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