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Doctor Strange in Space by Mark Waid and Jesús Saiz

Doctor Strange in Space by Mark Waid and Jesús Saiz

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In 2018, Mark Waid and Jesus Saiz launched a new Doctor Strange series at Marvel. I’ve been a fan of Strange since I started comics (issue #34 was one of the first four comics I ever read). He was my gateway to Lovecraftian cosmic horror, The Defenders and Steve Ditko.

The series premise is pretty simple. Strange, the Earth’s Sorcerer Supreme, starts to have difficulty with his magic. As time goes on, his ability to perceive magic vanishes. Things like the Eye of Agamotto and the Cloak of Levitation become common objects to him, baubles of no apparently specialness. He scours the Earth for some solution, but finds none.

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Ramblings on REH (Encore Appearance)

Ramblings on REH (Encore Appearance)

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Ramblings_KullAxeDue to some difficulties, I do not have a Hither Came Conan essay ready to run today. I hope to have one next week. And, work is brutal at the moment. Also, as this post goes live, I am on day three of a four-day camping trip with my son. So I did not have time for an original Conan essay — or even a new A (Black) Gat in the Hand post, either. So, from waaay back on August 10, 2015, here’s one of the very first REH-related posts I wrote here at Black Gate. I think the first was a review of Harry Turtledove’s middling Conan of Venarium.

I was an REH neophyte at the time: I’ve learned a LOT since then. I do plan on expanding on the Howard/Hammet similarity some day. I saw that from the very beginning. Since you probably missed this post the first time around, read on!

In a way, Robert E. Howard’s career is similar to that of Dashiell Hammett. Both men had huge impacts on their genres (Howard wrote many styles, but he’s best known for his sword and sorcery tales). Both were early practitioners in said genres. Both men wrote excellent stories for about a decade. And both men ended their careers on their own.

Hammett, who seemed more interested in a dissolute lifestyle than in writing, effectively walked away from his typewriter. He wrote his last novel in 1934 (The Thin Man) but produced literally nothing for the remaining twenty-five years of his life. He could have gone back to writing the hard-boiled stories that made his career, but he voluntarily ended his writing life.

In 1936, Howard’s mother was failing in a coma. He walked outside to his car, pulled out a gun and killed himself. His writing career was more effectively finished than Hammett’s would be.

Both were supremely skilled writers who chose to deprive the world of their talent and left decades of stories unwritten. But there was a key difference between the two. From the beginning, Hammett was acclaimed and recognized as the leader in his field. Though Carroll John Daly came first (barely), there is no comparison between the two in critical view.

Howard was not critically lauded. His first Conan tale, “The Phoenix on the Sword” (a rewriting of the Kull story, “By This Axe I Rule!”), appeared in Weird Tales in December of 1932. The next two Conan tales were outright rejected!

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The Golden Age of Science Fiction: Heavy Metal

The Golden Age of Science Fiction: Heavy Metal

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January 1979 issue
January 1979 issue

May 1979 issue
May 1979 issue

July 1979 issue
July 1979 issue

In 1972, the British Fantasy Society began giving out the August Derleth Fantasy Awards for best novel as voted on by their members. In 1973, they began presenting additional British Fantasy Awards in 4 categories, including Best Comic. The first four years, that award was won by Roy Thomas and John Buscema for Conan the Barbarian and Savage Sword of Conan. The award was only presented until 1980, but in 2010 a new Best Graphic Novel award was introduced. A re-alignment in 2012 means the awards are now selected by a jury rather than the full membership of the British Fantasy Society. In 1980, the awards were presented at Fantasycon VI in Birmingham.

Heavy Metal was founded in 1977 based on and licensing materials from the French magazine Métal Hurlant.  Early issues used translations of the French magazine’s stories, which helped keep the cost down and allowed the publisher, Leonard Mogel, to print the graphic stories on glossy pages, often with full color.  From 1977 through 1986, the magazine was published on a monthly schedule.

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Hither Came Conan: Woelf Dietrich on “Wolves Beyond the Border”

Hither Came Conan: Woelf Dietrich on “Wolves Beyond the Border”

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Hither_Wolves1EDITEDAnd with only four stories remaining, Hither Came Conan is winding down. Of course, this series has featured a different leading Robert E. Howard expert each week, examining one of the original Conan stories each week, highlighting what’s best in it. Author Woelf Dietrich looks at the ‘most complete, incomplete’ Conan tale from Howards, “Wolves Beyond the Border.” Read on!

I am to provide proof that “Wolves Beyond the Border” is the greatest Conan story ever told by Robert E. Howard. Except that Conan never appears in the story apart from a mention or two and Howard never completed the story nor was it published in his lifetime. L. Sprague de Camp finished the fragment relying on a one-page outline discovered with the unfinished manuscript that Howard had written in the 1930s. Lancer Books published it in 1967 along with three other stories in Conan the Usurper.

So, as you can see, I find myself in a peculiar situation. A potential dilemma given the awesome essays published so far in this series. The competition for the best Conan story is a fierce one. How, then, do I convince you that this story is the best despite the absence of Conan?

Let us start with the plot, shall we?

Plot

We are introduced to “Wolves Beyond the Border” with a mini-prologue:

“The revolution progresses with hurricane speed. While knights and sergeants in gleaming mail clash in charge and counter-charge on the Aquilonian plains, civil war rages along the Pictish frontier between the partisans of Conan and those of Numedides. The Picts, naturally, see their opportunity. Here is a tale of some of the events of that strife-torn land, as told by one of the survivors of the conflict; for the Hyborian Age was a time of stirring events in many times and places, not merely those in which Conan was present.’

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Horror + Hulk = The Immortal Hulk

Horror + Hulk = The Immortal Hulk

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Marvel’s jacket copy of The Immortal Hulk goes like this: “Horror has a name. You’d never notice the man. He doesn’t like to be noticed. He’s quiet. Calm. Never complains. If someone were to walk up and shoot him in the head… all he’d do is die. Until night falls. And someone else gets up again. The man’s name is Banner. The horror is The Immortal Hulk.”

Marvel’s The Incredible Hulk has had a lot of incarnations. His original incarnation by Lee and Kirby was a Jekyll and Hyde story with a scientist turning into a gray-skinned monster each night. They found that gray-skinned monster blended into the gray night-time scenes so the Hulk soon became green and more of a science fictional anti-superhero who fought high-science communist threats and briefly joined the Avengers.

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The Triumphant Return of Fantomas

The Triumphant Return of Fantomas

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The Wrath Of Fantomas-smallThe Wrath of Fantomas is a book I approached with extreme prejudice. It’s a graphic novel that seeks to present a new version of Pierre Souvestre and Marcel Allain’s Fantomas series, which proved so successful when it was introduced a scant 108 years ago. As a rule, I dislike the concept of rebooting a series.

When first discovering a book series as a kid, continuity was key. It made a property more meaningful if there were numerous volumes to find and devour. Scouring used bookstores for dogeared copies of the missing pieces in the narrative puzzle made such books far more valuable to me. It seemed there were always a half dozen series I was working on completing in those decades long before the internet. They form some of the happiest memories of my formative years.

The entire concept of rebooting a series as a jumping-on point for new readers (or viewers, in the case of films) is distasteful to me. It devalues the worth of the original works. It suggests a series can be boiled down to its lowest common denominator and elements juggled so that a name and basic concept are enough to move forward with renewed sense of purpose.

Generally, in these overly sensitive times of ours, it also means elements that are no longer fashionable or politically acceptable will be whitewashed, bowdlerized, and otherwise made acceptable for Stalin, Mao, or whomever else has the clout to say censorship is required when the past inconveniently reminds us people were always flawed, unfair, uncouth, or sometimes just bluntly honest.

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Rereading The Defenders with the Defenders Dialogue Podcast: Issues 1-64

Rereading The Defenders with the Defenders Dialogue Podcast: Issues 1-64

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Marvel-Feature-1

I sometimes have trouble making my brain stop thinking. As a writer, it’s hard to read a book, story or comic or watch anything without having my “is this the way I would have done this?” or “what can I learn from this?” working in the background. This can be exhausting.

I’m in one of those periods now, so in the last couple of months, I watched the whole Logan’s Run TV series and a few episodes of the 1978 Battlestar Galactica for its kitsch, nostalgia and the mental time travel to my youth.  I blogged a bit about 70s sci-fi TV here. But I still needed something more to listen to while driving and doing dishes.

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Hither Came Conan: Bob Byrne on “Rogues in the House”

Hither Came Conan: Bob Byrne on “Rogues in the House”

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Hither_RoguesMarvelEDITEDWhen I was pitching this series to folks, I was using the title, The Best of Conan. I didn’t come up with Hither Came Conan for about eight months, I think. Yeah, I know… The idea behind the series came from an essay in my first (and so far, only) Nero Wolfe Newsletter. The plan for 3 Good Reasons is to look at a story and list three reasons why it’s the ‘best’ Wolfe story. And I toss in one ‘bad’ reason why it’s not. And finish it off with some quotes. You’ll be reading more 3 Good Reasons here at Black Gate in 2020.

So, I’m going to take a somewhat different tack from those who have come before me (I doubt I could have measured up, anyways) and pick out two elements that make this story one of Howard’s best recountings of the mighty-thewed Cimmerian. Then, throw a curveball from the Wolfe approach and highlight a few items worthy of note.

OUR STORY

Obviously, you need to read this story, but here’s a Cliff’s Notes version: Nabonidus, the Red Priest, is the real power in this unnamed Corinthian city. He gives a golden cask to Murilo, a young aristocrat. And inside the cask is a human ear (remind you of Sherlock Holmes? It should.). We learn a little later on that Murillo has been selling state secrets, and the ear is from a clerk he had dealings with. The jig is up!

Given the choice of running away, waiting meekly for assured death, or finding a tool to escape his predicament, he chooses the latter. And Conan is that tool. Wait: that didn’t sound right…

Conan and a Gunderman deserter had been successful thieves until a fence, a Priest of Anu, betrayed them. The priest also happened to be a spy for the police. As a result, the unnamed Gunderman (more on that below) was captured and hung. Conan then cut off the priest’s head in revenge. A ‘faithless woman’ (presumably his current main squeeze) betrayed him to the police, who captured the Cimmerian as he hid out, drunk.

Murillo visits the cell and Conan agrees to kill Nabonidus in exchange for his freedom. Things go a bit awry and Murillo goes after Nabonidus himself but faints at the sight of the red priest in his house. Meanwhile, Conan, after casually killing his ex-girlfriend’s new lover and then dumping her in a cesspool, sneaks into the pits under Nabonidus’ house, where he encounters Murillo, who had been dumped down there.

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In 500 Words or Less: Flip, Volume 1, edited by Jack Briglio

In 500 Words or Less: Flip, Volume 1, edited by Jack Briglio

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Flip: Volume 1
edited by Jack Briglio
Markosia (74 pages, $14.99 paperback, $6.99 eBook, December 21, 2018)

What’s that line from The Twilight Zone? “Imagine if you will…” or something, right?

I’ve been teaching a high school creative writing course recently, and one of the things I’ve loved is encouraging my students to explore the question of “What If?” as they’re brainstorming ideas. Once we get past the cliched stuff like “What if Germany won the Second World War?” they come up with some really powerful ideas, since “What If” can lead you in all sorts of crazy directions.

Mind you, all speculative fiction has a “What If” quality, so to say that I’ve been reading a lot of that kind of book lately is a bit redundant. For this post though, I’m thinking of the kind of story that twists things just slightly into the unknown, whether it’s Mary Robinette Kowal lobbing an asteroid into the United States in The Calculating Stars or Guy Kay turning the early Renaissance a “quarter turn to the fantastic” in A Brightness Long Ago. Sometimes it’s historical fiction, and sometimes it’s turning our world slightly askew, which is what’s intrigued me about the first volume of Flip, a new comics anthology edited by Jack Briglio.

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