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Book Pairings: Queen Victoria’s Book of Spells and Royal Airs

Book Pairings: Queen Victoria’s Book of Spells and Royal Airs

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Queen Victoria’s Book of Spells-smallAh, a rainy night in December.

I was going to try to augment my blogging-to-raindrops experience by listening to Chopin, but after iTunes had been pianoing at me for a while, I admitted defeat, and realized once more that it’s difficult for me to blog and listen to music at the same time. (Hildegard of Bingen is, of course, an exception to this rule. Sometimes.)

Tonight I am feeling VIRTUOUS and TRIUMPHANT, for I have AT LONG LAST finished Queen Victoria’s Book of Spells, followed by a reread of Sharon Shinn’s Royal Airs. I thought these two books would make a fine complementary pair of Gaslamp Fantasies You Might Like To Read.

Let’s start with Queen Victoria’s Book of Spells.

First of all… It took me LONG ENOUGH! Sigh. Have I told you how long it takes me to read an anthology? Any anthology? I think I did, way back in my Welcome to Bordertown blogging days. But don’t worry if you never read those three monster blogs o’ mine (although you should, because they are CHARMING and INFORMATIVE, and also go ahead and read the anthology itself if you haven’t, because that’s GREAT TOO); like Inigo Montoyo, I will sum up.

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Notes On Writing Spec Fic, Late 2014

Notes On Writing Spec Fic, Late 2014

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A Book CoverIt’s such a predictable trap. In or near an elevator, I tell some newly met, well-intentioned stranger that I’m a writer, and they immediately ask, as if they’ve waited all their lives for this very opportunity to arise, “What sort of books do you write?”

And that’s the end, you see, or at least the end of any potential new friendship, because if I answer “I write fantasy,” which is true, they start sniggering and feel superior, or if I answer, “I write horror,” they run off, laughing hysterically at my bad taste –– and of course then they feel even more superior.

Worst answer of all: “I write literary fiction.” Then they assume I’m a genius and their eyes glaze over, because they feel they absolutely must pay attention to every single word I say, in hopes of gleaning a pearl. I become the social equivalent of bubonic CliffsNotes.

Thus Renner & Quist, and Check-Out Time, because I want to craft stories that employ elements of multiple genres and literary currents. The danger, I suppose, is that I wind up with tossed salad, but I don’t believe that’s been the result. What reviews there’ve been suggest that I’m correct to think I’ve avoided the splatter-punk of, say, Jackson Pollock.

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Culture, Corporate and Otherwise

Culture, Corporate and Otherwise

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Scooby-Doo, Where Are You!It’s been a while since I posted anything here at Black Gate. There’s no one reason; a number of things have kept me busy or occupied, most recently a persistent head cold and ear infection. I mention this because being under the weather has indirectly to do with the following post. Firstly, being sick led me to watch some TV shows which I now want to write a bit about. Secondly, my mental state shaped the way I thought about what I experienced; I can only hope now to capture the sense of coherence I had then. This essay will be more shapeless than usual, I’m afraid, an attempt to explain the connections that drifted through my mind between Alan Moore, Doc Savage, and Scooby Doo, among others.

When you’re feeling sick — or at least when I’m feeling sick — it’s sometimes restful to read or watch something familiar. As it was coming up to Halloween when I caught a bad cold, I decided to watch something spooky but unchallenging. And it turned out that Canadian Netflix had both the very first Scooby-Doo TV series, 1969’s Scooby-Doo, Where Are You! (created by Joe Ruby and Ken Spears), and the most recent, 2010’s Scooby-Doo: Mystery Incorporated (created and produced by Spike Brandt, Tony Cervone, and Mitch Watson).

I’d read some very good things about the latter show, some here on this blog from Nick Ozment, so I decided I’d rewatch the series I knew from my youth and then see the modern reboot. Because curiosity takes many odd forms, I also ended up drifting around Wikipedia and the Internet Movie Database, reading up on the creation of both shows. Which touched off a few reflections on the shape of stories, generational differences, and popular culture.

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“Shardik, Shardik the Power Of God!”

“Shardik, Shardik the Power Of God!”

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Shardik-smallMidway through Richard Adams’s doorstop of a book, Shardik (1974), I decided I had stumbled into the world’s longest parable.

Biblical parables are typically quite brief, but Adams pulls toward the opposite shore, reasoning that in thoroughness lies salvation. And why shouldn’t he? That tactic worked like gangbusters in his astounding debut, Watership Down (1972).

Shardik could indeed function as a serviceable doorstop, but to dismiss it out of hand would be a disservice to literature in general, and to fantasy novels in particular. Shardik is a brave, uncompromising examination of how “mere” mortals encounter and deify the exceptional, thus giving rise to portents, omens, prophecies, and ultimately continent-conquering religions.

In the case of Shardik, the talismanic inciting event takes the form of a gigantic bear, a bear of monstrous, prehistoric proportions, and this bear first flees a forest fire and then crashes, half-burned and exhausted, into a far-flung outpost of human civilization, Ortelga. Unfortunately – or not, depending on one’s point of view – the Ortelgans entertain a fervid belief that God’s manifestation on Earth will come in the form of a massive bear.

While Watership Down stayed locked within the heads of its rabbit characters, Shardik spends only a few pages at the outset inside the eponymous bear’s mind, just long enough to convince any alert reader that while Shardik may be a divine instrument, he is very much a bear, no more, no less, and will behave accordingly. After that, the story turns to Kelderek-Plays-With-Children, a hunter of simple tastes who first stumbles upon the injured, recovering bear-god.

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Hearing the Voices of Dead Authors in the Present Tense

Hearing the Voices of Dead Authors in the Present Tense

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tolkien lighting pipeThere are a number of citation styles for a variety of fields, but the two biggies are MLA (Modern Language Association) and APA (American Psychological Association). The latter is used in the natural sciences and research fields. The former is used in the humanities — literature, philosophy, visual and performing arts — so it’s the one I grew intimately familiar with while earning my bachelor’s and master’s degrees in English Literature and Language.

MLA is also the one I primarily taught my first-year composition students during my nine years as an English instructor (which, in retrospect, was a bit of a disservice to all the kids who were going on to pursue non-humanities degrees). In my defense, it is the style primarily used in high school, so it is the one that most students entering college have some degree of familiarity with — which is strange when you think about it: it’s as if our secondary-school system assumes most students will go on to pursue degrees in theater or English. The way I couched my presentation of MLA went something like this: “Whatever field you go into, you will have to write papers that follow a particular formatting and style guide. It may not be this one — it may be APA or Chicago — but using this one will get you accustomed to using one.”

In recent years, I’ve had to get more familiar with APA because I do a fair amount of copy-editing on the side for education, sociology, and psychology professors who write their chapters and academic papers in APA style. The differences between the styles are myriad — each one, after all, has its own labyrinthine manual of hundreds of rules in small type (with sometimes counter-intuitive indexing — as anyone who has spent wasted minutes vainly searching for the guideline pertaining to this one particular set of circumstances knows). Whatever the differences in details, though, their main purpose is to provide a consistent way for other scholars to easily locate the sources one has cited.

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Dungeons & Dragons Player’s Handbook 5th Edition: Character Options & Rules Overview

Dungeons & Dragons Player’s Handbook 5th Edition: Character Options & Rules Overview

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5E Players Handbook CAs previously announced, Dungeons & Dragons has released their new 5th edition D&D Player’s Handbook (Amazon). This is the flagship product of their revamped new edition of Dungeons & Dragons. At a time when every aspect of the gaming industry seems to be going gangbusters, it’s a perfect time for Dungeons & Dragons to relaunch a new version of their rules system. Now that I’ve had the book for a while, I’m ready to give some initial thoughts on the system.

When I earlier reviewed the Starter Set, I mentioned that I wasn’t too fond of 4th edition. Let me clarify that statement a bit in context, because my major problem with 4th edition has a direct bearing on how I view 5th edition. It’s not that I disliked 4th edition, per se, it’s just that I didn’t feel that 4th edition felt like the Dungeons & Dragons game system anymore. If someone had shown up and said, “Hey, I just stumbled upon this brand new RPG system” and shown me a book with the mechanics of 4th edition but without the Dungeons & Dragons branding, I might have been quite impressed. But as a transition from edition 3.5, I saw no reason to give up 3.5 and dive into an entirely new system just to play in the same setting. By contrast, the rules in 3rd edition seemed enough of an improvement over 2nd edition to easily justify the transition.

More importantly, though, I didn’t feel that 4th edition was a good entry-level rules system any longer. A year ago, my aunt approached me about my younger cousin (age 12) wanting to begin playing Dungeons & Dragons. I immediately suggested that I could send him my 3.5 edition manuals. I specifically suggested against trying to learn 4th edition rules, unless the kids he was wanting to play with were already using it.

So allow me to begin my review of the 5th edition Player’s Handbook by being absolutely clear:

If I were to introduce a brand new player to a fantasy roleplaying game today, the 5th edition of Dungeons & Dragons would be my top choice.

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GenCon 2014 – Part 3: Pathfinder, Pathfinder, and More Pathfinder

GenCon 2014 – Part 3: Pathfinder, Pathfinder, and More Pathfinder

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PathfinderAdvancedClassGuideEvery year, one of the most enjoyable booths to attend at GenCon is the Paizo booth. And I’m certainly not alone in that belief. Last year, the massive rush at Paizo to get copies of the Pathfinder Adventure Card Game: Rise of the Runelords base set (more on this later) resulted in a line that snaked its away across a massive section of the Exhibit Hall. This year, they had to actually have a line out in the hallway to even be admitted into the booth, to avoid cluttering up the Exhibit Hall itself with all the desperate Pathfinder fans. And there were certainly a lot of great products to inspire a spending frenzy this year.

Pathfinder Roleplaying Game

The flagship product coming from Paizo Publishing is the Pathfinder Roleplaying Game. Pathfinder always has a ton of great releases coming out on an extremely aggressive schedule – a range of adventure modules, player companion supplements, campaign setting supplements, and so on – but here are some main hardcover rulebooks slated for the next few months that are of particular interest to anyone who plays Pathfinder.

Advanced Class Guide (Amazon, Paizo)

This new book provides details on 10 new hybrid classes, which are designed to meld together traits from two of the core and base classes from previous supplements. For example, the hunter is a hybrid of the ranger and druid, a martial character who is able to channel animal powers and bond more closely with their animal companion, but still wield spells. The bloodrager mixes the combat features of the barbarian with the mystical bloodlines of the sorcerer. The brawler is a fighter who gains several of the unarmed combat benefits of the monk, but without the spiritual aspects.

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GenCon 2014 – Part 1: Boosting the Signal

GenCon 2014 – Part 1: Boosting the Signal

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ThunderscapeThis year marks my sixth year of attending GenCon to represent Black Gate, and one thing that I always enjoy is finding some more esoteric, outside-the-mainstream games to suggest to people.

I definitely have some solid booths I attend every year — Paizo, Wizards of the Coast, Privateer Press, Cryptozoic, and so on — but those are generally games that people will hear of through normal advertising and marketing channels. If I can shed some light on a game that’s being overlooked or is just starting up, well, that’s the sort of thing that Black Gate was really built to do.

With that in mind, I’m going to start my GenCon coverage by discussing some of the less well-known games and publishers that I came across this year, but which have new and upcoming games that might be of interest. I’ll cover the big guys over the next few days, but I definitely want to get the word out on these as soon as possible.

A lot of these games are so new they aren’t even available for purchase online yet, but I’ll provide information as they become available.

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Adventure On Film: Time After Time

Adventure On Film: Time After Time

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Movie fans will forever remember Malcolm McDowell for his simpering, ultra-violent turn in Aimages Clockwork Orange (1971), but actors aren’t the sort to rest on their laurels, and by 1979, McDowell felt ready to embody a genuine historical figure, H.G. Wells.

The film was Time After Time, not to be confused with the Cyndi Lauper song (or the infinitely better cover by songbird Eva Cassidy), and if there’s a more definitive origin point for the Steampunk movement, I’d like to know what it is.

At the helm is first-time director Nicholas Meyer, who must have a soft spot for science fiction. Only a few years later, and armed with a much heftier budget, he was tapped to captain Star Trek II: The Wrath Of Khan (1982).

As for Time After Time, it’s far from perfect –– the script contains several gargantuan plot holes, and we viewers (if I may be forgiven the mixed metaphor) must swallow hard to keep up –– but it does work in fits and starts, thanks especially to the looming presence of David Warner as a time-skipping and dangerously prescient Jack the Ripper.

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Reading the Entrails

Reading the Entrails

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The Lord of the RingsBrowsing about the Internet recently, I stumbled on something that interested me. Several things, actually. Specifically, the results at the Internet Speculative Fiction Database of various Locus audience polls; more specifically, the results of the all-time polls in the fantasy field. I was struck by how some things stayed constant across the years, and how some other things have changed.

Now, it’s important to be wary of making overly-sweeping statements about the fantasy field based on these polls. These are things that can be compared with one another; I don’t know if they can be said to have weight beyond that. But, given that, what can one take away from them?

Let me be precise about what I’m looking at. The polls that interest me are the 1987 poll for best all-time fantasy novel, the 1987 poll for best all-time fantasy novelist, the 1998 poll for best fantasy novel before 1990, the 1998 poll for best all-time fantasy novelist, the 1999 poll for best all-time fantasy author, and the 2012 poll for best fantasy novel of the 20th century (John O’Neill wrote about that last poll for Black Gate). There are also all-time polls for science fiction, and some older polls that just asked the Locus readership for best all-time author or novel without specifying genre; I’m interested in fantasy, though, so that’s what I’m focusing on.

You can see some constants in the rankings of the books, but also movement. Some books and authors fell out of favour, some maintained their positions, and a few new titles emerged over time. So together the lists are potentially a glimpse of how attitudes to the genre developed over the course of twenty-five years among fans.

But even assuming that the poll respondents represent a group relatively knowledgeable about fantasy, do the polls say more about fantasy or more about the Locus readership?

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