Browsed by
Category: Reviews

Edgar Rice Burroughs’s Pellucidar Saga: Series Wrap-Up

Edgar Rice Burroughs’s Pellucidar Saga: Series Wrap-Up

at-the-earths-core-frank-frazetta-interior

Last week I concluded my book-by-book look at Edgar Rice Burroughs’s Pellucidar novels, the prehistoric world inside the Earth’s crust where the stationary sun eradicates the passage of time. The complete series consists of seven books:

Compared to Burroughs’s other two long-running science-fiction series, Mars/Barsoom and Venus/Amtor, Pellucidar is more difficult to summarize. The Venus novels were written over a short period of time during the end of Burroughs’s career and all feature the same hero, Carson Napier. There are no Venus classics, with the best (Lost on Venus) only middling and the rest ranging from bland to unreadable. The Mars series presents a vast canvas that arcs across Burroughs’s career, but it’s the most consistently high quality of any of his series, including the Tarzan novels, so it’s not too difficult to give it a broad analysis that primarily looks at changes in protagonists.

The Pellucidar books, however, present conundrums when consumed in a short period. Like Mars, Pellucidar spans the major phases of ERB’s career: success in the ‘teens, a stabilizing period in the twenties, a steepening decline throughout the thirties, a World War II revival, and a “lost” story and final volume published posthumously in the sixties. Unlike Mars, Burroughs visited Pellucidar sporadically, with a fourteen-year lapse after the first two paired novels, and later a seven-year gap.

Read More Read More

Tom Sutton’s Creepy Things

Tom Sutton’s Creepy Things

Creepy ThingsNobody does good horror anthology comics any longer. Oh sure, some micro-press might release an issue here and there every couple of years, but it’s not like the days when you could go to any drug store in the country and find a dozen different horror collections on the spinner racks. Horror anthology comics first got big in the 1950s, before the Comics Code brought an end to all of that gory goodness. Flash forward to the Bronze Age of Comics (beginning roughly some time in the early 1970s), when the children who’d read Golden Age comics had grown up and gone into the industry for themselves. Bronze Age horror comics borrowed heavily from Golden Age titles like Tales from the Crypt and Chamber of Chills. But since they could never match those titles for outright gore (the Comics Code still being in place), they instead relied on sheer weirdness. And if you’re researching weird 1970s horror (which I frequently do), you’re going to run across the name Tom Sutton.

Just like in the 1950s, every comic book publisher in the 1970s printed at least a couple of horror anthology titles and each title achieved a different level of success. DC Comics had almost a dozen different titles at the height of the horror boom (House of Mystery, House of Secrets, Witching Hour, Weird War Tales, Secrets of Sinister House, Ghosts, Secrets of Haunted House, Tales of Forbidden Mansion, Weird Mystery Tales, Unexpected). Marvel Comics had fewer anthology titles, specializing instead in recurring monster books (Werewolf by Night, Monster of Frankenstein, Tomb of Dracula). Warren slipped around the Comics Code by publishing black-and-white oversized “magazines” that could have more violence and nudity (Creepy, Eerie, Vampirella). And all but forgotten in the comics shuffle is Charlton Comics, always less popular than Marvel, DC, or Warren. Part of the problem was that Charlton notoriously offered some of the lowest pay rates to artists and writers, making them less popular for the A-list talent.

On the other hand, what Charlton could offer was far less editorial interference. As long as the art and story didn’t violate the Comics Code, they gave their artists and writers a free hand to tell whatever stories they wanted. It’s likely one of the reasons that comic legends like Steve Ditko frequently worked with them. And it’s why Tom Sutton’s most interesting work was done for their titles (The Many Ghosts of Doctor Graves, Ghost Manor, Haunted Love, Ghostly Haunts, Midnight Tales, Haunted, Monster Hunters). The folks at Yoe Books have collected sixteen of those stories in a stunning hardcover collection. It opens with an overview of Sutton’s career written by Michael Ambrose, followed by a selection of old cover illustrations, then the first story.

Read More Read More

Saucer Country

Saucer Country

Saucer-Country-smallRead this book. Go to your nearest comic shop and pick up the trade paperback collection. Don’t know where your nearest comic shop is located? Go to the Comic Shop Locator, type in your zip code and find out. Is it just easier to order a copy online and have it delivered to your home? Then go to IDW Publishing and order a copy. You can even order a digital copy if you don’t want to wait for delivery.

Why do you need to read this book? Because this comic book is about what’s going on right now.

The story begins with Arcadia Alvarado, governor of New Mexico and Presidential candidate. It’s a story about a woman running for President. It’s a story about the daughter of Mexican immigrants. It’s also a story about a woman who was abducted by aliens. So, yeah, this is a comic book (written in 2012, by the way) that deals with the possibility of a woman running for President as the candidate of a major political party. It’s also a comic book about a Presidential campaign where immigration reform is a key issue. It’s also a comic book about a Presidential campaign mired in conspiracy theories that leave people uncertain about what to believe. But that’s not what’s going on right now. That’s what went on in 2016.

Arcadia Alvarado was forcibly removed from her car by strangers. She was stripped naked and had a foreign object inserted in her anus. She was told afterwards that no one would believe her story if she said what happened and even if someone did believe her, there was nothing anyone could do about it. Either way, if she tells anyone about what happened, she believes that her career will be over.

Saucer Country is a story about rape. It’s about a group of powerful individuals who routinely abuse people and suffer no consequences for their actions. It’s about victims too afraid to speak out until one woman finds the courage to name her abusers. And it’s about the friends, family, and co-workers who urge her to stay quiet for her own good. If none of that sounds hauntingly familiar, you haven’t been paying attention to current events.

Saucer Country is more relevant today than when it was originally written. Find a copy and see for yourself.


Michael Penkas is an infrequent contributor to Black Gate. His mystery novel, Mistress Bunny and the Cancelled Client, is available in lots of different places. He maintains a website that you should check out.

Mage: The Hero Denied #4

Mage: The Hero Denied #4

Mage-4-smallA short review this month simply because there’s not so much to unpack here. The Umbra Sprite, the Gracklethorns, Kevin’s wife, and Kevin’s children are all absent from this issue. Meaning that it’s just Kevin and some monster lady that we’ve never seen before (and will probably never see again).

Really, this issue is meant to tie us back to themes from Hero Discovered and Hero Defined, so if you haven’t read those titles first, none of it will make any sense to you. The Queen of the Unending Dead tells Kevin that he’s the reincarnation (or avatar) of Gilgamesh, which is something broached in Hero Defined. She also tells him that the Lord of the Hunt has a claim on his soul, which is something already suggested in Hero Discovered. Then he fights an army of zombies. Then he kills the Queen of the Unending Dead with an exploding park bench. Then he falls off a cliff. Then he gets in an argument with an ATM.

Honestly, after five issues in (I’m counting issue #0), I get why some people might start pulling out of this series. Comics are expensive, we’re in almost twenty dollars deep here, and we really haven’t gotten that much of a story yet. Yeah, Matt Wagner’s art is always crisp and vibrant, no matter what he’s drawing. But Kevin pretty much wandered away from everyone else in the plot to have a fight with yet another monster and hasn’t learned anything that he didn’t already know from the first two volumes of this series. I get that, from the title of the series, he’s not going to win this one, but it feels weird that we’ve got an antagonist who’s still making the same mistakes after all these years, partially invalidating the value of his supposed lessons in previous books.

Of course, I’m sticking around to the bitter end on this one. But if the rest of you want to save your money and come back at the end for the collected edition, I totally understand.

Mage #4 is available in print at all decent comic shops, as are back issues to volumes one and two of the series. If you prefer getting your comics digitally, then check out Mage: The Hero Discovered, Mage: The Hero Defined, and all the latest issues of Mage: The Hero Denied at Comixology.


Michael Penkas has been a fan of Matt Wagner for longer than some of you have been alive. He’s written a dominatrix detective mystery novel, Mistress Bunny and the Cancelled Client, as well as dozens of ghost stories. He occasionally maintains a website and regularly participates at various reading events throughout Chicago.

A Mashup Between 2001 and The Walking Dead: Illuminae by Amie Kaufman and Jay Kristoff

A Mashup Between 2001 and The Walking Dead: Illuminae by Amie Kaufman and Jay Kristoff

Illuminae Amie Kaufman and Jay Kristoff-small

When you crack open the cover of Illuminae (Alfred A. Knopf, 2015), the first thing you read is a memo to Executive Director Frobisher written by someone with a ghost ID. The memo explains that the rest of the book contains public documents exposing a secret corporate war. You don’t know who Executive Director Frobisher is. You also don’t know who’s using the ghost ID. But you will by the last page of the book, and this information will make you want to start re-reading the novel all over again.

But for now, all you’ve read is the memo. Turning the page, you encounter an interview filed with the United Terran Navy between an anonymous staffer and sarcastic teenager Kady Grant. Yes, Kady has a bad attitude. No, Kady isn’t a team player. But you’ll roar with laughter as she figuratively pies the interviewer in the face time and time again when he asks questions about her escape from the violent invasion of her planet. You’d be unwise to underestimate her. She might be short, but she’s good with computers.

Interspersed with Kady’s interview is another with Ezra Mason, the guy she broke up with the morning of the invasion. (At one point, Kady explains to her interviewer, she and Ezra were dodging explosions and ground troops when he says to her: “You picked a hell of a day to dump me, Kades.”)

Read More Read More

Edgar Rice Burroughs’s Pellucidar Saga: Savage Pellucidar

Edgar Rice Burroughs’s Pellucidar Saga: Savage Pellucidar

savage-pellucidar-canaveral-press-edition-coverHave we already arrived at the end of Pellucidar? It feels like I started examining this Edgar Rice Burroughs series only a few months ago — but it’s been almost a year since I drilled down to visit At the Earth’s Core. A year may have passed for me, but thirty has passed for Burroughs, and counting the time until the last unpublished novella was collected in Savage Pellucidar, the gap widens to fifty years. If you read At the Earth’s Core in the pulps as an enthusiastic thirteen-year-old, you’d be close to retirement age by the time you could buy the last book and have a complete Pellucidar set.

Wait, what am I talking about? This is Pellucidar. Time is meaningless here! I started writing this article series yesterday — or maybe a century ago, and the books were all published either over a span of one year or five hundred years. It’s all the same under the perpetual noonday sun.

Our Saga: Beneath our feet lies a realm beyond the most vivid daydreams of the fantastic … Pellucidar. A subterranean world formed along the concave curve inside the earth’s crust, surrounding an eternally stationary sun that eliminates the concept of time. A land of savage humanoids, fierce beasts, and reptilian overlords, Pellucidar is the weird stage for adventurers from the topside layer — including a certain Lord Greystoke. The series consists of six novels, one which crosses over with the Tarzan series, plus a volume of linked novellas, published between 1914 and 1963.

Today’s Installment: Savage Pellucidar (1963)

Previous Installments: At the Earth’s Core (1914), Pellucidar (1915), Tanar of Pellucidar (1929), Tarzan at the Earth’s Core (1929–30), Back to the Stone Age (1937), Land of Terror (1944)

The Backstory

I’ve told this tale before with Escape on Venus and Llana of Gathol, the sister works of Savage Pellucidar, but once more won’t hurt. At the start of the 1940s, Edgar Rice Burroughs experimented writing novels in three of his settings — Mars, Venus, and Pellucidar — as sets of four linked novellas. Each novella was capable of standing on its own but could later fit together with the other three for book publication. The idea may have been the suggestion of Cyril Ralph Rothmund, business manager for ERB Inc., who first wrote a letter to the editor of Ziff-Davis Magazines with the format proposal. It was an experiment of necessity, since the pulps were turning away from serializations as more of the weekly magazines dropped to monthly publication. Burroughs approached the three books as a round-robin, changing from one setting to the next to finish all the novellas.

Read More Read More

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.

Read More Read More

Self-published Book Review: At Yomi’s Gate by John Meszaros

Self-published Book Review: At Yomi’s Gate by John Meszaros

I’m always looking for more books to review. If you have any, send them my way.

yomi coverJohn Meszaros’s novel, At Yomi’s Gate, is a story about medieval Japan, in which every legend, myth, and religious belief are not only true, but play an active role in the story. Central to the story is the fire god Kagu-tsuchi. Lord Kotoheisei has trapped him in the Batsu-no-Kaji, from which he releases him only to wreak havoc on his enemies. Kagu-tsuchi is a mindless engine of destruction, destroying everything in his vicinity unless he can be controlled. This is not his story. Instead, it is the story of the Batsu-no-Kaji, a young woman named Sakura.

On Lord Kotoheisei’s first attempt to use his weapon, he loses control of Kagu-tsuchi. Ikuko, the priestess whose job it is to keep the fire god contained, escapes with Sakura, and Lord Kotoheisei is furious. He sends his nephew Fumito out to find his Batsu-no-Kaji and bring her back, on threat of murdering his family one-by-one. Fumito is no warrior, but an artist who uses illustrated scrolls to tell stories. Both he and Lord Kotoheisei know that the ink he uses is enchanted with the fire god’s magic, and will no doubt draw the Batsu-no-Kaji to him.

Fumito has no illusions about the kind of man his uncle is, and when he finds Sakura and Ikuko, he decides that he is willing to sacrifice his family to save thousands from Kagu-tsuchi’s fire. However, in their attempt to free Sakura of Kagu-tsuchi, they instead transfer Kagu-tsuchi’s magic into her. Bursting with her newfound power, Sakura decides she will rescue Fumito’s family and get her revenge on Lord Kotoheisei. The attack does not go as planned, however, and Fumito barely escapes Kotoheisei’s palace with his one surviving relative, his sister Yoko. Before the story is through, Ikuko, Sakura, Yoko, and Fumito will face ghosts and demons, gods and oni, and travel to the underworld of Yomi itself in order to defeat the forces trying to control Sakura’s fire.

Read More Read More

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.

Read More Read More

October Is Hammer Country: The Gorgon (1964)

October Is Hammer Country: The Gorgon (1964)

gorgon-1964-posterI love October, but it brings with it a major annoyance from popular movie websites: a deluge of click-bait lists with titles such as “10 Best Horror Films for Halloween,” “10 Best Underrated Horror Films,” and “10 Best Horror Films We Market Researched from Other 10 Best Horror Films Lists.” They’re tedious, show no deep thought about the genre or the season, and feature the same set of obvious picks. Plus, I have never seen one of these Top Halloween Movie lists include The Gorgon. Therefore, they all bear false witness.

The Gorgon is Halloween movie perfection, and ranks with the 1958 Dracula as the Hammer film most fit for the ghoul season. It’s Gothic, has a classic — albeit unusual — monster, features a small European village beneath a beetling haunted castle, and stars both Peter Cushing and Christopher Lee. Plenty of Hammer films contain these elements. But what makes The Gorgon stand out for October is how much the dry, crisp, windy sensation of autumn blows through it. You can feel the arid wind each time it slams open a window or door. Dead leaves are strewn everywhere. The moon hides behind ever-scudding clouds. And there’s a sough on the breeze that sounds like a woman in the distance singing eerily (with electric organ accompaniment). It’s one of the studio’s most sumptuously beautiful productions and fulfills director Terence Fisher’s aim to craft his horror films in the model of dark fairy tales.

It’s also simply a fantastic movie with complex characters and psychology to make its designs mean something. Director Terence Fisher, the production team, and the insanely talented cast all outdid themselves on this one. The Gorgon doesn’t have the name recognition of a Dracula or a Frankenstein film, but it deserves to be better known — because I for one can’t imagine October going by without watching it.

Hammer moved rapidly through the classic movie monster catalog once they settled into Gothic horror, and by 1964 they were interested in finding new monsters. J. Llewellyn Devine came up with the idea of using a Greek mythological creature, the snake-headed Gorgon. He invented a new one called Megaera, the only survivor of the original three Gorgon sisters. (In the Perseus myth, the Gorgons are named Medusa, Stheno, and Euryale.) John Gilling, one of Hammer’s prolific directors, turned Devine’s treatment into a script, with uncredited rewrites from Anthony Hinds. Gilling wanted to direct the script himself, and was contemptuous of Hinds’s change and the final results. I understand his anger — but I disagree with his assessment of the movie.

Read More Read More