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Gonji: The Deathwind Trilogy by T. C. Rypel

Gonji: The Deathwind Trilogy by T. C. Rypel

oie_1919231MrGw3CJVDrift back in time to the eighties when swords & sorcery was preparing to die, at least as a force in fantasy publishing. Where once Andrew Offutt and Lin Carter as well as Robert E. Howard packed the shelves of your local B. Dalton, they were about to be crowded out by the rise of the Tolkien clones. Exciting authors like Charles R. Saunders who were leading S&S down new paths would see their heroic fiction production curtailed by sales numbers that didn’t meet publishers’ expectations.

Today, technological advancements have paved the way for the return of ancient adventurers. The internet has allowed old and new fans to find each other and connect with writers to create a camaraderie of creators and consumers. Quality print-on-demand publishing, e-books, and small presses using those tools have led to the resurrection of several heroes, including Saunders’ own Imaro and Dossouye. Another of those revived heroes is T. C. Rypel’s Gonji, a half-Japanese, half-Scandinavian warrior first introuduced thirty years ago, wandering the slopes of the Carpathian Mountains in search of a mysterious force known as the Deathwind.

When T. C. Rypel delivered his first novel to Zebra Books back in the early eighties it was over thirteen-hundred pages long. While that’s nothing peculiar these days, back then it was seen as unprecedented and Zebra’s response was to break it up into three distinct books. Rypel’s titles for the resultant three volumes were Red Blade from the East, The Soul Within the Steel, and Deathwind of Vedun. Zebra decided to take Rypel’s third title and reassign it to the first book, then re-title the last two Samurai Steel and Samurai Conflict. Their changes provide a hint of what the publisher had in store for the books.

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Godzilla Interruption: All Monsters Attack… Because Nobody Talks about It Much

Godzilla Interruption: All Monsters Attack… Because Nobody Talks about It Much

All Monsters Attack Poster with captionI now interrupt my continuing “History of Godzilla on Film” to bring you an Up Close and Personal look at one particular movie: 1969’s All Monsters Attack, also known as Godzilla’s Revenge.

It seems like an out-of-left field pick, since this movie has a poor reputation among the kaiju fans. As film historian Richard Pusateri says on the audio commentary for the current DVD: “Fans cannot decide if this is the worst movie of the series, or the second worst.”

However, I picked this movie for spotlight attention because it rarely receives any attention. Most Godzilla fans have seen it all the way through only once — probably in the English-dubbed version — and then left it on the shelf. With its chunks of stock footage lifted from earlier Godzilla films, fantasy elements that relegate the monsters to existence only in the imagination, and a target audience of third- and fourth-grade children, ­All Monsters Attack is easy for adult viewers to dismiss.

However, the movie contains elements unique among the classic Godzilla series that make it worthy of discussion. And for good or bad, it does have SF legend Ishiro Honda in the director’s chair in his penultimate Godzilla movie.

So let us go pay a visit to late-1960s industrialized Japan and meet a bullied latchkey kid with dreams of monsters.

The Background of All Monsters Attack

Toho Studios planned to conclude the Godzilla series with 1968’s epic Destroy All Monsters. But their resolution did not hold for long. Although the studio system would not collapse for another year, Toho’s movies were doing less business because of television’s popularity. When the studio heads decided to make another Godzilla movie, it was because they devised a way to make it as inexpensively as possible.

Rival studio Daiei’s 1968 movie Gamera vs. Viras inspired Toho’s choice. The Gamera film (released in the U.S. as Destroy All Planets) used battle footage from two previous Gamera movies to expand the running time and reduce the budget, and it used child heroes for direct appeal to the kiddie crowd. Toho gave instructions to producer Tomoyuki Tanaka to create a Godzilla film for children that made extensive use of existing special effects footage.

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Adventure On Film: Paperhouse

Adventure On Film: Paperhouse

By and large, if I had to drop one decade from the annals of cinema, it would be the eighties,SK-Paperhouse-1-334x500 but that period did come up with its share of winners.

One of the eighties’ forgotten gems is the fantasy-horror hybrid, Paperhouse (1988), a British release that did its best to compete with flicks like Heathers for Cineplex space, and failed. U.S. gross, according to the internet movie database, was just over $241 thousand. Sad. Paperhouse deserved better, much better.

Spoiler-free, the plot follows Brit tween Anna, curious about lipstick but not yet ready for boys, as she succumbs to a severe case of glandular fever.  The disease leaves her prone to vivid dreams, all of which stem from Anna’s crayon drawing of a bleak, lonely house. Whatever Anna adds to the house manifests itself in her dreams, and what starts out as a bit of a lark (think Harold and the Purple Crayon) quickly turns sour. Hardly twenty minutes in and it becomes clear that Anna may well have planted (or drawn) the seeds of her own destruction.

Having just read Violette Malan’s piece on John Gardner (On Moral Fiction) right here at Black Gate not a week before sitting down to re-watch Paperhouse, I couldn’t help but be struck by the film’s parallels to Gardner’s own arguments in favor of “moral” art and criticism. But what Gardner posits in his book he pursues by Socratic argument, in essay form; Paperhouse cleverly crafts those same questions into a cohesive dramatic whole.

Yes, the movie can be enjoyed on a purely surface level, without ever ceding the floor to philosophy, but make no mistake, this little chiller has a great deal more on its mind than things that go bump in the night, which is why it holds up so well, twenty-five years on.

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Spotlight on Fantasy Webcomics: Happletea‘s Spin on Mythology and Pop Culture

Spotlight on Fantasy Webcomics: Happletea‘s Spin on Mythology and Pop Culture

Loki and Odin from Scott Maynard's Happletea
Loki and Odin from Scott Maynard’s Happletea

The majority of webcomics I read are ongoing stories, most with fantasy elements, that focus on character development and plot and world building. Happletea is the only gag strip in my feed, and while it doesn’t have those other elements, it brings both humor and insight in spades. Created by Scott Maynard, the strip has been going since 2008 with some regularity (though not consistent updates), and it is, according to Maynard, “the only comic that excoriates religion, pop culture, and politics while, at the same time, lauding the world of cryptozoology.” I use Maynard’s own description here because it’s not only accurate (I can’t think of another comparable comic, except very possibly Sinfest, which I read only on occasion), but because it captures Maynard’s sense of humor.

In Maynard’s strip, recurring characters include:

  • Lil K, whose misadventures have included pre-looting for the Mayan apocalypse, starting a revolution in Latin America upon misunderstanding what New Year’s Resolutions were for, and coping with the chaos of New York
  • Sasquatch, Lil K’s foster father, who packs wormy lunches and occasionally has bizarre fashion sense
  • God, who takes the form of a cat living at Lil K’s house
  • Allev, Lil K’s blond friend who is often the voice of reason against Lil K’s antics

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Observations: The Two Towers Movie

Observations: The Two Towers Movie

The-Lord-of-the-Rings-The-Two-Towers-poster-smallLast week I wrote about The Fellowship of the Ring movie, and this week I follow up with the sequel, The Two Towers.

One of the first things I noticed about this film was the short, choppy sequencing of scenes. This mainly occurred in the first hour, and it made for a slightly disjointed viewing experience.

The movie picks up right where Fellowship left off, starting with a gorgeous panorama shot of snow-capped mountains. Then we relive Gandalf’s fall from the bridge of Khazad Dum, but this time we get to see more of his battle with the Balrog, which is sheer awesomeness.

The perspective switches (get ready for a lot of this) to Frodo and Sam, tired and lost, as they make their way through the razor cliffs of Emyn Muil. We see that the Ring is getting heavier for Frodo, who feels its pull more than ever before, and certainly more than old Bilbo ever seemed to exhibit (except for brief spells.) This wandering phase is rather dull until the arrival of Gollum, who has been following the hobbits with plans to steal back the Ring. They catch him in the act and truss him up with elven rope. Frodo decides to free Gollum in exchange for leading them to Mordor; Sam doesn’t trust him (with good reason).

I want to pause a moment here to say that the portrayal of Gollum by actor Andy Serkis is – without a doubt — the highlight of this movie. The Two Towers has always been my least favorite book of the trilogy, sometimes tedious in its depression, but Gollum elevates this movie to being almost as good as the first one. A vicious little beast who can turn so sweet and cute, he is a masterstroke of acting and CGI genius.

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Griots: Sisters of the Spear edited by Milton J. Davis and Charles R. Saunders

Griots: Sisters of the Spear edited by Milton J. Davis and Charles R. Saunders

oie_1432818nsZyAwhJAs I’ve written before, we are living in a S&S renaissance. A genre that was stuck in a loop of rote characters — fighting the same wizards, stealing the same temple treasures and damsels’ virtues — and virtually extinct from bookstore shelves, has come roaring back to life in the past decade. It may not command the same attention it did forty years ago, but it is rousing and alive.

Something that’s proving to be incredibly reinvigorating to the genre is sword & soul.  Charles Saunders, coiner of the term and creator of Imaro and Dossouye, two of the best heroic fantasy characters, describes it this way:

Fantasy fiction with an African connection in either the characters or the setting…or both.  The setting can be the historical Africa of the world we know, or the Africa of an alternate world, dimension or universe. But that’s not a restriction, because a sword-and-soul story can feature a black character in a non-black setting, or a non-black character in a black setting.  Caveat: Tarzan of the Apes need not apply.

About six years ago Milton Davis started writing and publishing his own sword & soul fiction (though this predates the actual term). When a friend sent one of Davis’ manuscripts to Charles Saunders (which he reviewed in Black Gate), one thing led to another and soon they were collaborators in fostering the creation of more sword & soul stories. Their efforts resulted in the terrific Griots anthology in 2011. As I wrote when I reviewed it at my site last year, it is exciting to see a genre I love evolving in real time.

Two years later Davis and Saunders are back with a sequel anthology, Griots: Sisters of the Spear. One of the driving forces of sword & soul is to present characters not often seen in standard-issue S&S. As Saunders writes in the forward, with this volume he and Davis found authors with characters that:

can hold their own and then some against the barbarians and power-mad monarchs and magic-users of both genders who swings swords and cast spells in the mostly European-derived settings of modern fantasy and sword-and-sorcery.

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Heroic Fantasy with the Sharp Edge of Reality: The Sacred Band by Janet Morris and Chris Morris

Heroic Fantasy with the Sharp Edge of Reality: The Sacred Band by Janet Morris and Chris Morris

The Sacred Band-smallThe Sacred Band
Janet Morris and Chris Morris
Perseid Press (547 pages, June 2011, $24.95)

All three hundred of the Sacred Band of Thebes fought at Chaeronea in August of 338 BCE, and two-hundred fifty-four skeletons lie buried there today under a granite lion. Some still argue about the fate of the forty-six whose skeletons were not recovered. Plutarch says that they died together, and Philip of Macedon wept to see it. Another, later, view is that the remainder surrendered, were taken prisoner, or deserted. We tell a different story.

— Janet and Chris Morris, in their Authors’ Notes and Acknowledgments from The Sacred Band

And this is the premise behind this wonderfully rich, complex, dramatic and highly emotional epic of gods, demi-gods and Men. This is the story of how Tempus the Black, Favorite of Enlil, Storm God of the Armies, and the one they call Riddler, challenged the gods to rescue twenty-three pairs of Thebans, forty-six warriors who had been fated to die. And rescue them he did… Charon, Lysis and the other forty-four men of the original Sacred Band of Thebes… by opening a dimensional portal from Chaeronea to Lemuria, where they were taken, trained and made part of the greater Sacred Band.

This is the also the story of Nicodemus, who is called Niko and Stealth, a true weapon of the gods, of his own struggle with becoming the favorite, the avatar of a god, and his intimate relation with the goddess Harmony.

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Game & Comic Wrestlemania: Slammed and Rival Angels

Game & Comic Wrestlemania: Slammed and Rival Angels

Slammed art by Jason Wiser
Slammed art by Jason Wiser

There’s an odd intersection of SFF and professional wrestling fandoms. It surprised me when I first encountered it, but since then, I’ve become a devoted reader of Rival Angels, a woman’s pro wrestling comic by Alan Evans, and one of my favorite Choice of Games titles is Slammed by Paolo Chikiamco. Since neither is technically fantasy (although there’s definitely an element of the fantastic to pro wrestling), I’m stretching the inclusion criteria a bit for my spotlights by covering both of them together. If you’re not into the WWE, read on to see if you can be convinced that the best wrestlemania might not be on Pay Per View…

In Slammed, you play an up-and-coming professional wrestler, trying to make your name in the world and striving to compete for one of wrestling’s biggest titles. From the beginning, Chikiamco has the characters — and the PC — acknowledge that wrestling is scripted, and that a lot of the challenges revolve around how you choose to portray yourself to the fans. Are you going to be a face — a “kayfabe” — who’s a hero, or are you a trash-talking villain on stage (but a consummate professional in the locker room)? But while your career provides the context for the story, the real plot is about your relationship with a wrestler from your past — a college friend who once held you responsible for a tragedy that impacted her wrestling career. (Note: she was female in my game; she may be male in other playthroughs.) Now at the top of her game and a rising star in her own right, will she reach out to you as an ally? Or will you be enemies? And how much of the truth will you reveal to your fans?

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The Series Series: Heart of Briar by Laura Anne Gilman

The Series Series: Heart of Briar by Laura Anne Gilman

Heart of Briar Laura Ann Gilman-smallShe got me. I didn’t expect to get caught up in this book, thought I would just read the first couple of chapters, because it’s not my usual kind of thing. Gilman uses some of the tropes of paranormal romance, but she’s using them to do bigger things, some of which I did not see coming.

If you’re severely allergic to romance, the virtues to be found in Heart of Briar will not be enough to balance the book for you, even though it is not clear at the end of this volume who the male romantic lead for the series will turn out to be. If you’re severely allergic to urban fantasy, you might not make it past the nice young geek couple looking up from their computer screens to discover, to their horror, a parallel society of supernatural beings that’s about to smash into their technology-centered happily ever after.

After my last review here, of a book that was inaccurately marketed as the first volume of a new series, I want to note how refreshing it is that this week’s title is, as promised on the cover, Book One of The Portals. It helps to know a little folklore, but even that’s unnecessary. Gilman has written plenty of books before. I haven’t read any of them. It’s possible there’s some crossover with her other series, but I never felt like I was out of the loop.

On the contrary, I usually felt like I was sometimes more in the loop than the protagonist was. Poor Jan is not a fantasy reader, did not consume volumes of folklore and mythology as a child, doesn’t know what she’s being warned about when the supernatural characters try to confess to her that they can’t be trusted. They’re good in their ways, which are fundamentally incompatible with human ways.

Fortunately for everyone in Jan’s world, she’s sufficiently brave, stubborn, devoted, and open-minded to catch up, keep up, and bring something new to the local shapeshifters’ efforts to repel an invasion from an extraordinarily hostile version of the Fae. Gilman’s fairyland bears a remarkable resemblance to the chilling otherworld of C.L. Moore’s great pulp sword and sorcery classic story “Black God’s Kiss.” Gilman’s elves behave in ways befitting extradimensional perils from a Clark Ashton Smith story. It’s a little jarring to see a book that uses some of the trappings of paranormal romance to give the vintage Weird Tales treatment to what starts out looking like a retelling of Tam Lin, but ultimately I think Heart of Briar succeeds at the strange balancing act it attempts. You see now why this novel was worth bringing to the attention of Black Gate readers?

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Observations: The Fellowship of the Ring Movie

Observations: The Fellowship of the Ring Movie

The Fellowship of the Ring poster-smallThe release of the second installment of The Hobbit got me thinking about The Lord of the Rings movies. And since I hadn’t watched them in a couple years, I decided to pop in my extended version DVDs and re-live what I consider to be one of the best film experiences in my lifetime. I watched with an eye toward what worked for me and what didn’t.

What I won’t be doing in this article is comparing the movies to the books. I love the LOTR books. I’ve read them several times and consider them among the most important novels ever written. However, I want to consider the films on their own, because movies and books are such different media.

So, let’s plunge into the fray. Shall we?

The movie begins with an extended introduction that explains who Sauron is and how he lost the One Ring, how it came into the possession of a furry little fellow named Bilbo. It’s well-done and probably very helpful to those who aren’t familiar with the events in The Hobbit. The highlight to me was when the Dark Lord of Mordor comes out and starts dishing out the pain with a huge mace.

Then we move to the real opening of the story, with Frodo in the Shire. The world of the hobbits is simple and charming, exemplifying a “good life.” I actually forgot how much good stuff happens in these first couple scenes while old Bilbo throws his 111th birthday party. There’s a nice bit of foreshadowing as Bilbo writes his book. He says that there’s always been a Baggins living at Bag End, and there always will be. That little nugget, to me, unlocks one of the powerful themes of the entire franchise: the idea of home as a place in your heart that can see you through the bad times, no matter where you are.

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