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Eat Flaming Laser Death: An Evening of RoboRally

Eat Flaming Laser Death: An Evening of RoboRally

roborallyThese are good times for board gamers.

After the death of Avalon Hill as an independent game publisher (its remnants were purchased by Hasbro in 1998), it sure seemed like the era of the board game was over.  SPI, FASA, Task Force Games, GDW, Yaquinto, West End Games, Fantasy Games Unlimited, Mayfair Games, TSR, and finally Avalon Hill… the leading lights of board game design in the 20th Century had all perished by the end of the 90s. It looked like those of us who loved to move cardboard counters around abstract hex grids were relegated to paying ridiculous prices for out-of-print copies on eBay.

But that was before Fantasy Flight proved there was still life in board games yet, with a stellar line up of beautifully produced — and profitable — titles. Mayfair Games returned from the dead, phoenix-like, with the English language rights to the blockbuster Settlers of Catan. Wizards of the Coast purchased TSR and built on their rich tradition with D&D-inspired board games like The Conquest of Nerath (read Scott Taylor’s terrific review here). And, surprise of surprises, Hasbro has kept the Avalon Hill name alive, putting out high quality games like Battle Cry and Axis and Allies.

So on a Sunday night when I’ve managed to pull Tim and Drew, my two teenage sons, away from Gears of War 3 and sit them down at the gaming table, I find I actually have a choice of intriguing modern games to offer them. Should we go for complex and fascinating, like Axis and Allies? Colorful and fun, like Descent: Journeys in the Dark? Quick and light, like Cheapass Games’ Kill Doctor Lucky?

Rhetorical question, of course. When one of the choices involves lasers, killer robots, and blowing each other up in a frenetic race for mechanized glory, the answer is pretty much a foregone conclusion. It was RoboRally in a landslide.

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Edgar Rice Burroughs’s Venus, Part 4: Escape on Venus

Edgar Rice Burroughs’s Venus, Part 4: Escape on Venus

escape-on-venus-1st-edition-coverI love Edgar Rice Burroughs. His novels have had an enormous influence on me as a writer and as a pulp fan. But, I must admit, sometimes he wrote … this kind of thing….

Oh, let’s just leap into this and get it over with.

Our Saga: The adventures of one Mr. Carson Napier, former stuntman and amateur rocketeer, who tries to get to Mars and ends up on Venus, a.k.a. Amtor, instead. There he discovers a lush jungle planet of bizarre creatures and humanoids who have uncovered the secret of longevity. The planet is caught in a battle between the country of Vepaja and the tyrannical Thorists. Carson finds time during his adventuring to fall for Duare, forbidden daughter of a Vepajan king. Carson’s story covers three novels, a volume of connected novellas, and an orphaned novella.

Previous Installments: Pirates of Venus (1932), Lost on Venus (1933), Carson of Venus (1938).

Today’s Installment: Escape on Venus (1942)

The Backstory

At the start of the 1940s, Edgar Rice Burroughs decided to try an experiment with three of his properties, all of which had sailed into creative doldrums: Mars/Barsoom, Pellucidar, and Venus/Amtor. The previous Barsoom novel, Synthetic Men of Mars (1939), is one of the few stains on that otherwise superlative series. The Pellucidar novels went into a decline with 1937’s Back to the Stone Age and hit bottom with Land of Terror, which Burroughs failed to sell to any magazine when he wrote it in 1938 and waited to publish it on his own in 1944. Carson of Venus has some positives, but the Venus novels are already much lower on the quality scale of Burroughs’s work. Something wasn’t going right, and the failure to sell Land of Terror must have worried ERB.

It wasn’t just that Burroughs’s writing was in a slump — although it was — that was causing problems, but also the economic realities that were starting to kill the pulp magazines. Comic books exploded at the end of the 1930s and competed for the same young male audience that read the pulps. The magazine companies started cutting back their titles and publishing schedules; this led to reducing the number of serials they ran. Serials work well for a weekly magazine; for a monthly, not so much. Readers wanted their stories complete in each issue, and the publishers couldn’t afford to argue.

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Supernatural Spotlight – Episode 7.1 “Meet the New Boss”

Supernatural Spotlight – Episode 7.1 “Meet the New Boss”

God-Castiel faces off against Death, with Dean Winchester looking on.
God-powered Castiel faces off against Death, with Dean Winchester looking on.

The last season ended with Castiel pulling all the souls out of Purgatory. Sam tried to stab him with an angel blade, but the new souls made Castiel so powerful that it didn’t kill him. The sixth season ended with him saying to Sam, Dean, and Bobby:

… the angel blade won’t work, because I’m not an angel anymore. I’m your new God. A better one. So you will bow down and profess your love unto me, your Lord, or I shall destroy you.

Bobby – being the most common sense-having of the trio – begins this episode by bowing down before him. Dean and Sam are about to follow suit when Castiel tells them not to bother, since it means nothing if they’re doing it out of fear. He makes it clear, though, that he has no particular affection left for them anymore. He’s not going to kill them, because there’s no point to it. As long as they do not move against him, he sees no need to kill them.

The status is definitely not quo this season.

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The Seven Greyhawk Classics of the Ancient World

The Seven Greyhawk Classics of the Ancient World

against-the-giants1I’ve been pretty hard on Greyhawk novels. They’ve been the butt of more than a few jokes — both mine and others — from those of us who enjoy reviewing and talking about the fantasy genre.

I’m generally pretty forgiving, especially with novels of adventure fantasy. What can I tell you — I’m a fan.  But when books can’t be bothered to clamber over the very low bar of my expectations, I’m as capable of a harsh review as anyone.

The novels of Gary Gygax — and in particular his Greyhawk books — routinely limboed under that bar with room to spar, and I’ve said as much in print several times over the years.

Now, I’m second to none in my admiration of Gygax. I consider the man one of the great creative minds of the 20th Century, full stop.

I believe his work with D&D and Advanced D&D — especially the original hardback rules, and the incredibly inventive adventure modules that accompanied them, such as Descent into the Depths of the Earth and The Temple of Elemental Evil — was directly responsible for the mainstream acceptance of fantasy, as manifested in modern role playing obsessions like World of Warcraft and Warhammer.

But his novels?  Poo poo.

tomb-of-horrorsHowever, Gygax wasn’t the only one to pen Greyhawk novels.

Some of them — especially the so-called Greyhawk Classics published in honor of TSR’s 25th anniversary — are remembed quite fondly.

Written by Paul Kidd, Ru Emerson, Keith Francis Strohm, and Thomas M. Reid, and based on some of TSR’s most famous adventure modules, including Against the Giants, Tomb of Horrors, and Keep on the Borderlands, the seven Greyhawk Classic novels formed a nostalgic return to some of the most fondly-remembered adventure settings in gaming.

They were published in mass market paperback by TSR (later Wizards of the Coast) between July 1999 and February 2002, beginning with Against the Giants and ending with Tomb of Horrors.

Here’s the other thing you need to know about the Greyhawk Classic novels: you can’t have them.

They’re among the most collectible D&D novels ever published, and that’s saying something.

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Art of the Genre: Concepts of a Fallen Vanguard

Art of the Genre: Concepts of a Fallen Vanguard

Brom makes beauty out of death like only he can
Brom makes beauty out of death like only he can
Last week I wrote about art direction in a film, primarily a film that failed, but that certainly isn’t the only such place where an unfortunate failure can happen. I recently had the opportunity to go to Oceanside California and share a lunch with Nick Parkinson a former developer on the Sony Online Entertainment MMORPG Vanguard: Saga of Heroes.

Now I’d had some limited experience with Vanguard back in about 2008. In a former life I took part in Sony’s Star Wars Galaxies circa 2003, and a friend of mine convinced me to come over to Vanguard and say hello many years later. Since it was only eight months after Vanguard’s release, I figured I’d oblige, so I went to a local Gamestop and asked the clerk where I could find the game. He actually laughed in my face.

Come to find out Vanguard had been a colossal bomb, so much so that you couldn’t even find a retail copy less than a year after it hit the shelves. In fact, Wikipedia lists Vanguard’s awards as: Gamespy awarded Vanguard the “Biggest Disappointment” award for 2007. Vanguard also won the awards in the categories for “Least Fun”, “Most Desolate” and “Lamest Launch” in the MMORPG.com MMOWTF Awards for the worst games of 2007

[Note: As bad as this game may or may not have been, there is absolutely no way it could have been a complete failure in every way like Final Fantasy XIV. That is hands down the worst MMORPG ever released on the mass market.]

Still, even after being thrown out of the store, I eventually I found a version and loaded it up. Thinking I’d meet up with my uber experienced friend, I purchased a full-blown max level character from a clearing house site and was ready to roll! What happened? I promptly fell off a pier in the city my avatar originated, drowned, and lost all my items….

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Little Lulu Volume 25: The Burglar-Proof Clubhouse and Other Stories

Little Lulu Volume 25: The Burglar-Proof Clubhouse and Other Stories

little-luluDuring my heyday as a young comic collector — from maybe 1973-1977 — I primarily chased Marvel titles, with the occasional DC offering like Legion of Super-Heroes, and a smattering of Charlton comics such as Blue Beetle. Like most ten-year-old collectors I scorned kid’s comics, of course.

At least in public. Behind closed doors, I loved virtually all comics, and read whatever I could get my hands on: Archie, Uncle Scrooge, Casper the Friendly Ghost, and even Little Lulu, which featured the comparatively tame adventures of Lulu Moppet and her neighborhood friends as they hunt for wild turkeys in the local woods, solve the mystery of a missing tea cup, and go to school.

I only recently discovered that Dark Horse Comics has reprinted over a decade’s worth of Little Lulu in 29 volumes (!!), many of them in full color. A pretty staggering feat of cultural scholarship, sure, but I have to admit my initial reaction was “Who the hell wants to read that much Little Lulu?”

Me, as it turns out.

Just as I did roughly 40 years ago, I slipped a copy of Little Lulu into a stack of larger comics when I thought no one was looking.  Back then it would go between Amazing Spider-man and Grimm’s Ghost Stories, just before I marched up to the drug store counter with my stack of quarters.  Last week, I quietly added it to my Amazon cart between Hellboy, Volume 1 and Marvel’s collected Son of Hulk, when my kids were in the other room. Listen — no matter how old you are, the scorn of children is a terrible thing.

As soon as that package arrived, it wasn’t Hellboy or Son of Hulk I opened first. It wasn’t even Star Wars: Knights Of The Old Republic, Volume 7, and that baby had storm troopers on the cover. No. It was Little Lulu.

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Art of the Genre: Magic Kingdom for Sale — Sold

Art of the Genre: Magic Kingdom for Sale — Sold

Uh... can I see inside that fortress please?
Uh... can I see inside that fortress please?

First off, no, this has nothing to do with Terry Brooks…

So I recently saw Conan 3D 2011… and yeah I know what you’re thinking, but I’m not going to go into that because it’s been beaten to death elsewhere, and certainly here on Black Gate. Still, I had to wonder after seeing it, what did the world of Hyboria get for its 2011 dollar?

Considering the movie reviews and box office receipts, whatever the cost for art direction it was far too much. As I watched, I contemplated the words of John Fultz and his thoughts concerning the imagery of the movie when he said… wait, I’m going to go look this up so John can’t complain I misquoted him… Ok, here we go…

The Hyborian Age has never looked so wondrous, splendid, and believable on screen. From the virgin wilderness and Cimmerian villages to the decadent, sprawling cities, the vast monasteries, and the ancient citadels with skull-shaped caves, the movie simply looks fantastic. The costuming too is spot-on and suitably grimy, evocative, and well-designed. Same goes for the props: swords, spears, armor, ships, etc.

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Edgar Rice Burroughs’s Venus, Part 3: Carson of Venus

Edgar Rice Burroughs’s Venus, Part 3: Carson of Venus

carson-of-venus-1st-edition-coverFive years have passed since Edgar Rice Burroughs wrote Lost on Venus, and the world has undergone a startling and disturbing metamorphosis. Something sinister and confusing is taking place in Europe, and across the Atlantic waters the people of the United States are growing concerned at the saber-rattling of Nazi Germany. The poverty-crippled period in which ERB wrote the previous Venus books has given way to a time of escalating fear of a second great war.

Does this have anything to do with the next novel of the Venus saga, 1938’s Carson of Venus? Of course not. That the villains of the book are called “the Zanis,” and that they rule through a tyrannical personality-cult dictatorship complete with ritualized salutes, concentration camps, and rampant murder of political undesirables is mere coincidence.

Our Saga: The adventures of one Mr. Carson Napier, former stuntman and amateur rocketeer, who tries to get to Mars and ends up on Venus, a.k.a. Amtor, instead. There he discovers a lush jungle planet of bizarre creatures and humanoids who have uncovered the secret of longevity. Carson finds time during his adventuring in the various warring countries of the planet to fall for Duare, forbidden daughter of a king. Carson’s story covers three novels, a volume of connected novellas, and a final orphaned novella.

Previous Installments: Pirates of Venus (1932), Lost on Venus (1933)

Today’s Installment: Carson of Venus (1938)

The Backstory

Edgar Rice Burroughs was in a creative slump at the close of the 1930s. The success of the Johnny Weissmuller Tarzan films at MGM and the creation of his own publishing company meant a steady flow of revenue, but the famous author found his new fiction getting rejected from the regular magazine markets that had featured him for more than twenty years. Even Tarzan was no longer dependable. Burroughs was not a young man anymore, and the magazine rejections seemed to hint that his best writing years were behind him. At least he could always publish the books through his own company, but the publicity from magazine serialization was an important way to boost sales.

It was during this turbulent time that ERB tried a few experiments. After leaving the Venus series alone for five years, he returned to it with a spy story reflecting the political tensions of the day.

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Greer Gilman and Cloud & Ashes

Greer Gilman and Cloud & Ashes

Cloud & AshesI recently finished reading Greer Gilman’s second novel, 2009’s Cloud & Ashes. I’ve never come across Gilman’s first book, Moonwise, but I’m now looking forward to tracking it down.

Cloud & Ashes is a complex, powerful work. It repays careful attention, attentiveness to patterns of imagery, and readiness to work out unknown words from context (this is less a book to read alongside an open dictionary than alongside an open internet connection, which can find obscure, archaic, and dialect words). It demands rereading, and I won’t claim to understand all of it. But I think I can say a few things with confidence — to start with, that it’s a stunning, compelling work of language, and that the apparent occasional difficulty of the text is not only necessary but part of the novel’s overall effect.

In a world much like our own, in a time and place that resembles Scotland or northern England around 1600 in its culture and language use, a generational story of mothers and daughters is played out which derives from and intersects with the seasonal myths of the land. Witches are a real and powerful presence. Companies of guisers travel about, presenting dramas of archetypal powers. And at crucial points of the year, as summer goes out or comes in, everyone takes part in rituals of death and rebirth; a woman must play the part of Ashes each winter, in order to bring in a new spring.

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End of Summer Remembrance: The Rocketeer

End of Summer Remembrance: The Rocketeer

rocketeer-art-deco-posterUpdate: Right as I was posting this review, I received the official news that Disney is releasing a 20th Anniversary Blu-ray of The Rocketeer. It will come out on December 13. No other technical information or details on extras are yet available. Disney should have planned this earlier, but the obvious reason they did it … Captain America. And my telepathic waves sent from writing this review.

The summer is over, and it was a good one at the movies. It was certainly better than 2010, known as the year that Inception made everyone else look like idiots. This year the movies gave us more variety, more base hits, and a few home runs. Unfortunately, it also gave us the tremendous flop of Conan the Barbarian, but in a summer that took one of my beloved characters and put him in a great movie (Captain America: The First Avenger) and also refreshed one of my favorite film series with a stunning new kick-off (Rise of the Planet of the Apes), I have plenty to feel thankful for. Other films I enjoyed: X-Men: First Class, Hobo with a Shotgun, Harry Potter and the Deathly Hallows, Part 2 (and I’m not even much of a Potter fan), Attack the Block, Midnight in Paris, and Thor. I didn’t hate Green Lantern either!

But Captain America is the reason this post exists, because it got me thinking about 1991’s summer surprise and fan-favorite flick, The Rocketeer. The films share the same director, Joe Johnston, who is a natural with this sort of big-hearted, nostalgia-filled, period superhero film.

There is an unfortunate difference between the films, however. Captain America was a hit. The Rocketeer was considered a disappointment in 1991, and Disney ditched plans for a sequel. However, you would never know that the film was a box-office failure based on talking about it with people today. The Rocketeer has enormous fan-love.

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