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Galaxy Science Fiction, November 1951: A Retro-Review

Galaxy Science Fiction, November 1951: A Retro-Review

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Galaxy Science Fiction November 1951-smallGalaxy s November, 1951 issue began (as it usually does) with a foreword from the editor, Horace Gold. Gold addresses the purpose of science fiction, stating:

What science fiction must present entertainingly is speculation. Not prophecy, but fictional surmises based on present factors… When a story hits a future development on the head, it should be considered a minor accident; its main job was not to predict but to conjecture what might happen if certain circumstances followed certain lines of development.

Regarding the basic plotlines around science fiction, such as interplanetary flight, time travel, and the like, he writes: “Will these worlds ever exist? They may or may not; it doesn’t matter. The possibility is what counts in science fiction, not the certainty.” He concludes that writers “are examining prospects, pleasant and unpleasant alike, and that, if it produces good stories, is the legitimate province of science fiction.”

“Sea Legs” by Frank Quattrocchi — Robert Craig leaves a life of deep space service to live on Earth. But Robert has never known that world; in fact, he has never known constant gravity. He finds there are many more regulations on Earth than in space and that loyalty to the government is of utmost concern. Soon, Robert ends up breaking rules he never knew existed and he flees into radioactive territory to try to escape incarceration.

It took me some time to get into this story, but by the point Robert is on the run, I was finally rooting for him. I think there was enough setup for this to be the opening chapters of a novel, so it seemed like too much to me.

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Four Modules

Four Modules

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B1 In Search of the Unknown-smallOne of the many interesting divides among devotees of “old school” roleplaying games, particularly those who favor Dungeons & Dragons, concerns the place of the adventure module. An adventure module is a product detailing a locale to be explored or a situation to be resolved. By many reckonings, the first such module appeared in 1976, written by Pete and Judy Kerestan. Entitled Palace of the Vampire Queen, it described the five-level dungeon inhabited by undead – including the Vampire Queen herself – and other unpleasant things. Held captive within the dungeon is the daughter of a dwarf king, providing a motivation for the characters to become involved beyond glory and gold. While it isn’t notably clever in its conceptions, the module was groundbreaking in that it showed there was market for prefabricated, portable adventures rather than relying solely on the referee’s own efforts. It’s little wonder, then, that modules quickly became a staple of TSR’s catalog, as well as those of other publishers.

The issue some old schoolers take with adventure modules is that they, to borrow Gygax’s famous phrase from Volume 3 of the 1974 edition of D&D, “do … your imagining for you.” More importantly, modules unconsciously establish not only a notion of what an adventure is and ought to be, but they also establish the outlines of a fantasy setting rather than leaving all of these up to each referee to decide for himself and his own campaign. I’m somewhat sympathetic to this point of view, since I know well how powerful an influence TSR’s modules exercised over my own youthful imagination. At the same time, many of these modules served as helpful models to me as I started creating my own dungeons, adventures, and settings. Likewise, they provided a point of commonality between myself and other players, regardless of where they lived or with whom they played. When I met others at local games meets or conventions (or, nowadays, online), we can reminisce about our shared experiences fighting through the Caves of Chaos or the wonders we saw when we first beheld dark fairyland of the Vault of the Drow.

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“I rolled a critical hit against Yog-Sothoth!”: Revisiting AD&D Deities and Demigods (4th and Final Part)

“I rolled a critical hit against Yog-Sothoth!”: Revisiting AD&D Deities and Demigods (4th and Final Part)

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cthulhu 3I’ve read dozens of H.P. Lovecraft’s stories, some of them (“The Rats in the Walls”, “The Colour Out of Space”) multiple times. I’ve studied his seminal essay Supernatural Horror in Literature. But I never have felt compelled to categorize all the various Great Old Ones and Outer Gods and work out their relationships in the overall “mythos” — for one thing, such an undertaking seems to undermine the intent of these Lovecraftian horrors, which was to represent the awful unknown.

August Derleth was among the first to go about classifying Lovecraft’s monsters in any systematic way, which tended to morph the work from pure horror into something more like metaphysical science fiction. Some fans have also criticized Derleth for using a Judeo-Christian framework for his classification, creating a dualistic good-versus-evil overlay that would be anathema to Lovecraft’s own worldview. The dissonance of this theme with the source texts threatened to jettison the original intent: conveying the cosmic terror of the mystery of existence and our precarious place in it.

Plugging Lovecraft’s cast of cosmic creeps into a Dungeons & Dragons pantheon and assigning stats to them (hit points, armor class, etc.) — as the 1980 first edition of Deities and Demigods did — seems vulnerable to this criticism to the utmost degree. Here are these totally foreign, otherworldly entities — and here’s how you defeat them! But it’s human nature. We love stats. We have to classify, categorize, label, and collate. It’s an inevitable progression that tends to water down the capacity of classic monsters to frighten (we’ve worked out how you destroy a vampire — stake to the heart, full exposure to sunlight — or put down a werewolf — silver bullet — or stop a zombie — head shot — so exhaustively that we have to come up with new variations and altogether new monsters to keep readers on the edge of their armchairs).

Still, I gotta admit it’s kinda fun to see what the game designers thought Cthulhu’s class levels should be, or how many hit points might be possessed by Nyarlathotep. If you’re going to introduce these beings into the hack ‘n slash realm of D&D, it’s bound to happen.

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The Public Life of Sherlock Holmes: Eille Norwood: the Silent Detective

The Public Life of Sherlock Holmes: Eille Norwood: the Silent Detective

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Norwood_Doyel
Norwood and Sir Arthur Conan Doyle at the Stoll Pictures Annual Dinner

This may shock you, but there were on-screen Sherlock Holmes before Benedict Cumberbatch! And for you old-time fans, even before Robert Downey Jr. Really! The first great movie Holmes comes from the silent film era. And he shared a last name with another actor who would give arguably the greatest portrayal of the world’s first private consulting detective.

William Gillette had come to personify Sherlock Holmes through repeated performances of his stage play in the U.S. and Europe. His 1916 film version certainly helped as well, but was not a critical part of his success. Anthony Edward Brett would become the first great movie Holmes, though he would achieve it as Eille Norwood.

Born in 1861, Norwood was primarily a stage actor in England when he landed the role that would make him famous throughout the U.K..

In 1921, a British film company named Stoll decided to film a series of shorts based on Doyle’s stories. For the next two years, they would produce forty-five of the twenty-minute films, along with two longer ones. Doyle’s short stories fit the twenty-minute length quite well and Stoll wasn’t forced to add inauthentic filler to them.

The first fifteen, chosen randomly from among Doyle’s stories, were called The Adventures of Sherlock Holmes. That same year, the first version of what would be the most famous film title in the Canon was made, The Hound of the Baskervilles. Maurice Elvey directed all sixteen films. That same year, Elvey made a romantic drama called The Fruitful Vine. The lead was played by a young man named Basil Rathbone. How about that?

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Vintage Treasures: Six Worlds Yonder / The Space Willies by Eric Frank Russell

Vintage Treasures: Six Worlds Yonder / The Space Willies by Eric Frank Russell

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Six Worlds Yonder-smallWe’re back with our continued look at some of the most interesting Ace Doubles.

Last time we discussed Eric Frank Russell’s first Ace release, his 1954 novel Sentinels of Space (with a brief aside to look at his 1958 paperback collection from Berkley, Men, Martians, and Machines.) So I thought it apropos to examine his first Ace Double pair: Six Worlds Yonder / The Space Willies, published in 1958.

Six Worlds Yonder is a rather uniquely themed collection: stories of first landings on far planets, all published in Astounding between 1955 and 1957. Here’s the book description:

THE PLANET MAPPERS

One thing’s certain about the exploration of outer space — there’s not going to be two worlds alike! In this new collection of interstellar explorers, the fertile and original mind of Eric Frank Russell presents a half-dozen of the more extraordinary possibilities.

There’s the world where everything moves at a pace so different from ours that it would take a couple of lifetimes to establish communication. There’s the planet of immortals, with all that that really signifies. There’s the puzzling problem of keeping important messages secret when surrounded by truculent aliens. And there’s more…

Every story is different, every world is unique, and every adventure is science-fiction at its best.

Russell’s stories were frequently more whimsical than most others depicting the grim business of interstellar exploration in 1950s SF digests. I think perhaps Bud Webster described Russell’s style best in his book Past Masters, in his appreciation of the stories in Men, Martians and Machines.

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Vintage Treasures: The Book of Skaith: The Adventures of Eric John Stark by Leigh Brackett

Vintage Treasures: The Book of Skaith: The Adventures of Eric John Stark by Leigh Brackett

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Leigh Brackett The Book of Skaith-smallI joined the Science Fiction Book Club in the fall of 1975, when I was in my last year at St. Francis Junior High School in Halifax, Nova Scotia. Before I joined, I agonized over my introductory selection — three books for a just a dollar! — for days, reading and re-reading the tiny paragraphs in the brochure, and then waiting impatiently for my selections to arrive in the mail. My friend John MacMaster enrolled me and I’m pretty sure I’ll remember the contents of my enrollment package until the day I die: The Foundation Trilogy by Isaac Asimov, The Hugo Winners, Volumes One and Two, edited by Isaac Asimov, and Before the Golden Age, edited by (can you guess?) Isaac Asimov.

John had introduced me to science fiction earlier that year, loaning me Clifford D. Simak’s Shakespeare’s Planet and Piers Anthony’s Ox when I was home sick from school. I devoured them both and wanted more. John explained how the club worked and it sounded terrific. “They sometimes have these big collections, a bunch of novels gathered into one book,” he said. “They’re the best.”

John was right. The year after I joined, in 1976, the featured selection for the month was The Book of Skaith: The Adventures of Eric John Stark, an omnibus of three novels by Leigh Brackett, under a new cover by Don Maitz. It was a marvelous introduction to one of SF’s great pulp writers, in an attractive and affordable package offered exclusively through the Science Fiction Book Club.

That’s one of the great things about the SFBC: its exclusive omnibus editions, highly collectible as they are, are generally still available at excellent prices. In February of this year, nearly 40 years after it was published, I bought a copy of The Book of Skaith in excellent condition on eBay for just $2.99.

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Blogging Dan Barry’s Flash Gordon, Part Fifteen

Blogging Dan Barry’s Flash Gordon, Part Fifteen

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Flash Alpha 1Flash Alpha 2“Return to Mongo” by Dan Barry was serialized by King Features Syndicate from January 2 to March 24, 1956. The story gets underway with a party celebrating Dr. Zarkov’s newly discovered young adult daughter Zara and her arrival on Earth after growing up on an otherwise deserted swamp planet with her mother. Flash, Dale, and the Space Kids are at the party when Zarkov is alerted to the discovery that Mongo is once again entering Earth’s orbit and threatening our world’s stability. Willie, who still has the ability to psychically grant wishes, inadvertently teleports everyone from the party to Mongo.

Flash and the Space Kids are immediately set upon by Queen Azura’s cowled servants, who nearly massacre them. Working as a team to defeat Azura’s servants, Flash and the Space Kids are overcome by a paralyzing gas as they explore a nearby cave. They are subsequently captured and brought to Queen Azura’s palace, where they learn she is plotting to overthrow Prince Barin.

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Vintage Treasures: Fantastic Novels, July 1948

Vintage Treasures: Fantastic Novels, July 1948

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Fantastic Novels July 1948-smallYesterday, I talked about finding a copy of the hardcover edition of Damon Knight’s Science Fiction of the 30’s on a sale table at Windy City Pulp and Paper for just $3.33. Items on the table were priced at 3 for $10, so before I could buy it, I had to find two additional items I could live with.

Didn’t turn out to be that hard. Right next to Knight’s dusty hardcover was a copy of the July 1948 Fantastic Novels magazine, with the gorgeous Lawrence cover at left. Admit it, that cover alone is worth $3.33. I snapped it up and didn’t even look inside.

I didn’t figure there was all that much to know about the contents, anyway. Fantastic Novels was famous for including a complete novel with each issue, which usually didn’t leave much room for filler. In addition to the cover story — Garrett P. Serviss’s 1911 novel The Second Deluge — this issue had only one additional story: Frank Lillie Pollock’s “Finis,” reprinted from the June 1906 issue of The Argosy magazine.

I imagine it had to be pretty cheap to produce a magazine containing only two reprints (assuming the editors paid anything for them at all). So what did the publishers of Fantastic Novels spend their money on? Beautiful art, that’s what. In addition to the cover by Lawrence, this issue had several full pages of art by Lawrence and the great Virgil Finlay. Click on the image at left to see the full-sized version. I have no idea what The Second Deluge is all about, but I want to frame this magazine and put it on my wall.

Alas, there were no other copies of Fantastic Novels to be found on the table — and no other hardcovers of interest. For my third item, I settled on an issue of The Original Science Fiction Stories from January 1956 that looked like it had just come off the printing press. It also has fiction by Randall Garrett and James Blish, so maybe it will turn out to be worth $3.33 too.  Either way, it’s fine by me; I got my ten bucks’ worth — and more — with the first two items.

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A Perfect Artifact from the Glory Days of 1970s Swords & Sorcery: Keith Taylor’s Bard

A Perfect Artifact from the Glory Days of 1970s Swords & Sorcery: Keith Taylor’s Bard

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oie_520266yr2OCRWhAfter several weeks spent among ghoulish haunts, a Cthulhu-haunted island, and nightmare dimensions, I thought a trip to ancient Britain — the sun-dappled forests of the High Weald and the rolling downs of the Vale of Kent — was needed. Yes, I’ve visited previously in reviews of Henry Treece’s The Great Captains and David Drake’s The Dragonlord, and Keith Taylor’s Bard (1981) is a return to post-Roman Britain in the days of Arthur and Saxon and Jutish invaders.

Bard is one of those books that my dad bought years ago and I never bothered to read. I didn’t know anything about it or its author, but I was done with my short-lived infatuation with Celtic fantasy. Nothing about it enticed me to pick it up… until I started blogging about swords & sorcery.

As I read articles and websites on heroic fiction, I quickly learned that Keith Taylor was an important voice in the field of Robert E. Howard scholarship and then I started seeing very good reviews of Bard. I remembered that a copy was tucked away in the attic so I went and retrieved it and I’m quite glad I did.

Bard is a fix-up of four previously published stories and one original tale about Felimid mac Fal of Eire, wielder of the magic sword, Kincaid, and player of the ancient harp, Golden Singer. Under the right circumstances, the harp allows him to cast spells and play songs to influence his audience. Blessed with talent, wit, and cunning, Felimid is able to enter the courts of ferocious Jutish warlords and survive encounters with monsters and sorcerers in haunted forests.

Though tied together by a pair of ongoing plots, Bard reads more like the scattered adventures of a peripatetic traveler than a novel. Despite its melancholic setting in a time of fading magic and invaders from across the sea, this book is tremendous fun. Felimid is a bold, lively character with a winning way, well worth any heroic fantasy reader’s time.

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Vintage Treasures: Science Fiction of the 30’s edited by Damon Knight

Vintage Treasures: Science Fiction of the 30’s edited by Damon Knight

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Science Fiction of the 30s-smallWindy City Pulp and Paper is a fabulous convention and, as its name implies, it’s focused mostly on vintage magazines and paperbacks. Wandering the vast Dealer’s Room is like stepping into a Cave of Wonders for fans of pulp science fiction and fantasy.

But it’s also a den of surprises and a pleasant one awaited me while browsing a table piled high with pulps and digest magazines. A hand-written sign proclaimed all items were “3 For $10,” so I decided to spend a few minutes exploring the heaped stacks. Buried under a loose pile of Science Fiction Quarterly magazines and Amazing Stories, I found a lone hardcover volume: Damon Knight’s pulp anthology Science Fiction of the 30’s, in much better shape than my tattered copy.

Well, that was certainly worth $3.33. It didn’t take much effort to find two other worthy treasures (a July 1948 Fantastic Novels pulp with a classic Lawrence cover and the January 1956 issue of The Original Science Fiction Stories with a James Blish cover story, which looked like it had just come off the magazine rack.) I plunked down my ten bucks and fled before the vendor changed his mind.

Science Fiction of the 30’s was one of two great pulp anthologies I read over thirty years ago — the other being of course Isaac Asimov’s marvelous Before the Golden Age. Those books, together with Jacques Sadoul’s art book 2000 A.D. Illustrations From the Golden Age of Science Fiction Pulps, ignited a love of pulp fiction in me as a young teen that never died.

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