Black Gate – Page 1011 – Adventures in Fantasy Literature

Publishing and the Luck of Timing

Sunday, October 27, 2013 Joseph McCullough Comments 1 comment

Although publishers don’t like to admit it, there is a large amount of luck involved in the sales of most books. No one really knows when (or even how) a book is going to catch fire in the public imagination and charge to the top of the bestsellers list. Publishers can help. They can advertise; they can push to get the book on the shelves, but they can’t make the public buy it.

In many ways, Osprey Publishing relies less on luck than most publishers. Since most of our books are based around long-running series that have an established following and fan base, we can generally predict, with some degree of accuracy, how well a given book will do. That said, sometimes we are surprised. Personally, I’m still baffled as to why Warships of the Anglo-Dutch Wars 1652-74 has sold so well. And sometimes, we are just lucky…

A few years ago, we published Thermopyale: Last Stand of the 300 right about the same time the movie 300 came out. Sales for the book went off the charts. Not too long after, we released Zombies: A Hunter’s Guide right about the time The Walking Dead first hit television screens. Another instant hit.

This leads to the obvious question: Why don’t we time our books to come out at the same time as big budget movies or television shows? Oh, we’ve tried. And we’ve been burned. In the book trade, it is necessary to announce your book at least a year before publication if you want it seriously considered for placement in the stores. Now, movie releases are usually announced even sooner than that, but they often don’t stick to their release dates.

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DRACULA Has Risen From the Grave…Again

Saturday, October 26, 2013 John R. Fultz Comments 10 comments

The Original Vampire is back. No, I’m not talking about Christopher Lee in the 1968 classic Dracula Has Risen from the Grave. This time, Vlad Tepes Dracula has risen in a most unexpected and delightful place. Television.

Last Friday, just in time for Halloween, NBC aired the pilot of its new limited series Dracula, starring the great Jonathan Rhys Meyers. The show is a “re-imagining” of the original Bram Stoker novel and is supervised by show runner/head writer Daniel Knauf (HBO’s Carnevale). Currently, it is set to run as 10 episodes seeped in blood, romance, and horror, driven by the vampiric charisma of Ryhs Meyers. He stole the show in the BBC’s legendary Gormenghast mini-series, but is perhaps best known for his award-winning role as Henry VIII on Showtime’s The Tudors.

So, is this new incarnation of Dracula any good? The pilot episode is immediately engaging, with its crypt-raiding, blood-soaked resurrection, its turn-of-the-century London, and its decadent world of aristocracy and privilege. The classic story of DRACULA is entirely familiar, so the producers/writers have gone out of their way to put interesting twists in the story and freshen up the legend. New blood indeed.

In the first of several clever twists, Dracula isn’t really the villain in this story. Perhaps it’s a sign of the times–our modern culture tends to worship the outlaw, venerate the villain, and glorify the gangster. TV has been moving this way ever since The Sopranos changed television with its shades-of-grey morality and fascinating criminal protagonists. So the trick here is to make Dracula a sympathetic lead without completely stripping him of his “monster” status and thereby turning him into a “sparkly vampire” a la Twilight. Fortunately, the producers of Dracula manage to pull off this feat in a skillful manner. This Dracula is hungry for some bloody justice.

Dracula (posing as an American industrialist in London) is out to annihilate the Order of the Dragon, a secret society of elitist conquerors who have always hidden behind the Cross (i.e. Christianity). He assembles a “list” of modern-day members, accusing them of murder, rape, torture, and the wholesale slaughter of innocents. Ironic that a man remembered by history as “Vlad the Impaler” would be so against these savage practices.

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Robert W. Chambers’ The King in Yellow

Saturday, October 26, 2013 Matthew David Surridge Comments 3 comments

The King in Yellow October draws to a close and so it’s time to turn to horror and the supernatural, to the weird tale and the things that cannot be known. Today, I want to look at one of the founding classics of the weird, Robert W. Chambers’s collection of linked short stories, The King in Yellow. Published in 1895, it was celebrated by H.P. Lovecraft, who used some of the book’s ideas in his Cthulhu mythos; in fact, the book’s inspired a mythos of its own, complete with a wiki site, as well as any amount of further fiction, music, and games. You can find it for yourself online.

The book’s made up of ten short stories, plus a poem supposedly extracted from a play called The King in Yellow. The first five tales mention the play to varying extents, and all have other fantastic elements, as well as a horrific or weird tone. The sixth story is a set of brief prose poems, while the final four stories are basically mimetic and seem to have nothing to do on a plot level with the first five — though they have certain motifs and themes in common. The play which links the first five stories, the group I’ll call here the ‘mythos stories,’ is said to drive mad anyone who reads it; it’s not clear if it has ever been performed. The first tale’s clearly set in the ‘future’ of 1920, so by extension the following four must be as well (a sculptor mentioned in the first story turns up in the second). The second story features an odd fluid that can turn anything immersed in it to stone. The third and fourth seem to have characters from the play crossing into the real world, while the fifth deals with a timeslip — a blurring of past and present — and also has a character who seems at least tangentially related to the play.

But the primary interest in these stories is the play itself, and the strange things it contains. We never get a plot summary, or character list, or even a description of its themes. Only hints and names. Hastur. The Yellow Sign. The Pallid Mask. “Carcosa, where black stars hang in the heavens; where the shadows of men’s thoughts lengthen in the afternoon, when the twin suns sink into the Lake of Hali.” The sinister King in Yellow himself. What does it all add up to?

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Vintage Treasures: Greg Stafford’s Pendragon

Saturday, October 26, 2013 John ONeill Comments 3 comments

Back in August, I wrote a mini-history of one of my favorite gaming companies, Chaosium, in the middle of a review of Pavis: Gateway to Adventure.

That was fun. Plus, it was a great excuse to wax nostalgic about the brief period between 1981 and 1986, when Chaosium released some of the finest RPGs and RPG supplements ever created. Published in handsome boxed editions, they started with Thieves’ World and continued with Stormbringer in 1981, Borderlands (1982), Worlds of Wonder (1982), Superworld (1983), Pavis (1983), Masks of Nyarlathotep (1984), Cthulhu by Gaslight (1986), H.P. Lovecraft’s Dreamlands (1986), Spawn of Azathoth (1986), Arkham Horror (1984), Ringworld (1984), Elfquest (1984), Hawkmoon (1986), and the fabulous Horror on the Orient Express.

Wonderful stuff. Masks of Nyarlathotep is frequently cited — even today — as one of the finest adventures released for any game system, and Arkham Horror is considered a classic board game, still in print today in a new edition from Fantasy Flight Games. Many titles were expanded and reprinted in later editions, including Stormbringer, Cthulhu by Gaslight, and Dreamlands.

But perhaps the most celebrated release, of a fabulous line up, was the title that legendary game designer Greg Stafford — founder of Chaosium and creator of the fantasy world Glorantha — considered his masterpiece: the Arthurian role-playing game Pendragon.

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The Top 50 Black Gate Posts in September

Friday, October 25, 2013 John ONeill Comments 0 Comment

The top article on the Black Gate blog last month was Foz Meadows’s debut piece for us, “Challenging the Classics: Questioning the Arbitrary Browsing Mechanism,” an unflinching examination of the value of the classic fantasy canon to the modern reader.

The classics were a popular subject last month: second on the list was M. Harold Page’s article “(Not) Recommending SF&F Classics to the Young Person or Novice.”

Third was Connor Gormley’s salute to the prose of Robert E. Howard, Fritz Leiber, and Michael Moorcock, “Who Took the Flowers out of My Prose?” Still sticking with the classic theme, I see. You folks are nothing if not consistent.

Fletcher Vredenburgh’s look at Karl Edward Wagner’s Night Winds was in 4th place, and Jon Sprunk finally broke us out of our September fascination with fantasy classics with his post “War – What is it Good For? Violence in Fantasy Literature.”

The complete Top 50 Black Gate posts in September were:

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Excuse me, Are you Using that Plot Device?

Friday, October 25, 2013 Violette Malan Comments 6 comments

The other day, I was watching a new Canadian show that I’m not sure is even airing in the US called Crossing Lines. It stars, among others, William Fichtner and Donald Sutherland, and promises to be a kind of Agents of Shield without the Marvel universe – a group of police officers from different countries come together to solve international crimes as an arm of the International Court. So far so good, except for . . .

In the second episode, a tender moment occurs where two characters bond over similar family issues. They look warmly into each other’s eyes and promise to talk about it later. I call out “Dead man!” And of course I was right. One of them was dead by the end of episode, leaving the other feeling bereft. And leaving me rolling my eyes.

While “Dead man!” can be fun to play (as can “She did it!”) it’s a sad commentary on the state of narrative that these games can be played so often.

Okay, I hear you say, so it’s a plot device, and maybe it’s a bit overused (where “a bit” means I’m understating). Is that really so wrong? Yes, yes it is. The problem with this kind of thing is that because we recognize it, we feel manipulated, and when your viewers, or your readers, feel manipulated, you’ve lost them. You’ve reminded them that not only did you make this bit up, you’ve made all of it up. When your readers start considering the structure of the narrative, they’ve taken a step back from it. And bang, as they say, goes your willing suspension of disbelief.

We could argue that this kind of manipulation doesn’t happen as much in novels or short stories as it does in television and movies. Maybe not. Novels, for one, have time enough to make readers genuinely care about a character before she gets killed. And plot devices are actually useful things; both as readers and writers we love them, except when we hate them.

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Blogging Dark Horse Comics’ The Curse of Dracula

Friday, October 25, 2013 William Patrick Maynard Comments 0 Comment

Marvel Comics’ long-running Tomb of Dracula series by Marv Wolfman and Gene Colan was a landmark in the medium. The award-winning series set a standard in the industry that is still felt four decades on. Marvel shamefully squandered their efforts to turn the controversial monthly title into an adult-oriented comic magazine free from the strictures of the Comics Code Authority. A dozen years later, the duo reunited to revive the series for Marvel’s Epic Comics line, but this highly underrated four-part limited series was not granted the accolades or the follow-up it deserved. Flash forward to 1998 and Dark Horse Comics offered Wolfman and Colan a three-part limited series to reinvent the property for the up and coming rival in the field.

The only tragedy is that The Curse of Dracula ended up being another one-shot limited series, despite the storyline’s potential to be expanded further. Much of the Dark Horse series recalls the story and artwork in the Epic Comics limited series from earlier in the decade. The plot is equally complex and adult and the art pushes the boundaries to the edge yet again. Once again, Marv Wolfman is crafting a new set of vampire hunters and has Dracula rooted in the world of politics.

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Goth Chick News: Doctor Sleep or Back to the Overlook Hotel

Thursday, October 24, 2013 Sue Granquist Comments 2 comments

I honestly never thought I would ever again gush about a Stephen King novel, but here I am.

You see, I’ve been disillusioned for some time – as in ever since The Stand. And before I start seeing dozens of posts about how great the Dark Tower series is, or Under the Dome for that matter, to me King is and always will be the teller of horror tales. And frankly, he hasn’t really scared me since IT.

Or maybe Pet Cemetery.

Honestly, I felt King had lost his horror mojo – or had it forcibly extracted during the conception of his son Joe Hill, who tears up the NYC Best Seller list every time he puts pen to paper.

But back in September 2011, as King was receiving an award at George Mason University in Fairfax, Virginia, he talked a little bit about the latest novel he was working on, Doctor Sleep – a sequel to his 1977 blockbuster hit The Shining.

This is an idea that I’ve had for some time. I wrote a novel in the ’70s called The Shining… I always wondered what happened to that kid, Danny Torrance, when he grew up… and this story started to form. The book isn’t finished yet, it’s called Doctor Sleep. This kinda goes back to: what’s the worst thing you can think of? I knew that there were bad people in this story that were like vampires, only that what they sucked out was not blood, but psychic energy from special people like Danny Torrance. And I came to realize that these people were called The Tribe and that they move around a lot.

I was skeptical then and remained so all the way up until September 24^th, when my copy of Doctor Sleep finally arrived.

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The Top 20 Black Gate Fiction Posts in September

Thursday, October 24, 2013 John ONeill Comments 1 comment

Dave Gross shot to the top of our fiction charts last month, with an exclusive excerpt from his new Pathfinder Tales novel King of Chaos. The halo affect also lifted his previous book in the series, Queen of Thorns, into an impressive 4th place.

There were a few other new faces on the list. BG regular Peadar Ó Guilín debuts in 6th place with his fourth story for us, “The Dowry,” the tale of an artist caught with a wizard’s daughter who soon finds himself in the body of a dog, and Michael Shea makes the list for the first time with his novella of Lovecraftian horror “Tsathoggua.” John C. Hocking leaps into the list despite the fact that his “Vestments of Pestilence” appeared with only two days left in the month, with a story that author James Reasoner called “An absolute joy to read… If you’re a fan of action-packed heroic fantasy, I guarantee you’ll be entertained.”

Ryan Harvey returns with his new Ahn-Tarqa tale “Stand at Dubun-Geb,” which Tangent Online called “A fun story that reminded me of Conan.” It joins the first Ahn-Tarqa tale in the Top 20, “The Sorrowless Thief,” published in April.

Also making the list were exciting stories by Joe Bonadonna, Howard Andrew Jones, E.E. Knight, Mike Allen, Vaughn Heppner, Aaron Bradford Starr, Jamie McEwan, Martha Wells, John R. Fultz, Gregory Bierly, and David C. Smith and Joe Bonadonna.

If you haven’t sampled the adventure fantasy stories offered through our new Black Gate Online Fiction line, you’re missing out. Every week we present an original short story or novella from the best writers in the industry, all completely free. Here are the Top Twenty most-read stories in September:

An excerpt from Pathfinder Tales: King of Chaos, by Dave Gross
“The Moonstones of Sor Lunarum,” by Joe Bonadonna
An excerpt from The Bones of the Old Ones, by Howard Andrew Jones
An excerpt from Pathfinder Tales: Queen of Thorns, by Dave Gross
“The Terror in the Vale,” by E.E. Knight
“The Dowry,” by Peadar Ó Guilín
“Stand at Dubun-Geb,” by Ryan Harvey
An excerpt from The Black Fire Concerto, by Mike Allen
“Tsathoggua,” by Michael Shea
“The Pit Slave,” by Vaughn Heppner

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Scale: What Pre-Modern Battles Really Looked Like

Thursday, October 24, 2013 Comments 9 comments

That battle scene from Gladiator?

More men, please! Where you see a line of Romans, imagine five. Ancient armies numbered in the tens of thousands.

Sure, a thousand be-weaponed extras on-screen makes your mind go “1…2…3… Lots.” But real battles were several orders of magnitude larger.

Waterloo French Cavalry — More cavalry please!

Remember the Rod Steiger Waterloo? More cavalry, please! That should be 9,000 sabres. When you measure it out, they should fill the space between the two farmsteads. The only reason the Allied Infantry didn’t turn tail and run was because Wellington had positioned them behind a ridge so that they couldn’t see the tsunami of horseflesh about to wash around their squares.

Take an earlier battle on the same scale; Chalons — Huns and “allies” versus some Romans and lots of Romanized barbarians who hated each other. Jordanes says Chalons left 150,000 men dead on the field. That has to be a wild overestimate. However, suppose he’s out by a factor of ten and the body count reflects 10% of the men fighting… that takes us back to one hundred and fifty thousand warriors jostling and yelling, say about 75,000 a side.

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