New Treasures: Introducing Garrett, P.I.

New Treasures: Introducing Garrett, P.I.

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Introducing Garrett P.I.-smallWhen I started reading fantasy, I wanted every book I read to be The Lord of the Rings. High stakes, epic in scope, and at least one guy had to have a bitchin’ magic ring.

That’s the only decent explanation I can come up with for why I steadfastly ignored Glen Cook’s Garrett, P.I. novels for so many years. And that took some doing, too — in the 24 years since Sweet Silver Blues appeared, Cook has written no less than thirteen, with one more on the way. I’d probably still be ignorant of this highly readable and fast paced series if the charming Tina Jens hadn’t discovered this glaring omission in my fantasy education at Worldcon, and arrived at our booth the next morning with a brand new copy of Sweet Silver Blues, inscribed to me by Glen Cook.

Long story short, it wasn’t long before I was a fan. So you can imagine how delighted I was to open my mail yesterday and find a review copy of Garrett For Hire, a handsome omnibus collection of Deadly Quicksilver Lies, Petty Pewter Gods, and Faded Steel Heat, novels 7, 8, and 9 in the series.

I know what you’re thinking. Who does an omnibus of novels 7, 8 and 9? Unless…

A quick Internet search proved what I should have been able to figure out for myself: there are two previous collections. Introducing Garrett, P.I. was published August 2011, and Garrett Takes the Case in February 2012. Not sure how the hell I managed to miss them both. Clearly my detection skills are no match for my new hero, Garrett. Well, at least I’ve got one thing figured out: what books I’m going to be tracking down and reading this weekend.

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The Pop Culture Class of 1960 – 1969: Marvel Firsts: The 1960s

The Pop Culture Class of 1960 – 1969: Marvel Firsts: The 1960s

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Marvel Firsts The 1960s-smallI remember the first time I read Origins of Marvel Comics, Stan Lee’s seminal 1974 anthology collecting the first appearances of the Fantastic Four, the Hulk, Spider-Man, Thor, and Doctor Strange. It was memorable because, for one thing, Stan’s bombastic introductions were frequently more entertaining than the comics themselves, and for another… the comics sure looked old.

Stan knew that, and he also knew a collection of first issues didn’t necessarily reflect Marvel Comics at its best. So alongside each origin story he also reprinted a tale that did showcase what made these characters special, including the FF’s epic battle with the Silver Surfer (from issue #55), Spider-Man’s tussle with the Shocker (issue #72), and others classic stories from the late 60s.

It made for a terrific book — and a great seller. Stan followed it a year later with Son of Origins of Marvel Comics, and then Bring on the Bad Guys; all told Marvel produced a total of 24 different books in similar format with publishing partner Fireside Books.

Origins of Marvel Comics hasn’t been in print in nearly three decades (ignoring the oddity with the same title released last May, which condenses the origin of each of the Marvel’s most popular characters into a single page), which is a shame. However, Marvel finally rectified this oversight late in 2011, kicking off an ambitious program to collect the first appearances of virtually every one of its major and minor characters.

This is a massive undertaking, and while I miss the partner tales Stan included alongside his selections, it’s an understandable sacrifice for the sake of completeness. While another reprinting of The Fantastic Four #1 or Amazing Fantasy #15 wouldn’t normally get me to crack open my wallet, an omnibus volume that also collects The Rawhide Kid #17 (from 1955), Daredevil #1 (1964), Western comic The Ghost Rider #1 (1967) and numerous others was definitely worth a look.

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Shirley Jackson’s The Haunting of Hill House

Shirley Jackson’s The Haunting of Hill House

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The Haunting of Hill HouseDifferent people have different explanations for why horror fiction exists, and why it’s worthwhile. It’s always seemed to me that, whatever else it does, good horror writing expresses some kind of fear or terror that is both deep and common. Insofar as the fear’s deep, the horror story touches a profound well of emotion, as good fiction usually does; insofar as it’s common the story links readers together and reminds us that we share the same dreads. So at its best, horror fiction is empathic and profound.

And something else: it can articulate fear in a new way. Mary Shelley tapped into new fears of her time about scientists and Faustian Romantics. H.P. Lovecraft wrote stories articulating fears arising from a new scientific worldview, in which humanity was not only displaced from the centre of creation, but proved to be an accident or irrelevance in a fundamentally inhuman universe. At least as far back as the first wave of Gothic novelists in the late eighteenth century, writers were finding an imaginative form for writing about the fears of women (in particular) in an extremely patriarchal society; the usual plot involved an innocent female protagonist, a sinister edifice or castle, and a demonic male figure, lord of the estate, who gets the heroine in his clutches. It’s been said that the typical Gothic is a love story between a woman and a house.

Gothics are still being written, though not quite in the eighteenth century mold. The best of them have changed, incorporating new fears, reflecting new times. So one of the greatest of twentieth century horror stories, Shirley Jackson’s The Haunting of Hill House, is both a bravura reprise of the Gothic tradition and also a radical updating of the form. It finds new dimensions to the fears it raises and summons. Gender has a relevance to those fears, but not I think in the way of the old Gothics. There is a dreadful universality to the disquiet Jackson evokes. The book revises its tradition, but also mixes old fears with new. So let’s take a look at it, and see how it all works, and what we have to be scared of.

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New Treasures: Children of the Night by Dan Simmons

New Treasures: Children of the Night by Dan Simmons

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Children of the NightDan Simmons wrote two of my favorite horror novels, Carrion Comfort and Summer of Night, and the audio version of his novel, The Terror, kept me riveted for many weeks during the long winter commute between Champaign and St. Charles last year. When Simmons talks horror, I listen.

Children of the Night was originally published in 1992, when Communist states were collapsing all across Europe and the airwaves were filled with stories of the desperate last days of Communist dictators. Romania, home to the classic fears of Transylvania, became synonymous with horror of a very different kind when western film crews entered bleak Romanian orphanages to expose the cruelty and neglect there. In Children of the Night, Simmons married modern horror and a far more ancient terror:

In a desolate orphanage in post-Communist Romania, a desperately ill infant is given the wrong blood transfusion — and flourishes rather than dies. For immunologist Kate Neuman, the infant’s immune system may hold the key to cure cancer and AIDS. Kate adopts the baby and takes him home to the States. But baby Joshua holds a link to an ancient clan and their legendary leader — Vlad Tşepeş, the original Dracula – whose agents kidnap the child. Against impossible odds and vicious enemies– both human and vampire – Kate and her ally, Father Mike O’Rourke, steal into Romania to get her baby back.

Children of the Night was published on December 11, 2012 by St. Martin’s Griffin. It is 464 pages in trade paperback, priced at $15.99 ($9.99 for the digital edition), and this edition features a brand new introduction by the author.

You can see all of our recent New Treasures articles here.

Red Sonja 9

Red Sonja 9

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Red Sonja 9 coverI really don’t want to be “that guy.” Long-time comic fans know “that guy.” The one who can say with authority whether the Batmobile is stick or automatic, how Wonder Woman can find her invisible jet, and who would win in the oldest comic grudge match: Superman or the Hulk. I don’t want to be one of those fans who tells the writer that he’s writing his characters wrong.

But I’ve been following Red Sonja for a while and I think I have a feel for how she thinks, what she values. I come back every month to follow her adventures partially because I like how she handles said adventures. So when I read a story that just goes against so much of what’s been established up to this point, it just pulls me out of the tenuous suspension of disbelief I have to enter to take any of this seriously.

When the story opens and Red Sonja is having dinner with Suumaro, a man who openly keeps a harem of a chained women, something doesn’t ring true. She set them free last issue; but there’s no mention of what happened to them. She should be helping them escape from their indifferent master or, better yet, training them into a fighting force that can exact revenge. At the very least, she should run her sword through this Tarzan wannabe.

As it is, she excuses herself from the meal to go into the nearby woods and sleep in a tree. Hey, who doesn’t have to get away from it all once in a while? After drowning one of Suumaro’s generals in mammoth innards last issue, she’s now taken over his post. The rigors of command are no doubt getting to her; but honestly, why does she want to work for this creep?

Sure enough, she’s not dozing for half a page before the jerk comes trolling after her. She jumps off the limb and he moves to embrace her. She pushes him away, explaining that she’s made a vow, which I have to believe is her way of being polite. I have no idea why she’s trying to be polite to this guy.

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Rue Morgue Magazine’s 200 Alternative Horror Films You Need to See

Rue Morgue Magazine’s 200 Alternative Horror Films You Need to See

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Rue morgues magazine's 200 alternative horror filmsI had a clever title in mind for this post, something about a book you need to see, but the name of the book was so long nothing else would fit. Rue Morgue Magazine’s 200 Alternative Horror Films You Need to See. See what I mean? Damn near had to start a new paragraph just to say it again.

200 Flicks (which we’ll be calling it going forward) is a marvelous little treasure I found on the B&N magazine rack while digging around for the latest issue of Fantasy & Science Fiction. I’m vaguely aware of Rue Morgue magazine (and should probably be moreso, granted), but that wasn’t what caught my eye. No, it was the title, and the fact that this perfect bound “magazine” is an impressive 162 pages.

I flipped through it, and was sold instantly. This is the kind of invaluable reference work I’ll be drawing on for years. It’s packed to the brim with text, with plenty of color stills and crisp reproductions of 200 movie posters and DVD covers. The heart of the book is the carefully-selected collection of well written and informative reviews of overlooked horror films.

A quick check showed many of my favorites are here, including a guilty pleasure or two: Session 9, Let the Right One In, Psycho II, Something Wicked This Way Comes — and plenty more that I’m not familiar with. And isn’t the joy of discovery the true reason you lay your money down for this kind of thing?

The entries are organized alpahbetically, but it’s really something you browse rather than read cover-to-cover. It has numerous lists: 10 Made for TV Terrors You Need to See, 10 Foreign Zombie Films You Need to See, plus lists covering vampire flicks, foreign zombie movies, family fright fests, gore films, slashers, and many more. There are also interviews with directors and film personalities like Guillermo del Toro, Tobe Hooper, Roger Corman, Fred Dekker, Larry Cohen, Stuart Gordon, and others.

The book is so inexpensive (a criminally low $9.99, or $4.99 for the digital version) and so packed with content that the only way it can possibly be a money-making venture is if it’s primarily recycled material from Rue Morgue magazine. Which is fine by me — if the magazine is a fraction as interesting and entertaining, I’ll be getting a subscription.

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MAKE THIS TRUE OR HARVEY SMASH! Planet Hulk to Come after Avengers 2

MAKE THIS TRUE OR HARVEY SMASH! Planet Hulk to Come after Avengers 2

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HulkPlanetHulkHCHULK SMASH MARVEL STUDIOS FOR SENDING HULK INTO SPACE!

Maybe he will and maybe he won’t, because that is how “scoops” work, and in this case we are dealing with a scoop for a film quite a few years out.

However, Latino Review and their esteemed El Mayimbe have a long history of accuracy with breaking movie news, so when El Mayimbe says that Marvel wants to make a movie version of Planet Hulk as a follow-up to 2015’s upcoming The Avengers 2, it bears serious consideration.

And, if true, damn I’m psyched and ready to Hulk-out. You should be too.

(Caution that El Mayimbe’s video may be considered mildly “spoilery” about the possible end of The Avengers 2. My comments below may also infer bits about Avengers 2.)

Planet Hulk is a long 2006 arc from The Incredible Hulk comic book (with tie-ins) by writer Greg Pak and illustrator Carlo Pagulayan. The gist: A small group known as the Illuminati, composed of the most powerful heroes on Earth, decide that the Hulk is simply too dangerous for the planet, so they shut him in a spaceship and blast his green butt off into space to land on a peaceful planet to spend the rest of his days. Only… this is a comic book and such a development would be boring. Nobody wants to see Hulk traipsing through a shady copse, smiling, and picking up alien daisies. TRA-LA-LA, HULK NO SMASH! HULK LOVE RHODODENDRONS!

Instead, the Hulk’s ship goes through a wormhole, and he crashes on the violent planet of Sakaar. What follows is basically a sword-and-sorcery epic with the Hulk playing a Robert E. Howard hero who battles his way from gladiatorial slavery all the way to becoming the ruler of the planet. Trust me, it’s awesome — breaking away from the traditional “Hulk vs. General Ross” storylines on Earth and fulling embracing the Leigh Brackett and ERB style of muscular planetary romance. (Try to imagine Hulk as the star of The Sword of Rhiannon!) And the whole enormous thing is available digitally from Amazon.

Our own Bill Ward did an excellent write-up of the comic in 2009 if you desire more details.

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New Treasures: IDW’s Popeye

New Treasures: IDW’s Popeye

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Popeye Issue 2Okay. I’m fully aware that Popeye was not what you expected on a Monday morning here at your online radar for all that’s great and new in modern fantasy. But please, indulge me for a moment.

I buy comics on Saturday, on my way home from the post office. Finally finished with a busy Saturday morning packing and mailing back issues, I reward myself by browsing the stacks of new arrivals at Graham Crackers Comics in St. Charles. My point here is that, when I’m purchasing comics, I’m a bit more prone to impulse buys than I am with other forms of entertainment.

It was just such an impulse that caused me to pick up the first two issues of IDW’s new Popeye comic. Certainly it wasn’t any special affection for E.C. Segar’s character — in fact, I can’t really recall the last time I read Popeye, unless it was in the pages of Rick Norwood’s excellent Comics Revue two decades ago. Probably Bruce Ozella’s clean and dynamic art style in the first issue didn’t hurt — flipping through the pages reminded me immediately of Carl Barks and Don Rosa, and that’s a good thing.

The first issue, a 22-page epic featuring a dangerous quest to a lost island, mysterious fog, a Sea Hag, pirates, and witchcraft, reads like a Carl Barks Uncle Scrooge story too. Except here it doesn’t quite work. It’s funny, sorta, and the art is great, but the whole affair doesn’t really come off.

Fortunately, the second issue is a huge improvement. In fact, it’s a mini-masterpiece. This one is split into two tales — the first a complete farce, as Popeye discovers his girlfriend Olive Oyl is being courted by the smooth-talking Willy Wormwood. Popeye’s crazed attempts to one-up Wormwood — for example, uprooting a 100-year-old elm tree to present to Olive when Wormwood offers her flowers — reveal the essential core of his relationship with Olive. Their love and friendship, such as it is, is based almost wholly on mutual misunderstanding.

The second story, “John Sappo and Prof. O.G. Wotasnozzle and Saffer’s Wife Myrtle,” is even better. In fact, it is a small slice of genius. All three title characters live together in a small house, and all three have simple ambitions: Sappo wants to be left alone to read his paper; Myrtle wants to unceasingly nag her husband; and Prof. O.G. Wotasnozzle desires only to quietly work on his inventions and best his hated rival Prof. Finkelsnop. Naturally, only one can be satisfied at any moment. When Sappo asks Wotasnozzle for an invention that will block out his wife’s nagging, and a peeved Myrtle asks for something to nullify Sappo’s new Jar of Solitude, the result is an ever-escalating battle of invention and counter-invention that leads to hilariously catastrophic results. This is a comic that had me laughing on virtually every page.

Popeye is published by IDW, individual issues are priced at $3.99. Issue #1 was written by Roger Langridge and drawn by Bruce Ozella; Issue 2 was written by Langridge and drawn by Ken Wheaton and Tom Neely. Check it out at a comic shop near you.

Black Gate Online Fiction: “The Pit Slave” by Vaughn Heppner

Black Gate Online Fiction: “The Pit Slave” by Vaughn Heppner

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oracle of gogThe young warrior Lod, hero of “The Oracle of Gog” (from Black Gate 15), returns in an epic tale of death and treachery in the gladiatorial arena.

“Look at me,” the Games Master said.

Lod’s head felt heavy. He turned in what seemed like slow motion.

“If you win,” the Games Master said, “I’ll buy you. I’ll turn you into a champion.”

Someone shoved Lod from behind. He stumbled up the wooden ramp into warmer air. A trumpet blared. Lod twisted in surprise.

The stadium was gargantuan, built from cyclopean marble blocks. There were giants in the stands, the Nephilim sons of the First Born. Those were arrogant and lordly, and mostly they wore military attire, leather tunics and bear-furs.

He gripped his sword. “Give me strength, O Elohim,” he whispered. “Let me die today like a man.”

Vaughn Heppner has written a number of Amazon best sellers, including Star Soldier, Invasion: Alaska and People of the Ark. His last articles for us were “The E-book Revolution” and “A Look behind Lod’s World, or How to Strike Gold.” Read an excerpt from his novel Star Soldier here.

“The Pit Slave” is the sequel to “The Oracle of Gog” (from Black Gate 15), and part of Lost Civilizations, a six-book series: Giants, Leviathan, The Tree of Life, Gog, Behemoth and The Lod Saga. A slightly different version of “The Pit Slave” appears in The Lod Saga, available now at Amazon.com and Barnes & Noble.com.

The complete catalog of Black Gate Online Fiction, including stories by E.E. Knight, Jason E. Thummel, Gregory Bierly, Mark Rigney, C.S.E. Cooney, Judith Berman, Howard Andrew Jones, Dave Gross, Harry Connolly, and others, is here.

“The Pit Slave” is a complete 7,000-word sword & sorcery tale offered at no cost. Art for “The Oracle of Gog” by Mark Evans.

Read the complete story here.

The Weird of Oz Gabs About Groundhog Day

The Weird of Oz Gabs About Groundhog Day

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groundhog dayIn this day-after-Groundhog-Day edition of “The Weird of Oz,” I’ll consider how — and why — the 1993 film Groundhog Day has quietly joined the ranks of American classics.

First, let me quickly situate this film with regard to how it warrants discussion on a website devoted to fantasy media (an interesting issue David E. Harris raised in his post of December 26, 2012). Although billed as a comedy, and by no means a traditional fantasy or supernatural tale, it does fall under the umbrella of speculative fiction.

Tolkien, in his essay “On Fairy-Stories,” noted that all imaginative fiction begins by posing a question: “What if?” He offers the example of someone imagining a green sun: “To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft.”*

How would the world be different given the changed variable(s)? The “what if” question puts the speculative into speculative fiction. What if ghosts are real? What if werewolves existed? What if a ghost, a werewolf, and a vampire shared a flat? What if corpses began rising from the dead? What if an alien lord traveled through time and space in a British police call box?

Groundhog Day’s premise is that the protagonist wakes one morning to discover the day he just lived is repeating itself. What if a person were caught in a time loop so that he kept living the same day over and over, never aging yet retaining all his memories?

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