Supernatural Spotlight – Episode 6.10 “Caged Heat”

Supernatural Spotlight – Episode 6.10 “Caged Heat”

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The Winchesters and the Angel Castiel meet back up with an old friend: demon Meg.
The Winchesters and the Angel Castiel meet back up with an old friend: demon Meg.

The demon Crowley is now the king of hell, since Sam and Dean trapped Lucifer back in the pit, and he’s on a mission to track down a way to claim Purgatory next. Monsters, it seems, come from Purgatory and go there when they die, so he thinks that by collecting the creators of different monsters – the Alphas of their respective races – he’ll be able to figure out how to take over Purgatory. Toward that end, he’s resurrected Sam, but without his soul, and is blackmailing Sam and Dean into working for him to get it back.

One of the monsters they’ve already caught is the Alpha Shifter, who Crowley is interrogating. The casting director got a bit of a break this week, because the shifter has taken the form of Crowley, so he’s torturing himself. It ends with Crowley decapitating the Alpha, which really doesn’t particularly seem to help his case, but then, Crowley is a demon, so you can forgive him for being driven by his passions.

Speaking of demons, an old favorite, the demon Meg, returns and kidnaps Sam and Dean. It seems that since Crowley’s taken over Hell, he’s been cleaning house of all of the Lucifer loyalists. She’s trying to use them to get a lead on Crowley, but the Winchesters haven’t actually seen him in a while, dealing instead with middlemen as they drop off their prey. Instead, Sam makes a deal with Meg to take out Crowley. Oh, what a tangled web they weave …

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Novel Writing: A Summation in Praise of Long Books

Novel Writing: A Summation in Praise of Long Books

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Nanop BadgeAnother NaNoWriMo has come and gone, with mixed results for me. I won, in that I wrote more than 50,000 words. But I didn’t come close to the target of twice that, which is what I was aiming for. In the past, my pace tended to pick up as the month ended; this time around a bad cold hampered my progress, and I didn’t even crack 60,000.

Still, there’s a sense in which I think I accomplished what I was after this month. I took an idea, or a collection of ideas, and started giving it form as an actual story. I wrote enough to gain a sense of the thing; how it’d be shaped, what sort of themes would be prominent, what kind of voice I’d use to tell the tale.

Perhaps the main point is that I learned what the scale of it would be. I started with the notion that I’d be writing two books, totalling maybe a bit more than 100,000 words; I know now that I’m working on a four-volume story, probably with a word count of between 300,000 and 400,000 words.

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“The Word of Azrael” Selected for The Year’s Best Science Fiction & Fantasy

“The Word of Azrael” Selected for The Year’s Best Science Fiction & Fantasy

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yearsbest2011Matthew David Surridge’s novellete “The Word of Azrael” has been selected for The Year’s Best Science Fiction & Fantasy 2011 Edition, edited by Rich Horton.

Congratulations, Matthew!  “The Word of Azrael” has been praised in many places since it appeared in Black Gate 14. Here’s what Rich said in his Locus magazine review in the August issue:

Even better is Matthew [David] Surridge’s “The Word of Azrael.” It concerns Isrohim Vey, who sees the Angel of Death on a battlefield and as a result is spared — more a curse than a blessing — to search again for the Angel. His search almost takes the form of a catalog of sword & sorcery tropes, his many adventures told briefly but with style and an ironic edge. Surridge both celebrates and winks at the genre. It’s very entertaining, clever, and even thought-provoking.

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Monstrous Post on Monsters: First Sequence

Monstrous Post on Monsters: First Sequence

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Were I a monster good and proper, I wouldn’t bother with these words shimmering on your computer screen. I’d rather reach through the transparent pane and pluck your eyes right out of your gobsmacked head, and none too neatly either, and as I contentedly burst your eyeballs between my teeth I’d either savor your screams with equal relish, or simply ignore them.

J.R.R. Tolkien's iconic Balrog.

But alas, such an act is (for now) beyond my capacity, and so in lieu of a more hands-on experience I offer you a blog entry about monsters. Perhaps the first of several, depending on the whims of my Lady Cooney, Supreme Sorceress of the Black Gate.

Maybe it’s time for introductions. I’m Mike Allen, and you’ve heard about me here before, in entries on modern Cthulhu Mythos stories, Heavy Metal in Fantasy, the fantasy poetry journal Goblin Fruit, and Arab/Muslim fantasy fiction. Yup, these chaps are all the same Mike Allen. I’m grateful to John R. Fultz, Amal El-Mohtar and of course Miss Cooney for all this foreshadowing.

I have some experience with monsters, which I presume is why Miss Cooney asked me to write about this topic.

At the most recent World Fantasy Convention, aside from hanging out with the Black Gate crew, I participated in a panel called Beyond Modern Horror, that in a nutshell boiled down to what creators of horror do to scare and disturb the readers of today. And as you can imagine, monsters came up in the discussion.

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Walking the Trail(er): Part Two

Walking the Trail(er): Part Two

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Marissa Merrill (“Annalise”)
Marissa Merrill (“Annalise”) and Harry Connolly

Let me summarize part one of this post briefly: Authors and/or publishers sometimes make book trailers, which are supposed to look like movie trailers but for, you know, books… and they’re usually awful, largely for lack of time and funds. Some of the best of the no-budgeters are funny which is fine if you’ve written a funny book.

Also, I’m not sure there’s any evidence at all that they actually sell the books they’re meant to promote. I’ve certainly never bought a book because of a trailer.

So why am I making one?

Let me backtrack: the trailer I mentioned in part one that almost sold me on a novel was something I watched over a year ago. (I’d link to it, but I can’t find it again.) It was a slow pan over a ship. It was obviously someplace cold, and the crew had just found something in the ice. There was a Lone Guy, his back to the camera, chipping away at a giant block of ice.

What was in it? The camera didn’t show us but I was intrigued. Was it Captain America? A Deep One? A Deep One dressed as Captain America? I had to know!

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A Brief History of Dr. Anton Phibes

A Brief History of Dr. Anton Phibes

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abominable_dr_phibesDr. Anton Phibes is the mad genius played by Vincent Price in two cult classic films for American International Pictures in the early seventies. Director Robert Fuest imbued both The Abominable Dr. Phibes (1971) and Dr. Phibes Rises Again (1972) with a surprising degree of style and wit that set them apart from virtually all other genre films of their era.

The creation of screenwriters James Whiton and William Goldstein, Phibes was portrayed in their original screenplay, The Curses of Dr. Pibe (not a typo on my part, the character’s surname was subsequently altered) in a much more serious vein. Their intended film was both dramatic and horrific and much more in keeping with the tone of horror films of the early 1970s. It is a far cry from the blackly-humored, deliberately anachronistic 1920s period piece resplendent in Art Deco designs that Fuest delivered to AIP.

Dr. Phibes is said to hold doctorates in both music and bio-physics. Phibes is an acclaimed organist and composer and, in private, an eccentric and reclusive inventor. He is hopelessly devoted to his beautiful young wife, Victoria (played in both films by the lovely Caroline Munro) who dies on an operating table following a car crash that leaves her husband horribly disfigured with a literal death’s head in place of a face.phibes-2

Victoria’s death drives Phibes insane. He allows the world to think him dead and sets out to exact revenge on the surgical team he holds accountable for her death. He employs the G’tach, the Biblical ten curses of Egypt as his means of assassinating each member of the surgical team. The murders are investigated by a hapless Scotland Yard detective, Inspector Trout (wonderfully underplayed by Peter Jeffrey).

Vincent Price turns in an amazing performance as Phibes. His character’s vocal chords were damaged in the accident. He speaks only with the aid of one of his inventions. For much of the film, Phibes wears a face mask (Price’s own face), but his lips never move while talking. Remarkably, the performance never suffers as Price compensates by conveying so much with his expressions.

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Walking the Trail(er): Part One

Walking the Trail(er): Part One

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hc2Did you know that there are awards for book trailers? They’re called “The Moby Awards” and you can check the most recent winners (and losers) here. (There doesn’t appear to be any listings for the years before 2010, probably because there aren’t any.)

In case you haven’t heard of them, a book trailer is like a movie trailer — a short video that’s supposed to promote a book. Many of them look like movie trailers, and most are done on a budget (maybe I should say “without a budget”).

But do they work? Do they entice readers to buy books?

It’s an important question for me, because I’m making one.

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New Treasures: Songs of the Dying Earth

New Treasures: Songs of the Dying Earth

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sotdyWe get a lot of review copies here at the rooftop headquarters of Black Gate magazine, and it’s always a treat when the mail truck arrives. Getting free books never gets old, and we usually drop everything to tear open packages and pass around the most intriguing titles.

What is unusual is for a single book to bring all toil to a complete standstill for half an hour  (except for the tireless Howard Andrew Jones, who’s been missing in the restricted section of our pulp library for the last 48 hours). That’s exactly what happened when Songs of the Dying Earth (SotDE), edited by George R.R. Martin and Gardner Dozois, arrived today.

SotDE is a tribute collection; its subtitle is Stories in Honor of Jack Vance, and it contains nearly 700 pages of original fiction set in Vance’s Dying Earth — one of the great settings in all of fantasy, and home to Turjan the wizard, Rhialto the Marvellous, Cugel the Clever, and other fabulous characters. The Dying Earth is a far-future Terra, where the sun is on the verge of extinction, magic is potent and terrible, monsters roam the land, and the ruins of countless civilizations rest uneasily beneath layers of thin dust and vegetation.

dying-earth2The table of contents is one of the most impressive I’ve ever seen — it read like a Who’s Who of the most influential fantasy authors of the decade, including Robert Silverberg, George R.R. Martin, Walter Jon Williams, Jeff VanderMeer, Tad Williams, Glen Cook, Tanith Lee, Howard Waldrop, Elizabeth Hand, Lucius Shepard, Neil Gaiman, Phyllis Eisenstein, Liz Williams, Matthew Hughes, Terry Dowling, Mike Resnick, Paula Volsky, Kage Baker, John C. Wright, and others. It also includes a big new novella from Dan Simmons, an appreciation by Dean Koontz, and a preface by Jack Vance himself.

SotDE was first published in a limited edition by Subterranean Press last July; since then the book — and many of the stories — have received considerable attention. Jeff VanderMeer’s H.P. Lovecraft-inspired tale “The Final Quest of the Wizard Sarnod” has been turned into a novel, and SotDE was nominated for Best Anthology in the 2010 Locus Awards. Neil Gaiman’s story “An Invocation of Incuriosity” took home the Best Short Story prize at the same Awards.

Songs of the Dying Earth: Stories in Honor of Jack Vance goes on sale Dec. 7th. It is published by Tor books, in hardcover for $27.99, and gets our highest recommendation.

Return to : Reviving a Masterpiece

Return to : Reviving a Masterpiece

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The new Norilana edition of a must-read fantasy classic, NIGHT’S MASTER by Tanith Lee.

Fantasy readers…rejoice!

The fact that Tanith Lee’s TALES FROM THE FLAT EARTH has been out of print for years has been a blatant injustice done to all lovers of epic fantasy. Now, thanks to Vera Nazarian’s Norilana Books, one of the field’s great masterpieces is once again available to the public.

The individual books of the FLAT EARTH series (each of which is a stand-alone novel) are being released in hardcover and trade paperback on a roughly annual basis, and feature gorgeous new cover treatments and artwork. If you haven’t yet discovered the FLAT EARTH books, I envy you. You are in for a spectacular reading experience.

The first book in this landmark series is NIGHT’S MASTER (1978), which was nominated for a Best Novel World Fantasy Award. It introduces the time-lost world of ancient sorcery where Azhrarn the Prince of Demons and his fellow Lords of Darkness roam the flat world creating mischief, drama, and tragedy across the primeval human kingdoms.

The book is rich with lyrical prose, jewel-bright imagery, dark beauty, and ironic myths. Human protagonists come and go, while the real main character is Azhrarn, who is despicable yet inhumanly handsome, evil yet oddly compassionate, godlike yet flawed, and an unlikely champion of a doomed humankind. Let all would-be fantasy writers savor the flavor of Lee’s sumptuous prose. This is how it’s done, people.

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