Space Opera That Reshapes the Genre: A Desolation Called Peace, Book Two of Teixcalaan by Arkady Martine

Space Opera That Reshapes the Genre: A Desolation Called Peace, Book Two of Teixcalaan by Arkady Martine

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The first two novels in the Teixcalaan series from Tor Books. Covers by Jaime Jones

Arkady Martine’s debut novel A Memory Called Empire was published in 2019, and was nominated for major awards, including both the Nebula and Hugo. Debuts don’t usually win awards, but that didn’t stop Martine — her first book won the Hugo Award for Best Novel, beating out competition from Seanan McGuire, Tamsyn Muir, Kameron Hurley, Charlie Jane Anders, and others. Andrew Liptak summed up some of the reasons in his rave review at The Verge, which called it “a brilliant blend of cyberpunk, space opera, and political thriller.” Here’s an excerpt.

Ambassador Mahit Dzmare, an emissary from the distant Lsel Station, is called to the center of the vast Teixcalaanli Empire after her predecessor winds up dead… The novel is set in the very distant future: humanity has spread throughout the stars, traveling from system to system by way of a stargate-style network. That’s allowed the Teixcalaanli Empire — a hungry, expansion-minded society — to spread its influence throughout inhabited space, its culture and knowledge stretching from system to system. Mahit Dzmare is the ultimate fish-out-of-water when she’s abruptly assigned to replace Ambassador Yskandr Aghavn, who perished in the empire’s capital city. Her home, a self-sustaining habitat, has remained free of the empire’s oversight, something of paramount importance to the inhabitants of Lsel station…

Unbeknownst to the Teixcalaanlis, the inhabitants of Lsel Station have a particularly advanced technology at their disposal: an Imago, a thumb-sized device implanted in their brainstem that essentially grafts a digital persona into their mind…

It’s an excellent, gripping novel with a brisk plot, outstanding characters, and plenty to think about long after it’s over.

The much anticipated sequel, A Desolation Called Peace, will be published by Tor Books on March 2, 2021. It is 496 pages, priced at $26.99 in hardcover and $13.99 in digital formats. The cover is by Jaime Jones. Publishers Weekly calls the second volume “A dizzying, exhilarating story of diplomacy, conspiracy, and first contact… This complex, stunning space opera promises to reshape the genre.” Read an excerpt at Gizmodo.

See all our recent coverage of the best new series SF and Fantasy here.

Revolt on Antares: Small but Packed with Thrills… and Memories

Revolt on Antares: Small but Packed with Thrills… and Memories

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The rulebook for Revolt on Antares

A couple of weeks ago here at Black Gate, I wrote about the 1983 tabletop roleplaying game Lords of Creation, created by the late Tom Moldvay. Unfortunately, while listing some of Mr. Moldvay’s works, I left out a small but important game, Revolt on Antares.

Published in 1981 by TSR, the producers of Dungeons & Dragons at that time, Revolt on Antares was a minigame, sometimes referred to as a microgame, which were popular at the time. Other minigames of the period included Vampyre and Viking Gods, both from TSR, and such games as Ogre and Car Wars, each produced by Steve Jackson Games. These were just a few of the minigames available back then, and for a time in the early ’80s minigames brought a fair amount of business for game publishers.

As for Revolt on Antares, it was a simple war game made for two to four players. The game took place on the planet of Imirrhos, also known by the name of Antares 9, the ninth planet in the Antares solar system. All that was needed for play was the short, simple rule book, the included map, and two six-sided dice, also included. Oh, and I can’t forget the cardboard playing pieces, referred to in the rule book as counters, especially as there were three types: troops, leaders, and artifacts.

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Goth Chick News: Just in Time for Mardi Gras: The LaLaurie Mansion Series

Goth Chick News: Just in Time for Mardi Gras: The LaLaurie Mansion Series

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An illustration of the fire at the LaLaurie mansion

As you all know, I fancy myself somewhat of a connoisseur of the paranormal. Over the years I’ve told you about some personal experiences (both real and imagined), some that others have experienced, and a few that are little more than unsubstantiated folk tales. But every once in a while, there comes a time and place where something so disturbing has occurred that the stories of hauntings associated with it morph into anecdotes that even a hardened skeptic could make room for.

Such is the LaLaurie Mansion located in New Orleans’ French Quarter which ranks near the very top of the “give me nightmares” scale.

If you haven’t heard of Marie Delphine LaLaurie, she was a New Orleans socialite who built a two-story mansion at 1140 Royal Street upon the event of her third marriage in 1825, to physician Leonard Louis Nicolas LaLaurie. Long before this, NOLA was a unique place, not the least of which due to its Code Noir, or laws governing the treatment of slaves. Unlike the rest of the south there was at least the expectation in NOLA, that slave owners would treat their slaves well, and NOLA had the largest population of free people of color of any major southern city.

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Sunken Realms and a Road of Bones: Tales From the Magician’s Skull #5, edited by Howard Andrew Jones

Sunken Realms and a Road of Bones: Tales From the Magician’s Skull #5, edited by Howard Andrew Jones

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Tales From the Magician’s Skull #5 (Goodman Games, December 2020). Cover by Sanjulian

I don’t think there’s a magazine out there I look forward to as much as Tales From the Magician’s Skull, edited by Howard Andrew Jones and published twice a year by Goodman Games.

Yes, partly it’s because it regularly features so many people I consider friends, including James Enge, John C. Hocking, Ryan Harvey, Violette Malan, Adrian Simmons, and of course Howard, who was Managing Editor here at Black Gate for many years. If you’re a Black Gate reader in fact, you’re guaranteed to find a great deal you’ll love about the Skull — and not just because all of those lovely folks have written for BG over the years.

But I think the real reason I enjoy it is because the magazine is a tremendous amount of fun, and everything about it radiates an abiding love of adventure fantasy and sword & sorcery. Want an example? Here’s an excerpt from Howard’s introduction to the brand new issue — beginning with the welcome news that the magazine is open to submissions for the first time!

We will throw the gates wide on a trial basis for a limited time…. The Skull has decreed that we shall accept electronic manuscripts beginning on the anniversary of the birthday of the sacred genre’s father, Robert E. Howard, January 22, 2021, and close upon that date sacred to mortal fools, April 1, 2021…

Get more details on the Call for Submissions here.

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Ellsworth’s Cinema of Swords: Classic, Mythic, and Epic

Ellsworth’s Cinema of Swords: Classic, Mythic, and Epic

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Silvana Mangano and Kirk Douglas in Ulysses (1954)

Ryan Harvey has written extensively here about the peplum movie or Italian sword-and-sandal craze of 1959-65, a phenomenon that had an immediate origin in three films: Ulysses, which showed that there was a postwar Italian market for adventure films from the era of myth; Hercules, which proved you could make such a movie popular on both sides of the Atlantic; and Hercules Unchained, which demonstrated there was a formula for repeated success. These were well-crafted movies that aimed much higher than most of their successors and provided solid, and occasionally even thoughtful entertainment. If you’re unfamiliar with them I’m pleased to introduce you, and if they’re old friends you can join me in appreciation.

Ulysses

Rating: ****
Origin: Italy, 1954
Director: Mario Camerini
Source: Lionsgate DVD

Kirk Douglas made his reputation in Hollywood in the late Forties as a leading man in a series of intense, dramatic roles. By 1954 he was ready for a change of pace: action hero! He signed on with Disney for 20,000 Leagues Under the Sea and with Dino De Laurentiis in Italy for the epic Ulysses, based, of course, on Homer’s The Odyssey. This was a big-budget production, with lavish sets, exteriors shot on Mediterranean islands, and a lovely full-scale Greek galley. Plus, of course, a cyclops.

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Immortality, Truth-Telling and Snow Witches: Heroic Fantasy Quarterly 47

Immortality, Truth-Telling and Snow Witches: Heroic Fantasy Quarterly 47

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We let Heroic Fantasy Quarterly loose on a chaotic world on January 31st. We’ve got a full compliment of stories and poems, including:

The Medallion’s Song, by Ginny Patrick, with artwork by Karolina Wellartova. Having been gifted a mysterious amulet by her imperious owner, young Serena is on the run, trying to get the funds to hitch a ride on a caravan out of town. But Macaea City has more than its share of dangers, and Serena has more than her own share of secrets.

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Future Treasures: Machinehood by S.B. Divya

Future Treasures: Machinehood by S.B. Divya

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Machinehood (Saga Press, March 2, 2021). Cover by Richard Yoo and Zi Won Wang

S.B. Divya was nominated for a Hugo award for her groundbreaking work with Mur Lafferty on the hugely popular Escape Pod podcast. She’s published over a dozen short stories since 2014 in top-tier markets like Lightspeed, Tor.com, and Uncanny magazine, but her breakout book was Runtime (Tor.com, 2016), which was nominated for a Nebula Award for Best Novella.

Her latest is a near-future thriller with plenty of cyberpunk elements, set in a gritty futurescape run mostly by AIs. Publishers Weekly called Machinehood “stunning” in a rave review; here’s an excerpt.

Bodyguard Welga Ramírez is a disillusioned former Special Forces soldier who makes her living protecting CEOs and celebrities, using mechanical implants and a course of high-tech drugs to enhance her combat skills… Welga especially enjoys the opportunity to perform for the ubiquitous microdrone swarms that film and broadcast her every move. She even adds stylish action moves to her fights to improve her tips from her viewers. But when a job goes wrong, Welga faces a mysterious pro-AI terrorist group called The Machinehood. Determined to learn who they are and what they want, Welga heads into the very heart of The Machinehood’s operation… Divya keeps the pace rapid, and her crack worldbuilding and vivid characters make for a memorable, page-turning adventure, while the thematic inquiries into human and AI labor rights offer plenty to chew on for fans of big idea sci-fi. Readers will be blown away.

Machinehood will be published by Saga Press on March 2, 2021. It is 404 pages, priced at $27 in hardcover, $9.99 in digital formats, and $44.99 on audio CD. The cover was designed by Richard Yoo and feature 3D art by Zi Won Wang.

See all our recent coverage of the best upcoming SF and fantasy releases here.

Surviving the Sci-Fi Horror of Mothership, Maybe

Surviving the Sci-Fi Horror of Mothership, Maybe

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Mothership, by Tuesday Night Games and written by Sean McCoy, started making the rounds in beta format in 2018, causing quite a big splash amongst the RPG community. Styled as sci-fi horror RPG, its tag is: “Survive. Solve. Save. Pick one.” In other words, watch out.

Mothership falls into the OSR-style of game. OSR, which stands for Old School Revival or Old School Renaissance. OSR RPGs take their cues from the earliest days of the hobby, often with a focus on play style and use of Open Gaming License (OGL). In my mind, the former is the more important. OSR games are often as much about player skill as they are about rolling dice. The classic difference in this is that players often say, “Check for traps” before entering a room. The player then rolls an Awareness skill or like check. If they pass, they confirm the presence of traps or not. This is very mechanical.

OSR style play will ask the player to describe how they are checking for traps, and rather than relying on a detailed set of rules, the GM will “simply” establish the check. This “rulings over rules” is another hallmark of OSR games.

Interestingly, while characters are a big focus in modern RPGs (something I wholeheartedly endorse), OSR games often find ways for the players to engage in the game through the character in more meaningful ways because they eschew the “check x, roll y” mechanical formula.

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Nero Wolfe’s Brownstone: 2020 Stay at Home – Days 24 and 25

Nero Wolfe’s Brownstone: 2020 Stay at Home – Days 24 and 25

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So, last year, as the Pandemic settled in like an unwanted relative who just came for a week and is still tying up the bathroom, I did a series of posts for the FB Page of the Nero Wolfe fan club, The Wolfe Pack. I speculated on what Stay at Home would be like for Archie, living in the Brownstone with Nero Wolfe, Fritz Brenner, and Theodore Hortsmann. I have already re-posted days one through twenty-one. Here are days twenty-four (April 14) and twenty-five (April 15). It helps if you read the series in order, so I’ve included links to the earlier entries.

DAY TWENTY FOUR – 2020 Stay at Home

The doorbell rang. I’ve certainly typed that many times in my accounts of Nero Wolfe’s cases. But it was something that wasn’t happening much lately. Other than food deliveries for Fritz, visitors were few and far between. Wolfe didn’t even bother acknowledging it, knowing it wouldn’t be a potential, and certainly uninvited client. I moved out into the hall and heard Fritz in the kitchen, still cleaning up from lunch.

Looking through the one-way glass, I was surprised to see the not-quite-as familiar lately profile of the head of Homicide West, Inspector Cramer. He was calling something out to his driver and turned when he heard me open the door two inches, the chain still on.

“I’m sorry, sir. Wolfe & Goodwin Investigations is temporarily closed. Our esteemed governor does not feel that private detectives provide an essential service in these troubled times. May I suggest you visit your local precinct station? Of course, it is a step down in quality of service, but those dedicated public servants are open 24/7.”

“You’ll clown at your own funeral, Goodwin. The only good thing about this lockdown is I haven’t had to listen to you for three weeks. Open up. I want to talk to Wolfe.”

“Now hold on. We’ve kept this place virus free. Who knows where you’ve been? Let me see if I can let you in.”

“Cut the crap-” I’m sure the next word was ‘Goodwin,’ but it was muffled by the door, which I had closed on him.

I stopped at the doorway to the office. “It’s the man about the chair.” That was my favorite code name for the inspector.

He looked up from his book. “What?”

“Yes sir. It seems that the New York police force cannot function without your assistance. Since we’re not on a case, he can’t be coming here to yell at us, a pastime which he greatly enjoys, as you well know. I’d guess he’s really stuck on something, and wants you to bail him out.”

“That man can still be a nuisance.”

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The Art of Things to Come, Part 2: 1958-1960

The Art of Things to Come, Part 2: 1958-1960

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The Fantastic Universe Omnibus, featured in the
September-October 1960 issue of Things to Come. Art by Virgil Finlay

As I mentioned in Part One of this series, like tens of thousands of science fiction fans before and after me, I was at one time a member of the Science Fiction Book Club (or SFBC for short). I joined just as I entered my teen years, in the fall of 1976.

The bulletin of the SFBC, Things to Come, which announced the featured selections available and alternates, sometimes just reproduced the dust jacket art for the books in question. However, in many cases the art was created solely for the bulletin, and was not used in the book or anywhere else. Nearly all of the art for the first 20 years of Things to Come is exclusive to that bulletin, and as a result hasn’t been seen by many SF fans. In this series, I’ll reproduce some of that art, chosen by virtue of the art, the story that it illustrates or the author of the story. The first installment featured art from 1957 and earlier, while this installment covers 1958-1960, presented chronologically.

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