Black Gate – Page 235 – Adventures in Fantasy Literature

If I Were a Movie Maker: Dell Science Fiction Reviews

Wednesday, July 8, 2020 Gabe Dybing Comments 0 Comment

Asimov's Science Fiction July August-small

Analog Science Fiction July August 2020-small

Analog cover by Dominic Harman

This issue of Asimov’s starts out with a bang, with two standout stories.

In a perfect world, the first of them, “Nic and Viv’s Compulsory Relationship,” by Will McIntosh, will be optioned for a feature length romantic comedy starring the latest and hottest Hollywood crushes. The female lead will be played by someone who can convincingly be a pragmatic professional. The male lead will be well-liked and unpretentious.

We also should enjoy the two other important cast members — the people with whom our heroes are not supposed to be — despite their too-obvious flaws. They’re just not right for our true lovers, and it’s no one’s fault, really.

Here’s the plot: the city manager, an A.I. (a fourth, important casting choice), endeavoring to make her city even happier, forces our two leads to go on a series of dates. Even though these two individuals already are “in love” and engaged to others, the A.I. insists that this is a mistake: she has analyzed the data and she insists that our favorite potential couple actually is meant for each other. Romantic comedy gold, right?

With the bonus of a sci-fi element. Of course, setting these two up as a test run for the A.I.’s eventual all-city dating service is only part of the story. If you want to know more — and if the A.I. is right, if these two actually are “meant” for each other — you will have to read the tale. Or, better yet, in that perfect world, wait for the movie.

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Neverwhens, Where History and Fantasy Collide: Of Lambs and Lizardmen

Wednesday, July 8, 2020 Greg Mele Comments 8 comments

The Ring-Sworn Trilogy by Howard Andrew Jones: For the Killing of Kings (Feb 2019), Upon the Flight of the Queen
(November 2019) and the forthcoming When the Goddess Wakes (April 2021)

A bit of prologue and some full disclosure to the Gentle Reader

The purpose of this column has been looking at the challenges of historicity vs. fantasy in the process of world-building; well at least when the fantasy in question is trying to be either realistic or set in our world or a near-neighbor. From contrasting the visual departure of Jackson’s LotR films as a more effective means of showing the vast sweep of Middle Earth’s history, to critiquing the swordplay of the Witcher TV show, to interviewing authors who play in both the worlds of Historical Fiction and Fantasy, I’ve come to realize we have a pretty clear continuum:

Historical Fiction – just what it says. Whether it’s set in the Paleolithic or WWII, it’s a story set in our own past, with the ostensible goal of painting a portrait of that time and place.
Historical Fiction with Elements of “Magical Realism” – really more of a technique of “literature” but the story is more or less as above but there may be hints or some unexplained and unexplainable element.
Historical Fantasy – this is a specialty for folks like last month’s interviewee Scott Oden. Our historical past, only elements of magic, monsters, etc., exist, something like a “secret history.” A lot of traditional sword & sorcery exists here, but so does the fantastical work of writers like Judith Tarr or G. Willow Wilson.
Low Fantasy in a Secondary World – the world I NOT ours, and may not even be based on any clear cognate of our civilizations, but it’s “realistic” in the sense that it’s technology and structure follows our historical models. Magic and monsters exist, but farming gets done with an iron plow and three-field rotation, people ride horses and camels (or something like them), etc. A lot, if not most, of fantasy fits this model and fantasy.
High Fantasy – Magic is powerful and sweeping, there are non-human races who can do magical things, the gods may be capable of manifesting themselves or their will, etc. A lot of epic fantasy fits into this mode.

We can quibble on where those lines are (Tolkien is High Fantasy, but is Martin?), and maybe there are further subdivisions (for example, Urban Fantasy overlays the last two), but the definitions work for this column because the further you go from #1 on the continuum, the less important “historicity” becomes.

Which brings me to my guest….

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A (Black) Gat in the Hand: Hardboiled July on TCM

Tuesday, July 7, 2020 Bob Byrne Comments 6 comments

“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandler’s The Big Sleep

(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

So, TCM was afloat in hardboiled/noir/crime flicks, with Edward G. Robinson as the May Star of the Month. June was at least as good, with Ann Sheridan in the spotlight. Alas – July’s Star is Tony Curtis. Good actor, who made some fun movies. But there’s less of our favored genres with him in the spotlight. Fortunately, TCM is still an excellent network, and we have some things to look forward to:

MONDAY, JULY 6

9:00 AM – Jailbreak

Also called Murder in the Big House, this 1936 crime film is about a reporter who goes inside a prison to solve a murder. And the lead is Barton MacLane, who is probably my favorite Warners supporting actor in the gangster/crime heyday. He popped up in good movie after good movie, such as The Maltese Falcon, High Sierra, Treasure of the Sierra Madre, Manpower, and All Through the Night. He was the second-lead in the Torchy Blaine movies (his character was actually the main one in Frederick Nebel’s short stories). He did get the lead in some B-movies, but they’re not around much. So tune in and see him out front for a change.

2:15 PM – Each Dawn I Die

Quite a performance by James Cagney as a crusading reporter who undergoes quite a personality change when he’s framed and imprisoned. This was George Raft’s first movie after signing with Warners. The first thing he did was bump Bogart from the part of Hood Stacey.

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Revisit the Fabled City of Brass: S. A. Chakraborty Wraps The Daevabad Trilogy with The Empire of Gold

Tuesday, July 7, 2020 John ONeill Comments 0 Comment

It’s always a delight to watch a talented writer successfully wrap up a fantasy series.

And that’s especially true of S. A. Chakraborty’s The Daevabad Trilogy, which opened with one of the most popular debuts of the last few years. The City of Brass. Here’s what Brandon Crilly’s said in his enthusiastic review right here at Black Gate in 2018.

Chakraborty creates a world that’s nuanced and detailed. It has exactly the vivid freshness we continue to need in the fantasy genre, as a balance for the variations on the same Eurocentric worldviews that are still widely common…. But the novel is much more than its world – at the end of the day, my interest is always characters. Our two main protagonists, Cairo street urchin Nahri and immortal warrior Dara, are great counterparts; they’re equally passionate and protective, but in different ways, and both are seeking to find their place in the world… The City of Brass is excellent. It’s rare that I find a fantasy novel that’s so vividly detailed.

The Kingdom of Copper arrived last year; Kirkus Reviews called it “As good or better than its predecessor.” And now the concluding volume, the massive 784-page The Empire of Gold, arrives in hardcover; here’s the description.

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The Dark Corners of Cyberpunk 2020‘s Night City

Monday, July 6, 2020 Patrick Kanouse Comments 1 comment

Cyberpunk as a term covers a broad vision, from Philip K. Dick, to Blade Runner, to The Matrix, to Snow Crash, to Transmetropolitan and many beyond. Cyberpunk is recognizable while being open to many artistic points of view. The audience’s understanding and vision of cyberpunk is also theirs. That’s part of what keeps cyberpunk alive, this ability to share some basic concepts but in many guises.

Like much else with genres, each person has touchstones of their encounters with the genre that defines what that genre is to him or her. Unlike settings such as Star Wars and Star Trek, whose basic themes and style were laid out by their creators — George Lucas and Gene Roddenberry, respectively — and which thrive on exploring those universes, your feelings on what cyberpunk is are probably largely driven by your first interactions and that creator’s particular view on cyberpunk. Rather than the singular artist who created Star Wars and Star Trek (at least initially), cyberpunk was created by multiple artists, even if it had leading lights. Also, this is not to say we are not open to expanding and incorporating additional inputs, only that what we may typically think of a cyberpunk is rooted in our first interactions with the genre.

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A (Black) Gat in the Hand: Dick Powell as ‘Yours Truly, Johnny Dollar’

Monday, July 6, 2020 Bob Byrne Comments 0 Comment

“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandler’s The Big Sleep

(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

Dick Powell was Johnny Dollar? Well, no, not exactly. Yours Truly, Johnny Dollar, was a very successful radio show, which ran for over 800 episodes, covering thirteen years. It easily outlasted many competing programs, such as The Adventures of Sam Spade, and The (New) Adventures of Philip Marlowe. Dollar was “the insurance investigator with the action-packed expense account,” though he started out as more of a typical private eye. Which can also be said of Erle Stanley Gardner’s lawyer, Perry Mason.

In December of 1948, Dick Powell auditioned for the new show, recording the episode Milford Brooks III. With movies such as 1944’s Murder My Sweet, and 1947’s Johnny O’Clock, the popular song-and-dance man had carved out a niche as an unlikely hardboiled star. He’s actually my favorite movie Marlowe, and I wrote about Johnny O’Clock here at Black Gate. Here’s the episode, for your listening pleasure.

He had also spent the previous two years as Richard Rogue in the rather unusual PI radio show, Rogue’s Gallery. Like many shows of the time, Rogue’s Gallery had a lack of stability in network, time slot and even renewal, and Powell left after 1947, replaced by Barry Sullivan. This left him available to try out for Johnny Dollar. The original title was Yours Truly, Lloyd London, but was presumably changed to avoid trouble with the well-known insurance company.

However, it appears that Powell decided to pass on the part to pursue a different radio opportunity; Richard Diamond, Private Eye (another of my favorites). So, actor Charles Russell was given the part. This essay is going to talk mostly about Powell’s audition, but will go beyond that focus.

In this earliest incarnation, Powell plays a somewhat light-hearted version of Dollar, though he’s still more of a typical private eye than a distinctive insurance investigator. His witty patter is consistent throughout, and he even hums ‘Slow Boat to China;’ a tip of the fedora to his Hollywood musical background. In fact, Powell comes across as pretty similar to his next part, Richard Diamond.

Early on, a young man he’s dealing with bites him, which later lets Dollar make a cryptic comment that “Let’s just say, he put the bite on me.” That comes just after saying, “That kid’s liquor sure can hold him.” Very much like Diamond, Powell’s Dollar is quick with a quip. Which is fine. But it’s more prevalent here than it would be with other actors in the role.

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Weird Tales Deep Read: August, 1934

Sunday, July 5, 2020 Comments 5 comments

Yet another Brundage cover

We have another nine stories to consider this time around, but what is particularly noteworthy is that all nine of the authors are at least somewhat well known. The most obscure on the list is probably Anthony Rud (here writing under the name of R. Anthony, perhaps best known for his story “Oooze,” arguably the best offering in WT’s initial issue [3-23]), which is partially due to his passing in 1942 at the relatively young age of 49. Also unknown today is Arlton Eadie, who died even earlier (1935) also at 49, but everyone else had long writing careers, although some, of course, have fallen by the wayside due to the relentless march of time.

Of the nine stories, eight (89%) are either fantasy or science fiction, several actually in the gray area between the two genres. Seven stories (78%) have contemporary settings, one (11%) is set in the far past and one (11%) in the future. Four (44%) take place in the United States, and one each in a fictitious realm in the far past, on the planet Mars, in the South Seas (mostly), Great Britain, and a fictional Central European country. Three (33%) are part of a series.

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Vintage Treasures: Dark Stars edited by Robert Silverberg

Sunday, July 5, 2020 John ONeill Comments 5 comments

Dark Stars (Ballantine Books, 1969). Cover by Ronald Walotsky

I’ve lamented before (more than a few times, as some regular readers have wearily noted) about the death of the mass market SF anthology. They were a fixture on bookstore shelves a generation ago, and were a great way to discover new writers. In fact, I discovered virtually all of my favorite writers — Roger Zelazny, Clifford D. Simak, Isaac Asimov, James Tiptree, Jr. — in paperback anthologies in the 70s and 80s.

Well, if I can’t celebrate new ones, I can still tell you about the old ones, and encourage you to hunt down a few. At least as long as vintage SF paperbacks remain cheap, plentiful, and easy to find — which looks like forever, if AbeBooks and eBay are any indication. Today’s subject is a neat little one-off anthology by Robert Silverberg from 1969, with an unusual theme: dark science fiction. Here’s Silverberg from the introduction.

In the Soviet Union, I understand, science fiction is supposed to be a positive literature full of positive ideals. Its function is to dramatize the coming triumph of the socialist philosophy and the extension of that philosophy into the universe…. In the United States, too, there are those who prefer their science fiction to be a literature of ideals, demonstrating the heroic fortitude of mankind under stress and depicting the glories of the future… The purpose of the writer of fiction, I think, is neither to glorify not to abuse, but to set down his vision of the universe as he sees it. He should not be a propagandist for the space program, at least not as his basic item of concern….

Once upon a time the bulk of science fiction was written by cheerful Rotarians eager to leap into the lovely future. That was in the 1930’s, when the future still looked pretty good (especially in contrast with the present) and in the 1940’s, when the defeat of the bestial Axis foe was supposed to open the gateway to Utopia. But a good chunk of that future has already unveiled itself since those days of s-f’s innocence, and what has appeared has not been so inspiring. The stories in the present collection reflect that look into the future that is now our present. By measuring the fictional “1963” of 1938 against the real 1963, s-f writers have of necessity suffered a darkening of vision. Hymns to the miracle that is color television become less meaningful when that screen is so often reddened by the blood of those who were our best.

Here, then, is a book of dark dreams for a dark time.

If you don’t mind reading yellowing pages from high-res photos, you can see Bob’s complete 3-page intro to Dark Stars using the pics I took with my new iPhone here and here.

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Return to Dragon Pass with The Red Cow Campaign by Ian Cooper, Jeff Richard, and Greg Stafford

Saturday, July 4, 2020 John ONeill Comments 7 comments

The Coming Storm (March 2016) and The Eleven Lights (April 2018), published by Chaosium

We live in a Golden Age of board gaming, and if you’re in the market for a fantasy game, you literally have thousands to choose from. Mind you, that wasn’t the case 40 years ago. In fact, if you were looking for a serious fantasy-based pastime in those days, there were literally only a few games in town: SPI’s War of the Ring (1977), TSR’s Divine Right (1979), and Chaosium’s Dragon Pass (1981).

In terms of gaming history, there’s little question that by far the most important of those was Dragon Pass. It was originally developed in 1975 by Greg Stafford, and published under the name White Bear and Red Moon. Stafford decided to form a company to produce and market it; inspired by the nearby Oakland Coliseum, he called his new enterprise ‘Chaosium.’ Stafford sold White Bear and Red Moon, and its sequel Nomad Gods, in ziplock bags out of his house in Oakland. Chaosium grew rapidly, and in less than ten years was one of the most important publishers in the industry. If it weren’t for the early success of White Bear and Red Moon and its sequels, we wouldn’t have RuneQuest, Thieves World, and Call of Cthulhu, just to name a few.

The setting for White Bear and Red Moon, a Bronze Age world rich with human and nonhuman gods, cults, clans and mythology, was Glorantha. Today Glorantha is one of the most important settings in modern fantasy, home of numerous role playing campaigns, board games, novels and stories, and even a popular computer game, King of Dragon Pass. There are many reasons for its popularity and longevity, of course, but personally I believe Dragon Pass — the game that introduced Glorantha to the world — deserves much of the credit. If you’ve spent hours staring at the colorful map of Glorantha, moving your outnumbered clans across the rugged terrain of Sartar, through the Skull Ruins and towards a desperate battle in Snakepipe Hollow, the chance to visit those iconic settings in a role playing environment is just too irresistible.

A few years ago Chaosium released an epic two-part campaign set in Glorantha that explores much of the history and rising tensions that eventually exploded into the Hero Wars: The Coming Storm and The Eleven Lights, which together comprise the Red Cow Campaign. I recently purchased both books, and have really been enjoying this chance to revisit the colorful and dynamic setting where I spent so much time in my youth.

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Uncanny X-Men, Part 14: 1973 and 1974 – Magneto, the Hulk, Banshee and Post-Watergate Captain America

Saturday, July 4, 2020 Derek Kunsken Comments 0 Comment

Welcome to part 14 of my X-Men reread! The X-Men are still in their publishing purgatory that lasted from 1970-1975. During this time, the X-Men series is reprinting middling mid-1960s material. Hank McCoy lasted 6 issues as the star of Amazing Adventures and the Silver Age X-Men seem to have had so little impact on the 1970s working creatives that artists, writers and colorists don’t know them well enough to get powers, personalities or even costumes right. It’s a dark era for X-Men fans.

But before getting into the main guest appearances in this post, I’m going to go back in time to cover four issues where the X-Men had at best a tangential role in the story because I like being something of a completist. Just before Hank McCoy’s run on Amazing Adventures, the title had been devoted to the Inhumans, who often split the issues with Black Widow. In issue #9-10 (Nov, 1971) Gerry Conway and Mike Sekowsky concluded an ongoing story-line with Magneto looking to make Blackbolt leader of a bunch of mutants Magneto would create.

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