Modular: Eye of the Beholder – The Art of Dungeons & Dragons

Modular: Eye of the Beholder – The Art of Dungeons & Dragons

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Art is a HUGE part of Dungeons and Dragons (D&D). In fact, you can’t separate the amazing illustrations, (from black and white sketches to glorious color panoramas) from the actual playing of D&D. Of course, this applies to other role playing games. Wayne Reynolds’ illustrations were a big draw for me in trying Pathfinder. But there’s a reason I mentioned D&D.

Eye of the Beholder: The Art of Dungeons & Dragons, a documentary by X-Ray Films and Cavegirl Productions, is due out next year. And what a BRILLIANT idea! In addition to featuring artists and their work, it will also include interviews with game designers, authors, insiders and fans.

 

If this preview doesn’t grab you, I’m not sure you’re a D&D fan. If you read Part One of my history of Necromancer and Frog God Games (you did, didn’t you?), you saw those awesome Necromancer covers. I’ve loved D&D art since I started playing and I even had a puzzle with Larry Elmore’s drawing from the cover of the Red Box.

There’s a very short article about it in Format Magazine that has a bunch of wonderful D&D art from several of the greats. Makes me think of those great Dragon Magazine covers.

You can read Bob Byrne’s ‘The Public Life of Sherlock Holmes’ column here at Black Gate every Monday morning.

He founded www.SolarPons.com, the only website dedicated to the ‘Sherlock Holmes of Praed Street’ and blogs about Holmes and other mystery matters at Almost Holmes.

He is an ongoing contributor to The MX Book of New Sherlock Stories series of anthologies, with stories in Volumes III, IV and the upcoming V. 

Future Treasures: The Starlit Wood: New Fairy Tales, edited by Dominik Parisien and Navah Wolfe

Future Treasures: The Starlit Wood: New Fairy Tales, edited by Dominik Parisien and Navah Wolfe

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Every once in a while a really stellar anthology comes along that generates a lot of pre-publication whispers, gradually growing to a steady buzz of excitement. This year that anthology is The Starlit Wood: New Fairy Tales.

The Starlit Wood was assembled by Dominik Parisien, editor of the highly acclaimed Clockwork Canada, and Navah Wolfe, editor at one of the most exiting new imprints in the industry, Saga Press. Several of my friends have privately tipped me off that this is the best fantasy anthology of the year, and the public accolades have just started to pour in. Terri Windling calls it “Excellent… I loved it,” Jeff VanderMeer says it’s “Classy, smart, and entertaining… and featuring the best and most exciting fantasy writers working in the field today.” And Publishers Weekly raved, saying it’s “A rich sample of what awaits us in the world of fairy tales.”

For anyone looking to revisit the wondrous (and frequently dark!) world of fairy tales — or who just wants to a taste of what the best writers in fantasy are doing today — The Starlit Wood is your best opportunity this year. It contains stories by Aliette de Bodard, Amal El-Mohtar, Jeffrey Ford, Max Gladstone, Margo Lanagan, Seanan McGuire, Garth Nix, Naomi Novik, Sofia Samatar, Catherynne M. Valente, Genevieve Valentine, and many others, and will be released in hardcover this month by Saga Press.

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Fantasia 2016, Days 12 through 14: Afterlife, Life-in-Death, and Madness (We Go On, Aloys, and Therapy)

Fantasia 2016, Days 12 through 14: Afterlife, Life-in-Death, and Madness (We Go On, Aloys, and Therapy)

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We Go OnI had errands keeping me away from the Fantasia film festival on Monday, July 25. Now, interruptions are a sad fact of life, but sometimes it’s easy to get back into the swing of things; and as it happened the next day I made it back to the De Sève theatre to watch an American horror film called We Go On, which served to get me back into the Fantasia spirit. Then the day after that I saw two more movies at the De Sève, an odd Swiss romance called Aloys followed by a French horror film called Therapy. The latter had been directed by 16-year-old Nathan Ambrosioni — his second feature film. Together the movies made an odd meditation on life, death, and horror.

We Go On was written and directed by Andy Mitton and Jesse Holland (the IMDB credits Holland with “story,” while Mitton gets credit as “writer” as well as for screenplay and story). Miles Grissom (Clark Freeman) is an adult man in Los Angeles suffering from a crippling fear of death. He therefore offers $30,000 to anyone who can prove that there’s life after death — reincarnation, ghosts, anything. Deluged with people who claim to have proof, Miles and his cynical mother (Annette O’Toole) begin a quest to investigate the most promising responses. Things do not go as Miles might have expected.

Nor do things go as the audience might have expected either, and in this case I mean that in the best way. We Go On is thoroughly unpredictable, with an unusual structure and a story that moves between horror and character-based drama. Miles and his mother almost alternate as leads, and one can make a strong argument that the crucial choice shaping how the climax plays out is hers.

More than that, when Miles first gets responses to his offer, he’s able to eliminate most out of hand except for three or possibly four. He then investigates those few contacts one by one; as you might expect he has no luck at first. Also as you might expect his early investigations end up returning to become relevant to the movie later on. But how they become relevant is interesting. In one case it’s plot-related, but another is more thematic, putting forward ideas about fear and the supernatural that inflect the rest of the movie.

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Galaxy Science Fiction, July 1953: A Retro-Review

Galaxy Science Fiction, July 1953: A Retro-Review

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galaxy-science-fiction-july-1953-smallThe July, 1953 issue of Galaxy Science Fiction is bereft of a serialized novel, so a curious reader could jump into it without feeling a need to commit to something larger. I suggested the same thing for the June, 1953 issue as well, so here are two issues to choose between. Or read them both.

“Kindergarten” by Clifford D. Simak — Peter lives in the country, having moved out of the city after being diagnosed with cancer. He lives a simple life until he discovers a strange machine on his property. When he touches it, it dispenses a remarkable piece of jade.

Other people discover the machine soon enough, and with each touch, it dispenses an item specific to the person. As word spreads, the police become involved, followed by the military. The machine, though clearly alien, isn’t too disturbing until it begins laying a foundation for something much larger.

Simak’s story works really well. I think he did a good job with Peter’s character — showing his pain with cancer. And I like that the source of his pain or why he lived in the country didn’t come out immediately. I expected after reading it that nothing else in the issue would top this story, but I later found something else that edged it out as my favorite.

“Caretaker” by James H. Schmitz — An exploring party visits the planet, Cresgyth. A man named Hulman crashed on it over twenty years ago — the lone survivor of his crew. He was saved by other humans — the only humans known to exist beyond Earth. Those humans, however, are threatened by other humanoid creatures that Hulman calls snakes. The humans won’t fight back, and Hulman believes the humans will become extinct unless something is done about the snakes.

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In 500 words or Less … The Wurms of Blearmouth by Steven Erikson

In 500 words or Less … The Wurms of Blearmouth by Steven Erikson

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the-wurms-of-blearmouth-smallWhen someone asks my favorite fantasy series, Steven Erikson’s Malazan Book of the Fallen is usually one that I mention. It’s one of those sprawling epics with great characters and a complex, vibrant world that sucked me in and inspired me to write fantasy of my own.

After the series ended, I grabbed the next Erikson book I could find — The First Collected Tales of Bauchelain and Korbal Broach — and was delighted. I read the next in that series, Crack’d Pot Trail … and put it down after a couple chapters.

Erikson’s most recent work is a series of prequels (which I avoid) and his other recent books haven’t interested me, so when I found another Bauchelain and Korbal Broach novella, The Wurms of Blearmouth, I almost didn’t pick it up.

Overall, though, this latest tale was satisfying. The theme in the Bauchelain and Korbal Broach stories seems to be that everyone is a terrible person, but the residents of Spendrugle take things to a new level of depravity. I balked a little at first with the female characters specifically, who are stupid or vile or both — but then I realized that you can describe every character from Wurms that way, and so I got over it (mostly). In this case, Erikson is very “equal opportunity” when it comes to negative characteristics, so don’t be turned off by what’s depicted in the opening chapters (you probably will be anyway).

The real point to these stories, after all, is to follow famed necromancers Bauchelain and Korbal Broach and their manservant, Emancipor, from screwed-up situation to screwed-up situation; they’re the real draw for me, and Erikson consistently entertains me with the way that they go about doing evil work without seeming to care about the consequences.

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Goth Chick News: Ridley Scott Gets the Band Back Together

Goth Chick News: Ridley Scott Gets the Band Back Together

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It’s the first week of October; that very special time of year when we here at Goth Chick News venture out of our subterranean office space and spread the “joy of the season” to the rest of the Black Gate staff. Oh sure, they act as though they don’t appreciate the puddles of theatrical blood, the moaning, the clanging of chains, the…

Never mind.

The point is, Halloween is in full swing and the GCN staff is doing a great job getting high on sugar and pumpkin-flavored adult beverages, but frankly doing a poor job at keeping our eyes on industry news. So just when I was about to drag up the stairs to tell editor John O (aka “The Big Cheese”) that everyone was too hung over to research anything coherent for this week’s article, the gods of black nail polish and blacker eyeliner, threw me a bone.

Earlier today, Warner Bros. Pictures announced that Blade Runner 2049 is the official title to their Blade Runner sequel that’s being directed by Sicario and Prisoners’ Denis Villeneuve.

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Fantasia 2016, Day 11, Part 2: Devils and Heroes (If Cats Disappeared From the World and Superpowerless)

Fantasia 2016, Day 11, Part 2: Devils and Heroes (If Cats Disappeared From the World and Superpowerless)

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If Cats Disappeared From the WorldImpossible to predict some things. Notably: you can’t know how you’ll react to a work of art until you’ve experienced it. Looking at the movies Fantasia offered on Sunday night, July 24, I thought I’d try If Cats Disappeared from the World (Sekai kara neko ga kietanara), which promised a tale about a terminally ill man who makes a surreal Faustian bargain. After that, I decided I should watch Superpowerless, as it was a genre piece about an aging superhero who’d lost his powers. In truth, I had my doubts about both movies; Cats looked it might suffer from excess of romanticism and forced whimsy, while Superpowerless seemed like some kind of mumblecore satire treading ground comics had worked over decades past. In the event, I was wrong to doubt. If Cats Disappeared from the World would be likely the best movie I saw at Fantasia, and probably my favourite. Superpowerless, meanwhile, turned out to be the festival’s most pleasant surprise, the film which most greatly exceeded all my expectations.

If Cats Disappeared from the World, which played the large Hall Theatre, was directed by Akira Nagai and written by Yoshikazu Okada from a bestselling novel by Genki Kawamura. It follows a young postman (Takeru Sato, of Rurouni Kenshin fame) who as the film opens is diagnosed with an incurable brain tumor. His death could come at any moment, the doctor tells him, but when he returns home he’s met with a double of himself who is, evidently, the devil; and the devil guarantees the unnamed postman he’ll die tomorrow. There is another option, though. The devil will give the mailman another day of life if the postman will allow the devil to remove a given thing from the world, retroactively changing events so that the thing never existed — removing as well all memories and feelings to do with that thing. Every day the devil will take another thing from the world, with each thing taken giving the postman another day of life. He agrees, and the devil announces the first thing he’ll take: telephones. Which, we soon see, is a problem as the postman’s ex-girlfriend (Aoi Miyazaki), the great love of his life, met him due to a wrong number.

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Two Months Until Xmas! Alternatives to Halo Mega Bloks You Need to Test Right Now

Two Months Until Xmas! Alternatives to Halo Mega Bloks You Need to Test Right Now

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Lovely toys. Bit of a curse.

In my geeky neck of the woods, Halo Megablocs are a bit of a curse.

Oh, they are lovely toys! The mini-action figures are robust, the equipment and vehicles lovingly follows the original designs. (The company is also really good about sending out replacement parts, by the way.) Armed with a couple of boxes of the stuff, kids — mostly boys, in my experience, but your mileage may vary — can capture the atmosphere of the original video game series.

And there-in lies the problem.

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Normally 16+ for violence… played by much younger kids (including mine).

Halo video games normally rate around  16+ for violence. However, the shear fact of the existence of a Lego-like tie-in range is a dead giveaway that they’re played by much younger kids. My son ‘Kurtzhau’ has been playing it since he was 8 — we had some great father-son split screen sessions, hunting aliens together, but my original intent was just to expand his MilSF slot to include more than just Clone Wars.

Now he’s 12, it’s lovely watching him teach his 8-year-old little sister ‘Morgenstern’ how to play. And most of her male classmates who have an Xbox have the game, so this lets her play with the boys  —

— and why not? Halo has a wonderful imaginative genuine SF setting, fantastic music, immersive artwork, and though there’s violence, it’s not particularly graphic and has unpleasant consequences. In the single player missions, there’s even sophisticated tragedy of war and dodgy politics threads. In the arena modes, you get a chance to use teamwork to beat the opposition.

The snag is that the grit and grim of the franchise is attractive because it feels adult, which means the kids quickly grow out of the Mega Bloks toys…

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New Treasures: Not So Much Said the Cat, by Michael Swanwick

New Treasures: Not So Much Said the Cat, by Michael Swanwick

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Michael Swanwick’s previous collection with Tachyon Publications was The Dog Said Bow-Wow (2007). In Not So Much Said the Cat he takes a feline turn, collecting 17 stories published between 2008 and 2014, including Hugo nominee “From Babel’s Fall’n Glory We Fled…”. Here’s a snippet from the starred review from Kirkus.

There’s a man who, having suffered a crushing loss, finds solace after accidental contact with a time traveler; a group of time travelers hunkered down at the end of the Cretaceous period — where, oddly, nobody’s interested in the dinosaurs; and a scientist who finds a partner worthy of her genius. We also get a fascinating glimpse (which feels like a novel fragment) of a far future populated by humans and centipedelike aliens, narrated by the intelligent space suit of a woman who’s dead as the story begins; and another future where human lives resemble those in fairy tales while advanced, hidden AIs battle for supremacy. Elsewhere, in a literary-games vein, the characters in a fairy tale discuss whether they prefer to remain in books, and immortal, or enter history; there’s a famous Gene Wolfe story stripped down, turned inside out, and rebuilt to perfection; and, in a marvelous conceit, the writer Alexander Pushkin appears as he may have been — in an alternative universe. To round out the collection, we meet a dutiful young woman who, entering hell to challenge the devil to return her father, discovers that things are not as she assumed; Darger and Surplus, those good-hearted rogues with a propensity to shoot themselves in the foot, make an appearance, as does “The House of Dreams,” an entry from Swanwick’s splendid Mongolian Wizard e-book series. Tales that, through their extraordinary clarity of thought and expression, showcase precisely why this multiaward-winning author is held in such high regard.

Swanwick’s other collections from Tacyhon include Tales of Old Earth (2000) and Gravity’s Angels (2001). Our previous coverage of Michael Swanwick includes articles on The Iron Dragon’s Daughter, Chasing the Phoenix, and his short story “The Night of the Salamander.”

Not So Much Said the Cat was published by Tachyon Publications on July 18, 2016. It is 290 pages, priced at $15.95 in trade paperback and $7.99 for the digital version.

The New Pulp Era: Ghostwriting, Ebooks, and the Economics of Now

The New Pulp Era: Ghostwriting, Ebooks, and the Economics of Now

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I'm going to say absolutely nothing about that sword.
I’m going to say absolutely nothing about that sword.

A lot of writers and readers are saying we have entered a new pulp era, a repeat of those days when hardworking writers pumped out exciting fiction in large quantities while facing very tight deadlines. The old pulp era died long ago, and was replaced with modern traditional publishing. Under that model, writers usually only came out with a book a year, and if they did more than that it was generally under a pseudonym. Traditional houses seem to have been under the impression that “less is more” when it came to a writer’s output.

Readers disagree. They want more from their favorite authors, and they want it now. Those writers who have come to the top of the new indie publishing revolution tend to be those who write a lot, generally in series, and keep up a consistent quality. Some traditionally published writers such as Guy Haley are moving that direction too. In our interview with him, he talked about how he has to write five novels a year if he wants to make a living at his writing.

Even superstars such as James Patterson are getting in on the game. A post at Non-Fiction Novelist talks about how Patterson’s new project “Book Shots” fits perfectly into the pulp mentality. These thrillers and romances are touted as having lots of action and no padding, just like a good pulp story should. They’re all under 150 pages and cost less than $5. Plus there’s a whole lot of them.

I’m seeing a similar trend in online start-up publishers. My own body of indie published work, while doing OK, is not bringing me enough to live on, so I make up the deficiency by ghostwriting. This is a relatively new venture for me as I shift steadily away from nonfiction writing, but the trend I’m seeing is remarkable.

Ghostwriting always involves a strict written agreement not to take credit for a work, so what follows will by necessity be of a general nature.

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