Black Gate – Page 838 – Adventures in Fantasy Literature

February 2015 Nightmare Magazine Now on Sale

Monday, March 2, 2015 John ONeill Comments 6 comments

The February 2015 issue of Nightmare Magazine is now available. (Truthfully, issue 30 will be on sale any day now too, but I’ll get to that later.)

Nightmare is the sister publication of the highly-regarded science fiction and fantasy magazine Lightspeed. It’s an online magazine of horror and dark fantasy, with a broad focus — editor John Joseph Adams promises you’ll find all kinds of horror within, from zombie stories and haunted house tales to visceral psychological horror.

This issue has two pieces of original fiction:

“The Garden” by Karen Munro
“Descent” by and Carmen Maria Machado

As well as two reprints:

“Fishfly Season” by Halli Villegas
“Cult by Brian Evenson

There’s also the latest installment of their column on horror, “The H Word,” plus author spotlights, a showcase on the cover artist, and an interview with award-winning author Chuck Palahniuk.

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Bernie Mireault: The Forgotten Herald of the Modern

Monday, March 2, 2015 John ONeill Comments 0 Comment

Over the weekend, Mark Shainblum pointed me towards columnist Timothy Callahan’s article in Comic Book Resources discussing the work of artist Bernie Mireault. It’s been around for a while, but I’d managed to miss it, so I appreciated the link. Here’s a snippet:

If we look around the axis of American superhero comics, at the groundbreaking Modern work produced in the mid-1980s, it’s the same four or five names that keep popping up in our conversations: Alan Moore, Frank Miller, Rick Veitch, Howard Chaykin, maybe Matt Wagner. These were the creators who changed the landscape of American superhero comics, for better or worse. They heralded the Modern.

Yet there’s one creator who doesn’t get mentioned nearly as often. A writer/artist who was combining the high Romanticism of the fantastic with the mundane life on the street as well as any of the others. A comic book creator whose visual style has rarely been duplicated… I’m talking, of course, about Bernie Mireault.

Mireault (rhymes with “Zero”) has been working continuously in the comic book industry for the past 24 years, but he gets almost none of the acclaim given to his peers… in the mid-to-late 1980s and early 1990s, Mireault produced or helped produce three essential texts of the Modern era, and it’s time those three books were given their due.

I first met Bernie in 1985, when he crashed at my home in Ottawa, Canada, while attending a local comic convention. I was impressed with him immediately — especially his groundbreaking work on the hilarious Mackenzie Queen for Matrix Comics. He’s extrememly gifted as a comedic artist, and his character design is second to none — as you can see from his marvelous panel illustrating “The Loiterer in the Lobby” by Michael Kaufmann and Mark McLaughlin for Black Gate 4 (above). I hired Bernie as an illustrator when I launched Black Gate, and he graced virtually every issue of the print magazine. I profiled him back in 2009, and Matthew David Surridge wrote a detailed review of his excellent comic The Jam last December. His other work includes Grendel (with Matt Wagner), The Blair Witch Chronicles, and Dr. Robot.

Read the complete CBR article here.

The Public Life of Sherlock Holmes: The Lords of Dus

Monday, March 2, 2015 Bob Byrne Comments 3 comments

The eighties was full of epic fantasy series’ by the likes of David Eddings, Raymond Feist, Stephen R. Donaldson, Terry Brooks and Katherine Kurtz, to name a few. While many remain giants in the history of the genre, Lawrence Watt-Evans wrote a largely forgotten series: The Lords of Dus.

Watt-Evans has written quite a bit of fantasy, science fiction and horror and is probably best known for his Ethshar series. Ethshar was created as a role-playing game world and he ended up writing many novels and short stories using the setting.

Watt-Evans had flunked out of Princeton’s architectural school and had to wait a year before he could re-apply. He had heard (the possibly apocryphal story) that Larry Niven started his career by deciding to write for one year and if he sold something, continue on: if he didn’t, he’d give it up. Watt-Evans decided to do the same and wrote a slew of short stories, selling one.

He did go back to school, but he wrote a novel (The Cyborg and the Sorcerer) on a summer break and after two years of college, gave it up to make a living with the typewriter (as a writer, not a typewriter salesman).

Influenced by Robert E. Howard, Michael Moorcock and Lin Carter’s anthologies (Flashing Swords, anyone?), he was ready to spin a fantasy saga featuring a non-human (but less effete than a Melnibonian) hero. Thus, the race of overmen.

He wanted to write a ‘quest’ series, so he needed somebody to tell Garth what to do. He borrowed from Robert Chambers and came up with The King in Yellow (yes, people were influenced by Chambers before HBO’s True Detective). So, we had a sort of Elric meets the Labors of Hercules.

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High Space Opera: Jim Starlin’s Metamorphosis Odyssey and Dreadstar

Monday, March 2, 2015 Matthew David Surridge Comments 6 comments

Marvel Graphic Novel #3: Dreadstar Recently, Black Gate overlord John O’Neill reported the news that Jim Starlin’s comic-book creation Dreadstar was in development as a TV series. Starlin will be a writer and executive producer of the new show, which is to be developed for television by Universal Cable Productions and Benderspink. No network was announced for the series, but io9 observed that Universal’s behind a number of shows for Syfy, where a Dreadstar show would presumably fit nicely.

As it happens, I was a fan of Dreadstar when it was being published back in the late 80s. It had been years since I’d looked at an issue, though, so the news of the TV deal prompted me to dig out the old comics and go through them again. I ended up with mixed feelings. For me, at least, the golden age of Dreadstar was about twelve. But if I can see problems with the book more clearly now, I can also see what works. And I can see how an ongoing TV show makes a certain amount of sense.

To explain that I need to start by going through the book’s publishing history. This gets complicated. Before Dreadstar there was The Metamorphosis Odyssey, a painted serial that ran for the first nine issues of Marvel’s Epic Illustrated. Epic was an anthology of creator-owned work somewhat along the lines of Heavy Metal magazine. By the time Starlin’s serial ended, late in 1981, he’d also published a related story through Eclipse Comics, a painted story called The Price. (Originally in black-and-white, it would later be reprinted by Marvel in colour. The Metamorphosis Odyssey, meanwhile, was in black-and-white for its first few chapters, then switched to colour as it went on.) The next chapter of the story came in Marvel’s third “graphic novel” — a line of books which somewhat resembled softcover European graphic albums — called, simply, Dreadstar.

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The Future of Fantasy: March New Releases

Sunday, March 1, 2015 John ONeill Comments 3 comments

Ah, March in Chicago. The ice finally starts to melt off the porch, and you can find all that lost mail you’ve been looking for (and occasionally, a frozen postal worker.)

March is packed with exciting fantasy releases — featuring a detective in Hell, a subterranean city, a teenage boy who squares off against Deep Ones, mysterious goings-on in an old cemetery, a new anthology of Lovecraftian fiction, and much more. Sit back and let us do our job, and fill you in on all the noteworthy fantasy fiction coming your way in the next 30 days.

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Leonard Nimoy Saved My Life

Sunday, March 1, 2015 Thomas Parker Comments 10 comments

I was born in 1960, so the original Star Trek was a first-run series for me. The show and its characters were constant presences during my childhood and adolescent years, first during its original broadcast on NBC from 1966 to 1969, and then in endless syndicated reruns in the years after, all the way up to the advent of the home video age, when I of course bought the series as soon as it became available.

Star Trek, even at its best (the first two years, before the disastrous third and final season, when changes in production personnel made every week a turkey shoot) was a very uneven show. Just doing an evaluative run down of the season two episode list makes it clear how different the show was from standard network fare, and how difficult it was to write well for: excellent episode, decent, excellent, one of the best, stinker, excellent, terrible, so-so, so-so, excellent, stinker, stinker… and so on.

These evaluations are naturally highly personal and different fans will have their own judgments, but I think most people who love the series will have to admit that the truncated “five-year mission” had a lot of flat tires along the way. (Stranded one hundred light-years from the nearest filling station — that’s trouble. No, wait a minute — that’s Voyager.)

Arguably this doesn’t reflect the challenges of an offbeat show like Star Trek so much as it does the grind of network television in those days, the relentless production pressures that turned the medium into what Stephen King has called “the bottomless pit of shit.” (In looking back at the Twilight Zone, Rod Serling reckoned that a third of the episodes were pretty good, a third were only fair, and a third were just terrible… and he figured that all things considered, that was a decent ratio, or at least about the best you could hope for given the limitations of a commercial medium.)

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The Son of Satan: A Gem from the Marvel of the 70s

Saturday, February 28, 2015 Derek Kunsken Comments 2 comments

Son of Satan 2 — So many demons to fight.

While interviewing Associate Editor Jake Thomas of Marvel Comics for my last blog post (see Middle Child) , we also talked a bit about horror in comics and where it fits, what fans are looking for, etc. It turns out that until recently, I hadn’t gone all the way to thinking about comics as a horror medium, partly because I’d never found them scary.

Marvel Spotlight 22 — Human side versus devil side plus sister thrown in for family angst, and a guy on a flaming motorcycle. Freud! Help!

The old saw is that, other than superheroes, comics chased movies and TV, so that when westerns were popular, the comic industry produced cowboy books, and when SF movies were popular, they made SF comics, etc. And the 70s of course was the era of The Exorcist, The Shining, Jaws, and so on.

Some of the grotesqueries of the 1950s drove the creation of the Comics Code, but I guess I’d looked at the post-Code books like Tomb-of-Dracula and Man-Thing and Werewolf by Night as monster books, rather than horror.

There’s only so much you can do within the code, which was part of the reason why Marvel experimented with magazine-sized black and whites in the 1970s, which, by today’s standards (ex.: Severed or Wytches, from Image) look like a tea party… the little kid play, not the political movement.

However, despite being not scary, there was a rich subtlety in some of Marvel’s spooky books, an unreliability of perception, that drew me in, as a pre-teen and teen, and probably helped form some of my tastes.

In the summer of 1981, my mother gave me four comics, one of which was Doctor Strange #43. Doctor Strange was soooo wierd, but good, knock-off Chthulhu good.

And I hunted down Doctor Strange everywhere I could find him, which led me to the Defenders, another oddball child of the 1970s.

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Vintage Treasures: Echoes of Valor III, edited by Karl Edward Wagner

Saturday, February 28, 2015 John ONeill Comments 15 comments

And so we come to the end of our all-too-brief series on Karl Edward Wagner’s ambitious and highly regarded sword & sorcery anthologies. Echoes of Valor III was published in paperback by Tor Books in September 1991, just three years before poor Karl drank himself to death in 1994.

The three Echoes of Valor books are perplexing in some regards, especially for collectors. Wagner had taken a huge step towards literary respectability for Robert E. Howard in 1977, by compiling and editing the definitive three-volume hardcover collection of the unexpurgated Conan for Berkley: The People of the Black Circle, Red Nails, and The Hour of the Dragon. It’s clear that he intended Echoes of Valor to accomplish the same feat for a wider rage of his favorite writers, by assembling the defining collection of their best heroic fantasy in hardcover — and with non-fiction commentary that treated them to genuine scholarship.

It didn’t quite work out that way. The first volume of Echoes of Valor appeared only in paperback in 1987, and it had no non-fiction content at all. It was also burdened with a Ken Kelly cover that pretty obviously had originally been intended for Tor’s Conan line — I wouldn’t be surprised if most book shoppers in 1987 mistook it for just another Conan pastiche, and didn’t give it another glance.

With the second volume, Echoes of Valor II, Wagner finally got the book he’d aspired to. It appeared in hardcover in 1989 with an original cover by Rick Berry, and no less than eight non-fiction pieces (autobiographical sketches, forwards, and author appreciations) from four distinguished writers: C.L. Moore, Forrest J. Ackerman, Sam Moskowitz and Wagner himself.

Echoes of Valor II was one of the first books to treat sword & sorcery as serious fiction, and the hardcover format meant that Tor was able to sell it into libraries and schools across the country. It was a groundbreaking book for the genre. So it was a bit puzzling when Echoes of Valor III appeared three years later — exclusively in paperback, and with only one brief essay from Sam Moskowitz.

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New Treasures: The Thorn of Dentonhill by Marshall Ryan Maresca

Saturday, February 28, 2015 John ONeill Comments 0 Comment

I don’t know much about this Marshall Ryan Maresca fellow. His short fiction has appeared in Rick Klaw’s anthology Rayguns Over Texas, and Hint Fiction: An Anthology of Stories in 25 Words or Fewer.

But his debut novel sounds like a lot of fun. The Thorn of Dentonhill follows the adventures of Veranix Calbert, diligent college student by day, and crime-fighting vigilante by night. When Calbert intercepts two powerful magical artifacts owned by a local drug lord, he suddenly becomes a major player in the nighttime struggle for control of Maradaine. But he also becomes a major target…

Veranix Calbert leads a double life. By day, he’s a struggling magic student at the University of Maradaine. At night, he spoils the drug trade of Willem Fenmere, crime boss of Dentonhill and murderer of Veranix’s father. He’s determined to shut Fenmere down.

With that goal in mind, Veranix disrupts the delivery of two magical artifacts meant for Fenmere’s clients, the mages of the Blue Hand Circle. Using these power-filled objects in his fight, he quickly becomes a real thorn in Fenmere’s side.

So much so that soon not only Fenmere, but powerful mages, assassins, and street gangs all want a piece of “The Thorn.” And with professors and prefects on the verge of discovering his secrets, Veranix’s double life might just fall apart. Unless, of course, Fenmere puts an end to it first.

This is the first novel set in the fantasy city of Maradaine, but it won’t be the last. DAW has Maresca’s A Murder of Mages: A Novel of the Maradaine Constabulary, the first novel in a new series, on the schedule for July 7, 2015.

The Thorn of Dentonhill was published on February 3, 2015 by DAW Books. It is 400 pages, priced at $7.99 in paperback ad $6.99 for the digital edition. The cover is by Paul Young.

Leonard Nimoy, March 26, 1931 — February 27, 2015

Friday, February 27, 2015 John ONeill Comments 8 comments

Leonard Nimoy, the gifted actor who breathed life into the emotionless Vulcan Spock — and in the process created one of the most famous and enduring TV characters of all time — died today in Bel Air, California.

Nimoy was born in Boston in 1931. His first major role was at the age of 21, when he was cast in the title role of the film Kid Monk Baroni (1952), followed by more than 50 small parts in TV shows and B movies, including an Army sergeant in Them! (1954) and a professor in The Brain Eaters (1958). He was a familiar face in westerns throughout the early sixties, appearing in Bonanza (1960), The Rebel (1960), Two Faces West (1961), Rawhide (1961), Gunsmoke (1962), and on NBC’s Wagon Train four times. He starred alongside DeForest Kelley (the future Dr. McKoy) in The Virginian (1963), and with William Shatner in an episode of The Man from U.N.C.L.E (1964).

Nimoy was the only actor to appear in every episode of the original Star Trek series, which ran from 1966-69. He received three Emmy Award nominations for playing Spock, and TV Guide named him one of the 50 greatest TV characters in 2009. The role both haunted him and enriched for the rest of his life — which he famously addressed in two autobiographies, I Am Not Spock (1975) and I Am Spock (1995). After Star Trek ended Nimoy found regular work on the small screen in Mission: Impossible for two seasons, the TV documentary In Search of… , and more recently in Fringe. He also appeared in eight feature-length Star Trek films, including the recent reboots directed by J.J. Abrams. He directed two, Star Trek III: Search for Spock and Star Trek IV: The Voyage Home.

Star Trek was one of the first science fiction shows to be taken seriously as adult entertainment, and Leonard Nimoy was a huge part of that success. In his near-perfect portrayal of a hero in flawless control of his emotions, Nimoy connected with his audience — and an entire generation of young SF fans — in a way that very few actors, living or dead, have succeeded in doing. Leonard Nimoy died today of chronic obstructive pulmonary disease, at the age of 83.