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Year: 2011

Goth Chick News: We’re Bats About New DVD Releases!

Goth Chick News: We’re Bats About New DVD Releases!

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image0041The holidays are over and according to AccuWeather, approximately 70% of the United States has snow on the ground and for a whole lot of you, this may be just a rare enough occurrence that for the moment, you’re mildly amused. But trust me when I tell you the novelty of throwing it at each other, sliding down it, or for a select group of you, writing your name in it, is going to wear off. And that’s when the cabin fever sets in.

The reality is that 70% of otherwise (fairly) stable Americans are trapped like rats with family members, classmates or co-workers for another two months at minimum. We are all now horror-movie fodder, Steven King style, holed up without sunlight and fresh air; susceptible to maddeningly repetitive sounds like the British accent on that lizard in the insurance commercials, until the only remaining coherent thought is squishing him flat in your uninsured Hummer.

Or maybe that’s just me.

The point is, you’re in need of mind-diverting entertainment until the thaw comes; before you end up being the subject of an HBO special and some Dancing With the Stars contestant is playing you… badly.

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Rich Horton Reviews The Long Look

Rich Horton Reviews The Long Look

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long-lookThe Long Look
Richard Parks
Five Star (297 pages, $25.95, September 2008)
Reviewed by Rich Horton

I am tempted to propose a new subgenre of fantasy that I might call domestic fantasy, or ordinary-people fantasy, or anyway something that suggests stories set in secondary worlds, complete with magic, and for that matter complete with kingdoms and magicians and all the other Tough Guide to Fantasyland markers (even stew!), but populated by sensible (mostly) people, fairly typical of your neighbors in general attitudes (but not anachronistically so).

I’ve noted in multiple reviews of Lawrence Watt-Evans’s novels that they seem often to take a very common sense approach to grand fantastical tropes like dragons. So his work might fit. And a novel like Sherwood Smith’s A Posse of Princesses, about a bunch of pretty basic teenagers who happen to be princes and princesses in a fantasy world, seems to fit as well. You might even argue that aspects of the great model for so much contemporary fantasy, The Lord of the Rings, have this ring* of domesticity – that is to say, the hobbits – but really it is The Lord of the Rings, with its stark good versus evil theme, and with characters like the impossibly noble Aragorn and the angel-like Gandalf and the ethereally beautiful Galadriel and the disembodied evil of Sauron, that I see my domestic fantasies as reacting against. (In a respectful way – I love The Lord of the Rings, and so, I suspect, do most of these writers.)

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Art Evolution 18: Clyde Caldwell

Art Evolution 18: Clyde Caldwell

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The evolution of fantasy art finds another player this week, but if you’ve missed any past artist you can restart the journey here.

With the latest version in hand, I now had a ‘Nouveau Lyssa’, and my industry contacts were growing with seventeen artists down, the original total of ten far surpassed. Still, if I wanted twenty it was going to be difficult to do.

gamma-world-255I went back into my desires for the project, and over the course of the months involved there were still regrets about some artists who’d said ‘no thank you’. One of these was Clyde Caldwell. Surprisingly, although Clyde had refused an entry into the project, he was always gracious enough to reply to emails.

After a year of random emails we’d grown rather close, and I think that fact made his exclusion to the project all the more painful to me.

You see, there’s the very intriguing part of Clyde’s decision not to do the project. According to his own website, and I quote: “I generally don’t take on a private commission unless I like the subject matter (Hint: In case you haven’t noticed, I like to draw and paint scantily clad or nude, sexy female characters!)”. Now, I read that quote a hundred times, and each time I did so I kept saying to myself ‘what the hell?’ Lyssa IS his favorite subject matter! It’s something I still haven’t made sense of to this day.

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C.S.E. Cooney promoted to Black Gate Website Editor

C.S.E. Cooney promoted to Black Gate Website Editor

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claire-254Effective January 1st,  blogger and contributor C.S.E. Cooney has been promoted to Black Gate website editor.

C.S.E. (Claire) Cooney is one of the most talented new writers we’ve had the pleasure to be associated with. Her fiction and poetry have appeared in Clockwork Phoenix 3, Book of Dead Things, Subterranean magazine, Goblin Fruit, Ideomancer, Doorways, Strange Horizons, Mythic Delirium, and Apex, among many others, and her novella The Big Bah-Ha was recently published by Drollerie Press.

She has sold several long connected pieces to Black Gate, the first of which, “Godmother Lizard,” will appear in BG 16. Her short story “Braiding the Ghosts” was selected for inclusion in Rich Horton’s upcoming The Year’s Best Science Fiction & Fantasy 2011 Edition.

Claire’s first contribution to the BG blog was her review of Last of the Dragons in January, 2010. Since then her posts have been among the most popular features we’ve offered, including her 3-part examination of Fantasy in Metal, her detailed looks at Goblin Fruit and Ideomancer, and her lengthy interviews with S.J. Tucker, Gene Wolfe and Ysabeau Wilce.

For the last several months Claire has been coaxing and recruiting terrific new writers to the BG blog, including Mike Allen, Amal El-Mohtar, Magill Foote, Erik Amundsen, and others, and in October she assembled a crack team to create the first Epic Black Gate Trailer of AWESOMENESS! In between, she’s been editing behind the scenes, quietly helping other contributors get their articles posted, and generally cleaning up the place.

Claire’s enthusiasm and commitment have been infectious, and she’s brought a whole new level of energy to the Black Gate blog. We are pleased and extremely proud to have her as our new Website Editor.

For a complete list of the folks responsible for Black Gate, visit our Staff Page.

Another Reason to Love Netflix “Watch Instantly”: Vampire Circus

Another Reason to Love Netflix “Watch Instantly”: Vampire Circus

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vampire-circus1Vampire Circus (1972)
Directed by Robert Young. Starring Adrienne Corri, Laurence Payne, Anthony Higgins, Thorley Walters, John Moulder-Brown, Lalla Ward, Robin Sachs, Lynne Frederick, Richard Owens, David Prowse, Robert Tayman.

It seems that any time I log into Netflix to manipulate my queue to get physical DVDs, I discover more treasures that I can watch with only a click of the mouse button. Sometimes films unavailable on DVD—or any home video format—for many years. Such as Vampire Circus. (It is available on Blu-Ray, but I don’t have that option.)

Vampire Circus is one of the small treasures of 1970s Hammer Horror, and unfortunately few people on this side of the pond have had the opportunity to see it; the movie has remained incredibly elusive in the U.S. When it was released theatrically in the States, the U.S. distributor de-sanguinized it to a PG rating. Netflix has oddly maintained the PG rating on their page for the film, even though the version they have is uncut and contains the copious amount blood and bare breasts that were the marks of Hammer in its latter days.

Hammer Film Productions knew they were losing the youth audience as the decade started. Their dominance in the Anglo-horror cycle through the late 1950s and the first half of the ‘60s weakened as more graphic and contemporary movies edged in on them, making the Gothic Victorian trappings seem quaint. Hammer also lost a number of its best stars, directors, and technical people, and quality slipped as the ‘70s started. After the excellent Taste the Blood of Dracula, the Dracula series never recovered, and the attempt to reboot the Frankenstein series with The Horror of Frankenstein (on my short list for the worst horror movie the studio ever put out) was a disaster.

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Howard Andrew Jones Reviews Traveller RPG Supplements

Howard Andrew Jones Reviews Traveller RPG Supplements

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Spinward Marches_cover.indd

The Traveller RPG was originally released in 1977 as a game system in which players could explore generic space adventure games. (One of the game’s creators, Marc Miller, claims the idea came from wanting to do Dungeons & Dragons in space.)

If you like playing games set in space – whether space opera, hard SF, planetary romance, or space cowboys (you know who you are)  – you might want to check out Traveller‘s flexible system to help supplement your gameplay. You can find out more from their current publisher, Mongoose Publishing, or go to the source of all (questionable) knowledge, Wikipedia.

Today, we’re presenting three reviews from the pages of Black Gate which focus on Traveller materials. Two are of new supplements from Mongoose and the third review is for a CD-ROM containing many supplements and modules from earlier editions of the game.

Enjoy!

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Solitaire Gaming

Solitaire Gaming

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island-of-lost-spells
Another great adventure from Dark City Games.

I blame the whole thing on John O’Neill.

A few years back I asked him about the solo Dark City Games adventures that Andrew Zimmerman Jones and Todd McCaulty had reviewed so favorably for Black Gate. John happens to have a larger game collection than most game stores, so I’d come to the right person.

Solo games were great fun, John told me. “Here’s an extra copy of an old game you’ve never heard of that’s really cool. Go play it.”

That was Barbarian Prince. And yeah, it was pretty nifty (you can try it out yourself with a free download here, along with its sister solitaire product, Star Smuggler).

I started playing and enjoying the products created by Dark City Games, which the rest of the staff and I have continued to review for the magazine.

barbarian-prince3But what are these solitaire games like?

The most obvious analogy is to say that solitaire games are a little like computer adventure games played with paper, with dice and cards taking the place of a computer game’s invisible randomization of results.

My first thought was something along the lines of “how quaint,” but it turns out that while the play experiences are similar, the flavors are slightly different, even if playing them stimulates similar centers of the brain.

It’s like switching off orange pop to try some root beer, or vice versa. You may not drink one or the other exclusively, but they both sure are sweet on a hot day.

zulus-on-the-ramparts
"You mean your only plan is to stand behind a few feet of mealie bags and wait for the attack?"

While playing a solitaire game you may not see any computer graphics, but your imagination will paint some images for you.

And there’s the tactile pleasure of manipulating the counters and looking over the game board and flipping through the booklet and rolling the dice.

Solitaire in no way means that you will get the same game play each time, and to my surprise I’ve discovered that a well designed solo board game has better replay value than many computer games.

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Shrek Forever After

Shrek Forever After

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shrek_4_poster_08-535x800Last week, I discussed my favorite fantasy films of 2010 and realized that, surprisingly, they were overwhelmed by young adult films, and even animated ones. And this isn’t just because I have two young kids, it’s because they’re actually making some of the best films out there for young adults.

Maybe they always have and I just didn’t notice, because I was part of the demographic they were aiming at. But as I approach the age where I’m constitutionally-permitted to run for President, it’s clear that these movies are being made without my thirtysomething self as the intended target … yet somehow they’re resonating very well with me, in ways that the films which are being made for adults don’t seem to.

One film which didn’t make the list was Shrek Forever After, and that was for a simple reason: I hadn’t seen it.

Well, I took care of that late last week … and it certainly needs to be added. I swear, between Shrek Forever After and How to Train Your Dragon, Dreamworks might actually give Pixar a run for their money at the Academy Awards this year. (Although, once again, I must rant: Would it kill Dreamworks to include a digital copy of the film?)

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80s Fantasy and Master of the Five Magics

80s Fantasy and Master of the Five Magics

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Master of the Five MagicsI’ve been thinking lately about fantasy in the 1980s. More specifically, about the wave of fantasy fiction that began to be published in the late 70s, in the wake of The Sword of Shannara and the first Thomas Covenant books, and which over the following years developed into fantasy as we know it now. So far as I can learn, it seems that this was when fantasy really took root as a novel category — that is, when fantasy novels stopped being relatively rare events and began to flourish as a genre. As a result, I think, it was a time when the idea of fantasy broadened; new ideas and forms and voices were tried, even if certain assumptions (like a quasi-medieval-European setting) were often unquestioned. What I wonder is whether certain things tried then and since almost forgotten are in fact worth revisiting.

It sometimes seems like that generation of books is either ignored, or remembered only for its most popular examples — the big sellers, or the series which started then and are still going. I can’t find much thoughtful criticism of 80s fantasy fiction as a whole, or even much discussion about the relevance of the books of that time to contemporary fantasy writing. This is annoying, as I think it increases the possibility of good work slipping through the cracks. I don’t mean to suggest that there’s a mass of neglected masterpieces, but I do suspect that some of those 80s fantasies have elements to them which might be worth re-examining, or which might speak to contemporary ideas in fantasy.

Take, for example, Lyndon Hardy’s three-book sequence Master of the Five Magics, Secret of the Sixth Magic, and Riddle of the Seven Realms.

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Jackson Kuhl Reviews The Birthing House

Jackson Kuhl Reviews The Birthing House

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birthing-house-tpbThe Birthing House
Christopher Ransom
St. Martin’s Press (320 pp, $14.99, August 2009 – August 2010 paperback edition)
Reviewed by Jackson Kuhl

Conrad Harrison is driving through rural Wisconsin when, on a whim, he buys a nineteenth-century house with insurance money received after the death of his estranged father. The building was, Conrad learns, The Birthing House – a hospice where expectant women could deliver their babies. Conrad returns to Los Angeles to pack up his things, his dogs, his wife — the house for him a chance to save his troubled marriage and begin over after a series of career failures. But upon moving to the house, Conrad becomes aware of a lurking presence within and soon discovers…

Well, he doesn’t discover much. His wife departs to attend job training and remains offstage for much of the book, leaving Conrad home alone to be harassed by apparitions and occurrences. There is never a sense of menace; the previous owner lived there some twenty years and while aware of the weirdness, is indifferent to it. That fact by itself results in a haunting minus any mystery or apprehension.

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