Every year, in early summer, the Electronics Entertainment Expo (E3) showcases the industries upcoming games, gaming tech, and gaming culture. Studios from around the world vie to create a buzz for their brands by announcing new games, new content for existing games, and upcoming new hardware.
The largest Studios, such as Xbox, Bethesda, and Playstation hold live, large press conferences that can be viewed in person, streamed live, or be watched later on the internet. These press conferences are fairly long events, often lasting over an hour. Typical content for these events are live game demos, prerecorded game demos, and short video teasers for games not far in development. These presentations sometimes include celebrities and often include developer commentary.
This year at E3, Sony announced some fantastic exclusive games. Of the games that were presented at Sony’s E3 Conference, Call Of Duty Black Ops 4, Tetris Effect (PSVR), Beat Saber (PSVR), Destiny 2 Forsaken DLC, and Spider-Man have been released. The rest of the games presented are expected to release in 2019.
Sean McMullen was born on December 21, 1948 in Victoria, Australia.
McMullen has won the Ditmar Award 8 times, including five William Atheling, Jr. Awards for Criticism or Review, for short fiction (“While the Gate Is Open” and “Alone In His Chariot”) and for long fiction for Mirrorsun Rising. His novels The Centurion’s Empire and The Miocene Arrow as well as his short story “Walk to the Full Moon” have won the Aurealis Award. He has been nominated one time each for the Hugo Award, the British SF Association Award, the Sidewise Award, and the WSFA Small Press Award. McMullen has published under the pseudonym Roger Wilcox and has collaborated with Paul Collins, Steven Paulsen, Van Ikin, and Russell Blackford.
“Electrica” was first published in the March-April 2012 issue of The Magazine of Fantasy and Science Fiction, edited by Gordon van Gelder. The next year McMullen included it in his short story collection Ghosts of Engines Past and David G. Hartwell selected the story for inclusion in Year’s Best SF 18.
McMullen offers a secret history of the Napoleonic Wars by looking at the career of Lieutenant Michael Fletcher, whose work in intelligence has gotten him transferred back to England to investigate the claims of Sir Charles Calder, who claims that he has used electricity to create a device that can send signals over vast distances, somewhat akin to the later telegraph, but without wires. Calder has even created a form of Morse code to use with the messages.
Fletcher arrives at Sir Charles’s manor to discover a contingent of soldiers guarding it, Sir Charles’s experiments, and Lady Monica, whose voracious sexual appetite appears to focus on any male who isn’t her husband, who she finds boring. As far as Fletcher can tell, Sir Charles feels the same way about Lady Monica. Allowing himself to be seduced by Monica in order to gain access to Sir Charles’s locked laboratory leads to a duel with one of the soldiers and sidelines Fletcher for several weeks while Monica is supposed to be in London. Upon his return to the manor, he learned that Lady Monica never made it to London and Sir Charles’s experiments have taken a dark turn.
Honestly, the holidays can be a bit of a slow time here in the underground offices of Goth Chick News. Seeing I was looking a bit down, our Big Cheese John O. conceded to make the boys on staff move their D&D game out of the biggest basement room, so we could give our offices a bit of an upgrade. Though Bob and Ryan groused about being further from the fridge, John graciously explained we could not continue to expect Black Gate photog Chris Z. to work off a laptop in the disused lavatory under the stairs. So, once I get the smell of cigars and Cheetos out of the walls, we’ll be moved in with enough outlets for my blender and Chris’ Nespresso machine.
And just when I thought this would be about as much activity as I could expect at the Black Gate offices in December, this happened…
Three best friends turned filmmakers, Natalie Jones, Aaron Keeling and Austin Keeling, best known for their 2015 breakout horror film The House on Pine Street, just produced something even more entertaining. Probably feeling a bit down as well, these superfans got baking and created what is probably the greatest gingerbread house of all time.
When I first saw Edward Lazellari’s Awakenings back in 2011, I was struck by Chris McGrath’s cover. I’d never seen anything quite like it. Featuring a creepy-eyed dude in a hoodie and a square-jawed street cop, it looked like a cross between dark fantasy and a modern police procedural. Maybe? It sure made me pick up a copy, anyway, and the name Edward Lazellari stuck in my mind.
That doesn’t mean I’m top of things, of course. When I received a review copy of Blood of Ten Chiefs from Tor last week, it took a few days for me to realize it was part of the same series. In fact, I didn’t even knew it was a series. Probably because I missed the second book, The Lost Prince, released in 2013.
All three are part of what’s now being called the Guardians of Aandor. Without getting into specifics (because I’m too lazy to read all three book blurbs), a cop and a photographer who don’t know each other get stalked by interdimensional beings, find out they’re from an alternate reality with castles and knights and stuff, who came across to our world to hide an infant royal, but ended up with lost memories and no knowledge of the current whereabouts of the young prince. The first novel earned praise from fantasy master Glen Cook (“Read Awakenings and get in on the ground floor with a great new writer,”) and Library Journal (“Urban fantasy reminiscent of Jim Butcher in a hard knocks action tale,”) but I dunno, I think they had me with McGrath’s cover. I dug Awakenings out of limbo in the basement, and hope to settle down with it this weekend.
Here’s the back covers of the first two books, because they’ll do a better job explaining all this than I’m doing right now.
Nalo Hopkinson was born on December 20, 1960 in Kingston, Jamaica.
Hopkinson’s first novel, Brown Girl in the Ring, won the first Warner Aspect First Novel Contest in 1997 and led to its publication. In 1999 Hopkinson won the John W. Campbell Award for Best New Writer. She won the World Fantasy Award for her collection Skin Folk and she shared the British Fantasy Award for co-editing the anthology People of Colo(u)r Destroy Science Fiction with Krisitne Ong Muslim. Hopkinson’s novel Sister Mine won the Andre Norton Award in 2015. She shared the Aurora Award for co-editing the anthology Tesseracts Nine with Geoff Ryman and won her own Aurora Award for the novel The New Moon’s Arms. Her novel The Chaos won a Copper Cylinder Award and she won a Gaylactic Spectrum Award for The Salt Roads. She has won the Sunburst Award twice, for the collection Skin Folk and the novel The New Moon’s Arms. She has collaborated on fiction with Nisi Shawl and his co-edited anthologies and magazines with Kristine Ong Muslim, Geoff Ryman, and Uppinder Mehan.
“Whose Upward Flight I Love” was originally published in Dark Planet Webzine in 2000, edited by Lucy A. Snyder. Hopkinson included it in her collection Skin Folk the following year as well as her late collection Falling in Love with Hominids in 2015. It was reprinted in the magazine Cicada in March of 2017.
Hopkinson writes about a crew whose job it is to secure trees planted in a public park against a wind storm. Their task seems prosaic enough and they work even as the wind threatens to uproot the trees, to the extent that one of the women has to catch an uprooted tree before it flies away. Despite her efforts, all she winds up with is a root, which she tosses to the ground.
As the crew members work, they call to each other, continuing conversations about their lives. The woman has a long-time relationship with Derek, which has its ups and downs and she is sharing the latest information about their lives with her crewmate to pass the time while they do their work to protect the trees. Everything is completely normal and there is nothing that sets this particularly day’s work apart from any other day.
Decisions, and actions, have consequences, even if they can’t be foreseen. Consequences also often can’t be traced back to the decision that caused them. The crewmember catching the tree and then dropping the root on the ground is one of those. While she and her crewmates are finishing their task, the dropped root begins to move on its own.
The Calahorra tower, on the far side of the Guadalquivir River from Córdoba, protects access to the Roman bridge. It was originally built in the Islamic period and rebuilt in 1369
Last week I wrote about the magnificent mosque/cathedral of Córdoba. While that’s the city’s main draw, there’s plenty else to see in this historic place. In fact, the entire city center, where most of the old buildings are, is one big UNESCO World Heritage Site.
The area, next to the Guadalquivir River, has always been inhabited. Evidence of Neanderthals has been found, as well as all the major phases of prehistory. A small prehistoric settlement became a city under the Carthaginians, who called it Kartuba. When the Romans conquered it in 206 BC, the name morphed into Corduba. Under the Romans, the city thrived, becoming the cultural and administrative center of Hispania Baetica. Seneca the Elder, Seneca the Younger, and Lucan all came from Córdoba. It was briefly under Byzantine rule from 552-572 AD before falling to the Visigoths.
It’s 1962. You are Irwin Donenfeld, executive vice president for DC Comics, the 800-pound gorilla of superhero comics. You are riding high on the Silver Age of comics, having revived superhero comics from their near-death experience at the hands of Fredric Wertham, the New York District Attorney, and Congress itself. A dozen new versions of 1940s legends have poured from your offices since 1956 along with brand-new successes. The secret? Showcase, a comic invented purely to give tryouts to comic concepts and get the fans, the readers, the buyers to write in insisting that one or another of them be given their own titles. The Barry Allen Flash emerged from Showcase #4, The Challengers of the Unknown in #6, Lois Lane in #8, Green Lantern in #22, Aquaman in #30, the Atom in #34.
Now you’re a victim of your own success. The Atom, after also appearing in Showcases #35 and #36, is a smash. He’s getting his own title. But he was supposed to appear in Showcase #37, March-April 1962, as well, which is due at the printer in two weeks, and you don’t want to use him again. What do you do?
Hutchinson’s novel Europe in Autumn was nominated for the John W. Campbell Memorial Award, the British SF Association Award, and the Arthur C. Clarke Award, as was its sequel, Europe at Midnight. The volume Europe in Winter was the only one of the three nominated for the British SF Association Award, which it won in 2017. His short story “The Push” had been nominated for the award in 2010. Hutchinson co-edited the anthology Strange Pleasures 2 with John Grant.
“The Trauma Jockey” first appeared in issue 117 of Interzone in March 1997, edited by David Pringle. In 2000 Thomas Haufschild translated the story into German for inclusion in Wolfgang Jeschke’s anthology Das Wägen von Luft. Hutchinson included it in his 2004 collection As the Crow Flies.
Hutchinson’s main character is a “Trauma Jockey,” someone whose job is to connect to a patient through a series of electrodes to take their emotional trauma away. Hutchinson opens the story by demonstrating how the process is supposed to work, with the trauma jockey siphoning the emotional pain away from Lucy Smith and then eventually downloading it into someone who has been so beaten down by the system that extra trauma doesn’t impact him.
Once Hutchinson has established the normal methodology, his character is visited by a Mr. Jones, who wants to hire his services. It turns out that Jones is a sociopath and the process doesn’t work the same way on him. Instead of downloading his emotions, he downloads images of people he has murdered. When the Trauma Jockey decides to go to the police, Jones threatens not only him, but his extended family, including his young nieces. Unable to turn to anyone for help, he must accept Jones’s continued visits and the horrific images he shares, which gives Jones as much of a rush as the actual murders and sexual crimes.
A few months back at GenCon, I stumbled across a well-placed demo area with a large cardboard display of Optimus Prime and Bumblebee. As a child of the 1980’s, I wasn’t about to miss out on this … my introduction to Wizard of the Coast’s Transformers Trading Card Game.
There are two components to the game: double-sided oversized character cards and battle cards. The character cards are foil cards that represent various Autobot and Decepticon characters with one side having a Bot Mode and the other side having their transformed Alt Mode. The battle cards are a deck of regular-sized cards, consisting of single-use Action cards and Upgrades that can be attached to individual transformers to provide Weapon, Armor, and Utility equipment that (generally) stick with the characters they’re upgrading.
The game plays out as a battle between two teams of Transformers, with victory coming to the player who is able to KO all of their opponents’ characters. Each character card has Attack, Life, and Defense stats, which alternate as you flip between the Modes. Some Modes also have powers of various kinds. Some of the powers activate when you flip the card into that mode. For example, when you flip the Optimus Prime card into its truck Alt Mode, you immediately draw a battle card. Other powers are always active so long as the character is in that Mode.
It’s always nice to see a well-made short film reach an audience. A short has a different structure and feel from a feature, and a good one is a very distinct pleasure. I get to watch a number every year at the Fantasia film festival; too rarely beyond. But one of the shorts from this past summer’s Fantasia has just been made available to a wider audience. “The Gaze,” written and directed by Ida Joglar, has been selected by the multi-platform horror brand ALTER for its YouTube channel. You can watch it there now. Here’s the film’s official synopsis:
After a late night in the laboratory where she works as a research assistant, Mayra has no recollection and suspects she has been sexually assaulted by her renowned boss. When she tells her friend about the incident, she is confronted with doubts. As time passes she becomes further distressed as she discovers she may have a power she never knew about. When she once again finds herself alone in the lab with her predatory boss, her power manifests itself to an explosive end.
