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“How Many Psychiatrists Does it Take to Change a Genre?” Karl Edward Wagner in Fantasy 55

“How Many Psychiatrists Does it Take to Change a Genre?” Karl Edward Wagner in Fantasy 55

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Fantasy Newsletter 55-smallI need to spend less time on eBay. A few weeks ago, I stumbled on a collector selling significant lots of vintage fanzines and critical journals from the 70s and 80s — things like Science Fiction Review, The Alien Critic, Fantasy Review, SF Collector, Fantasy, and others.

Hard-to-find-stuff, as I later told my wife Alice, trying to explain why the postman had delivered a 16-pound package and why we were out over two-hundred bucks.

So now I’m in the doghouse. But keeping me company are 87 beautiful magazines packed with news, reviews, artwork, and opinion on the state of fantasy three decades ago, so really, things aren’t so bad. That was probably the height of my book collecting, so there’s lots here that’s of interest. The first one I opened was Fantasy 55, from January 1983, a Locus-like genre news magazine edited by Robert A. Collins. I’d never even heard of Fantasy, so it’s a little humbling to discover it’s clearly a major magazine (which published over 60 issues, apparently). It’s professionally laid out and designed, with lots of art and photos.

Two things I notice right off the bat. First, the cover verges on pornography, with a nude woman sprawled on a bed, getting pretty worked up while some guy with horns drools saliva on her. Eeeugh. Man, the 80s. What can  I tell you.

(A lot of these fanzines feature naked women on the covers. Naked women piloting starships. Naked women battling monsters. Naked women in dungeons. This was the era when a lot of young women avoided conventions due to routine sexual harassment. Think there’s a connection?)

The second thing I notice is the fabulous line-up of contributors, including Fritz Leiber, Darrell Schweitzer, Mike Ashley, John Morressy, Somtow Sucharitkul, and many others. I still haven’t read a third of the articles, but the thing that really opened my eyes was Collins’s editorial, in which he quotes contributor Karl Edward Wagner’s thoughts on the expected fantasy boom following the release of Conan the Barbarian and the genesis of his Kane collection, Night Winds:

Last month… Wagner again attacked fantasy fans, writers, and publishers for their apparent inability to evolve intellectually and/or artistically, for constantly rewarming “the same simple plots and conflicts that were boring Robert Bloch back during Conan’s heyday in 1934.” Both writers and fans, he said, eventually “turn their backs on heroic fantasy,” leaving the field to a new crowd of adolescents. “One would hope for a new sophistication among the readers, and one may grow old hoping.”

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My Favorite Fantasy Movies

My Favorite Fantasy Movies

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conan-the-barbarian-poster2-smallI love a good fantasy movie, and love to goof on bad ones, too. Fantasy is a genre that didn’t always translate well to the big screen, until the recent advances in CGI technology allowed studios to capture creatures such as dragons and Balrogs in all their glory.

Conan the Barbarian (1982)

Classic Schwarzenegger. Although this adaptation departs from the style (and story) of Robert E. Howard’s books, it retains the grit and raw muscular power of Conan in a way that the newer incarnation (sorry, Jason Momoa) couldn’t begin to match.

James Earl Jones was a masterstroke of casting as the villainous wizard Thulsa Doom. This film contains some unforgettable scenes: Conan growing up pushing that big mill wheel, the witch who had sex with Conan and then tried to kill him, breaking into the Temple of Set, the Tree of Woe, and of course the awesomely bloody climax where Conan cuts his way through legions of fanatics to eventually take the head of his enemy.

Conan, you taught us the riddle of steel, and for that we thank you.

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Adventure in a Place of Unholy Shadows: A Review of Crypts and Things

Adventure in a Place of Unholy Shadows: A Review of Crypts and Things

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Screen Shot 2013-09-25 at 10.39.17 Back in the 70s, when I first started playing Dungeons and Dragons (D&D), I spent a long time wanting a ruleset that would let me recreate the sort of sword and sorcery that I was reading back then.

I wanted to play a game that caught the atmosphere of Robert E Howard’s Conan, Karl Edward Wagner’s Kane, or Fritz Leiber’s Fafhrd and Grey Mouser stories. I wanted to adventure in a place of unholy shadows, where magic was scary and thrilling and men with swords sought lost treasures in glittering towers where old gods and dark secrets waited.

Clearly, D&D was not quite what I was looking for. The white box contained an unholy mishmash of Tolkien, bits of medieval history, and a weird variation of Vancian magic from the Dying Earth which, while awesomely powerful, was not very scary or, well, magical. Magic items were as common as if they came in cereal boxes. And what was with it with those cleric guys and the undead?

The setting of D&D did not look like any fantasy world I had read about, but it was clearly influenced by a number of them. There were thieves that might have been Fafhrd and the Grey Mouser. There was a barbarian character class in an issue of White Dwarf that might, if you squinted, have resembled something like Conan.

But D&D did not quite hit the mark. There were also elves and halflings and dwarves and all manner of other things that did not exist in the S&S universes of my particular dreams. There were echoes of Howard and Leiber and Clark Ashton Smith, but they were smudged over with bits of Tolkien and a kind of high fantasy.

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Understanding Howard’s “The Tower of the Elephant”

Understanding Howard’s “The Tower of the Elephant”

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The Tower of the Elephant-smal

“This is just like Dungeons and Dragons, Daddy.”

It’s New Year’s Eve, 2012. Gamer Dad and I are having a fine old time, drinking beer and wallowing in geek culture, while our families are hanging out to see in 2013 together. We’ve played Red Box D&D in the afternoon with our boys – 7 & 9. Now, it’s storytime for the boys and, going with the theme, he and I are taking it in turns to read Robert E. Howard’s The Tower of the Elephant.

Both Dads jump in.

“No –” I begin. “Dungeons and Dragons –”

“– is like Conan!” completes Gamer Dad.

But the lad has a point. Here’s one of the more iconic Conan yarns and yet, on the face of it, it’s an episodic heist story; pretty much what you’d get if you wrote up a D&D session…

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War – What is it Good For? Violence in Fantasy Literature

War – What is it Good For? Violence in Fantasy Literature

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Swords and Ice Magic-smallI grew up on pulp fantasy, enthralled by the adventures of Conan, John Carter, Elric of Melnibone, Fafhrd and the Gray Mouser, and others of that ilk.

They didn’t shirk from danger, whether it be breaking into a wizard’s lair to purloin a rare jewel, battling hordes of evil minions, or challenging the gods themselves. Violence — the bloody conflict between brawny people with big, pointy weapons — was their meat and mead.

And when it came time to unleash my inner voices and craft my own tales, I drew most heavily upon the works of those old masters. At first, I didn’t delve much into my own motivations for doing so. It was enough that I was writing stories that I enjoyed and that (eventually) others seemed to like as well.

But what was I doing? All this fictional bloodshed and the mountains of imaginary bodies piled up before the altar of reading entertainment — what was it good for? Is it wrong for me to perpetuate a style of literature where problems are so often solved with swords and arrows?

(Okay, I want to pause here and tell you that when I read back that last line, my initial reaction is, “Hell no! I’m doing a public service!” Back to the article.)

When I was planning Shadow’s Son, the first book in my Shadow Saga, the main character Caim was originally going to be a thief by profession. I even played with the idea of portraying him as a pacifist, a sort of anti-Conan. Yet, I eventually came to the conclusion that the story would be more satisfying to… well, to me, for starters… if I changed him to an assassin. Still roguish and anti-establishment, but with a much higher THAC0.

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Sea-Change

Sea-Change

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moldvay-basic1Fantasy literature and Dungeons & Dragons have a long history together. In his foreword to the original edition of the game (dated November 1, 1973), Gary Gygax specifically references several authors’ works, such as “Burroughs’ Martian adventures where John Carter is groping through black pits,” “Howard’s Conan saga,” “the de Camp & Pratt fantasies,” and “Fritz Leiber’s Fafhrd and the Gray Mouser pitting their swords against evil sorceries.” There are also – or, rather, were – references to Tolkien as well, but these were excised after the Professor’s estate objected (the excisions were not very thorough; even in later printings, one can still find occasional references to ents and balrogs, among other things). My own beloved “Blue Book” edition of D&D (edited by J. Eric Holmes) includes references not only to Tolkien, Howard, and Leiber, but also to Gardner F. Fox, creator of Alan Morgan, Kothar, and Kyrik, as well as to H.P. Lovecraft’s Great Old One, Cthulhu.

By now, Appendix N of the Dungeon Masters Guide is well known, both on this site and elsewhere. What many people do not know is that Gygax produced a “rough draft” of that appendix in issue number 4 of Dragon magazine (December 1976). Entitled “Fantasy/Swords & Sorcery: Recommended Reading,” its content is roughly the same as that in Appendix N. It’s primarily noteworthy for including Algernon Blackwood, though Gygax makes no reference to any titles he recommends from this great British writer of ghost tales. Another interesting aspect, at least from my perspective, is that, unlike Appendix N, which is quite clearly presented as a list of the books Gygax himself found “of particular inspiration” (to borrow his own phrase once more), this early version is presented as one of “recommended reading,” as if he were an instructor drawing up a list for an Introduction to Fantasy Literature course.

Fascinatingly enough, the 1981 edition of Dungeons & Dragons, edited by Tom Moldvay, includes an extensive “Inspirational Source Material” section that was drawn up, not by a university professor, but by a children’s librarian at the Lake Geneva Public Library. This librarian, Barbara Davis, is given a “special thanks” citation in the rulebook’s credits for “compiling part of our bibliography.”

Though it’s quite possible, even likely, that many of the titles included in the 1981 list were inspirational to Moldvay or to other members of the editorial team at TSR Hobbies, its presentation is much different than that of Appendix N. Whereas Gygax simply lists his favorite authors in alphabetical order, the later list is divided into several categories in an almost scholarly fashion. The three largest sections are “Fiction: Young Adult Fantasy,” “Non-Fiction: Young Adult,” and “Fiction: Adult Fantasy.” There are also sections for “Short Story Collections” and “Non-Fiction,” as well as a list of “some additional authors of fantasy fiction.”

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Who Took the Flowers Out of my Prose?

Who Took the Flowers Out of my Prose?

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Conan Red Nails-smallOver here in England, we have a shop called ‘Poundland,’ which is pretty much what it says on the tin: a shop where everything costs a single pound, and for a boy of about ten, it was a dream come true. All the flimsy toys, dodgy sweets and budget DVDs my little mind could conjure — there was a book section as well, but it mostly consisted of either absolute rubbish or books about Simon Cowell.

But one particular day, when I was about ten, I happened to spot a diamond hidden amongst the rubbish: an anthology of stories by Robert E Howard. I’d never heard of him at the time, but the book had Conan in the title.

I had heard of Conan. My brief experience with the two movies told me I liked big swords, big monsters, and Arnold Schwarzenegger as much as the next ten-year-old, so I decided to buy it. On the train ride home, I found myself introduced to a new, vivid, and lively world, one of blood and savagery, of death and shadow, of lurking devils and skulking gods. I was exposed to a land of witchcraft, sorcerers, devils and demons, nations torn apart by brooding crusaders kings and swashbuckling puritans. It was the best train ride of my life.

“That’s all well and good, Connor,” you might say, “but what’s this got to do with prose?” Show a little patience; I’m getting to that.

What enchanted me most throughout these adventures was the prose; it just had its own nature and flavor, its own distinguished way of presenting things. I’d never encountered anything like it before; it was poetic, haunting, powerful. It lent every blow a sort of impact, made every monster tangible. Even the heroes — too powerful, too fast, too smart to ever be real — it made them come alive.

And in fantasy, where a key aspect is immersion, this is an impressive achievement. I touched upon this not too long ago with my Fantasy Face-off article; noting that prose dictates the way we see the world on the page and, therefore, how vivid and real it is. Prose overshadows flaws when it’s successful and highlights them when it’s not.

But what I didn’t mention was how prose can amplify the tone of the book. Fritz Leiber’s prose is rather light, reflecting the comic, satirical feel of his books. Howard’s is fast, rip-roaring and powerful, much like the pacing of his books and the characters within them. Tolkien’s prose, though it can sometimes be lacking, feels reminiscent of a fairy tale.

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The Other Appendix N

The Other Appendix N

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runequest2coverThe death of Gary Gygax, co-creator of Dungeons & Dragons and one of the fathers of the roleplaying game, provided added impetus to the already-extant (in 2008) re-evaluation and appreciation of what have come to be popularly known as “old school” roleplaying games. An important part of that re-evaluation centers on the literary origins of RPGs, particularly the books that fired the imaginations of their designers. Gygax helpfully provided us with a list of the authors who were, in his words, “of particular inspiration” to him. This list is now known quite widely simply as “Appendix N,” since it first appeared as just that, a lettered appendix at the back of his Dungeon Masters Guide (1979).

Appendix N has been much discussed over the last half-decade, becoming a significant talking point for those interested in the origins of the hobby of roleplaying. For example, there is much debate regarding the extent to which D&D truly captures the spirit of the books Gygax presented as being “the most immediate influences.” So energetic has the discussion of Appendix N become that it has not only spilled over into the wider world of fantasy (including this very site), but it has led to a mini-revival in pulp fantasy, with authors such as Abraham Merritt, Fletcher Pratt, and Margaret St. Clair (to cite but three on Gygax’s list) receiving more attention in recent years than they probably have in decades. Within the roleplaying hobby itself, Appendix N is well on its way to becoming a “brand,” with at least one RPG, Goodman Games’s Dungeon Crawl Classics, heavily promoting its own adherence to Gygax’s canon as one of its major selling points.

The creators of other early roleplaying games were usually not as forthcoming in acknowledging their literary inspirations, though there are, of course, exceptions, such as Steve Perrin and Ray Turney’s RuneQuest. First published in 1978, RuneQuest is, in its own words, “a departure from most FRP (as they are abbreviated) games” in that it is “tied to a particular world, Glorantha.” The brainchild of Greg Stafford, Glorantha is a fantasy world evocative of ancient history and myth and one of the most enduring settings in the hobby. For that reason, Glorantha is also frequently described as being both complex and idiosyncratic to the point of being inaccessible to newcomers.

I do not share this judgment of Glorantha, but I understand why some might make this claim. Fortunately, its designers offered some insight into their own inspirations in a bibliography that they coincidentally also labeled “Appendix N,” a full year before Gygax would use the same designation. Like Gygax’s own list, it is not exhaustive, but only “contains those [books] we felt exemplary or exceptional.” RuneQuest‘s Appendix N one-ups Gygax, in my opinion, by being an annotated bibliography, which provides additional insight into not just what books and authors were inspirational, but why.

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Unleash your inner Conan with Barbarian Kings

Unleash your inner Conan with Barbarian Kings

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Barbarian Kings SPI-smallMagic Spells and Enchantments! Elves and Orcs and Dwarves! Airships and Pirate Fleets! Heroes and Wizards and… Barbarian Kings.

That’s the cover copy on the boxed version of Barbarian Kings, one of the most fascinating games from my childhood, a game clearly inspired in equal measure by Robert E. Howard and J.R.R. Tolkien. Except for the airships, which I think maybe was an attempt to throw in a little Edgar Rice Burroughs and John Carter of Mars.

My fascination didn’t stem from any virtue of the game design. In fact, I never even had the chance to play it when it was first released in 1980. But it loomed large in my imagination.

Barbarian Kings was originally published in Ares #3. I’ve mentioned Ares before — it was the short-lived (and today, highly collectible) magazine published by SPI that included a science fiction or fantasy board game in every issue.

And what games they were. Star Trader, simulating high-stakes interstellar trade, commerce, and piracy; The High Crusade, inspired by Poul Anderson’s classic novel of a medieval conquest of the galaxy; Nightmare House, which featured intrepid explorers venturing into a haunted house; Voyage of the B.S.M. Pandora, a solitaire game of interstellar exploration on savage worlds; The Omega War, simulating a post-apocalyptic battle on a war-scarred North America in 2419. And nearly a dozen others.

And in issue #3, it was Barbarian Kings, a simple but compelling game of fantasy empires in conflict for 2-5 players. The Jack Kirby-inspired art on the cover communicated just about everything you needed to know (click on the image at right for a bigger version). This was a game of empire building in a world of dwarves, orcs, and magic, just like any of a hundred fantasy novels crowding the shelves in the 70s. It was a compact theatre of the imagination that could drop you smack dab into your favorite fantasy setting and let you run rampant with an army at your back. And airships. Let’s not forget the airships.

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Robert E. Howard and Appendix N: Advanced Readings in D&D

Robert E. Howard and Appendix N: Advanced Readings in D&D

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Weird Tales July 1936 Red NailsGary Gygax’s famous Appendix N, the list of titles he considered essential reading for Dungeon Masters hoping to create authentic adventures for their players, is perhaps the purest distillation of the literary recipe at the heart of modern adventure gaming.

Gygax put Appendix N in the back of his Dungeon Master’s Guide in 1979. Read all the writers on that list and you’ll understand the creative gestalt underlying 20th Century fantasy that eventually exploded into Dungeons & Dragons in 1974.

That’s the theory, anyway. Plenty of people have tried it. It’s sort of the gamer’s version of going walkabout. Immerse yourself in Appendix N and spiritual understanding will be yours. Plus, as a bonus, you end up with a rockin’ library.

Tim Callahan and Mordicai Knode are attempting this spiritual journey together, and they’re chronicling it at Tor.com. They begin with a look at Robert E. Howard’s Conan story “Red Nails,” originally published in the July 1936 issue of Weird Tales:

There is a giant mega-dungeon; it hardly gets more D&D than that. The two elements that really strike home here in terms of inspiration are the populated dungeons as its own character of rivalry and strife, and black magic. The city as one massive labyrinth is great, as is the characterization of its architecture & embellishment — gleaming corridors of jade set with luminescent jewels, friezes of Babylonianesque or Aztecish builders — but it is the logic of the city that shines brightest to me. “Why don’t the people leave?” There are dragons in the forest. “What do the people eat?” They have fruit that grows just off the air. “Where do all these monsters come from?” There are crypts of forgotten wizard-kings. There is a meaningful cohesion to the place; Howard manages to stitch dinosaurs, radioactive skulls, Hatfields and McCoys, and ageless princesses into something cogent.

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