Editor’s Blog – Page 95

The Paris Fashion Week of Fantasy Games

Monday, October 15, 2012 John ONeill Comments 11 comments

Six months ago, I attended the Spring Games Auction at Games Plus in Mount Prospect, Illinois, the premiere auction in the country for serious game collectors. Last Friday, I was checking the calendar. They occur every six months, which meant the next one was… holy cats! Saturday morning. I packed up my rental car the next morning and headed out, after making a blood oath to my wife Alice that I would be fiscally responsible this year. Or at least act within the bounds of forgiveness, I told myself.

The auction did not disappoint. The Saturday auction focuses on science fiction and fantasy board games, as well as role-playing games of all kinds. They start promptly at 10:00 am and run for the next seven hours, rattling off about ten games per minute; hundreds every hour, and thousands over the course of the day. For me, it’s the Paris Fashion Week of games — my chance to see all the latest and greatest in new games without having to leave the comfort of my metal folding chair.

Just as last time, the real wonders weren’t dusty artifacts from the early days of gaming, but a panorama of gorgeous and enticing new titles. And again, my knowledge of modern science fiction and fantasy gaming proved woefully inadequate, as time after time, games I’d never seen before made their way to the auction block.

Now, it’s dangerous to be ignorant at an auction. It’s easy to overbid on an item that looks expensive and rare, only to find Amazon has it on clearance for ten bucks. It’s even easier to drop out of the bidding when the going gets tough, confident you can find it cheaper online — only to find copies commanding outrageous prices on eBay. I’ve done both, and while most collectors agree that the greater pain is the memory of that rare item that got away, that’s because they haven’t met Alice and her corrective-therapy broomstick of agony.

So I played it safe this time. I watched a lot of marvelous games go to other bidders, jotting down the titles as they did. I gave up on a used copy of Fantasy Flight Games’ Sky Traders, a game of intrigue and trading in an era of skyships, when bidding shot past $27; it’s in stock at Amazon for $35. Same with Guards! Guards!, a fabulous-looking Discworld game from Z-Man Games, which sold for $40 (new for $57 online), and — perhaps the hardest to let go — a magnificent space combat game based on David Weber’s bestselling series, Honor Harrington: Saganami Island Tactical Simulator, which the fellow next to me bought for $40 (cheapest copy I can find online is $75). And plenty of others, including Zombietown, Dark Minions, Peregrine Games’ Prince of Chaos, and the curious Gnomes of Zavandor.

Later this week, I’ll talk about those items I did bring home, including Empires of the Void, a terrific-looking space exploration game from Red Raven Games. That post will be much more cheerful, I promise.

Weird Tales 360 Arrives This Week

Sunday, October 14, 2012 John ONeill Comments 3 comments

Weird Tales 360, the first issue helmed by new editor Marvin Kaye, is scheduled to ship this Friday, October 19.

It’s an auspicious and entirely appropriate number, I think. After changing direction several times over the last few years, Weird Tales has now turned 360-degrees and returned to where it started: publishing classic weird fiction.

The theme of the first Kaye issue is “The Elder Gods,” and the table of contents makes it clear that he is whole-heartedly embracing the Lovecraftian fiction that helped make Weird Tales one of the most sought-after magazines of the pulp era:

FICTION: THE ELDER GODS

“The Long Last Night” by Brian Lumley
“Momma Durtt” by Michael Shea
“The Darkness at Table Rock Road” by Michael Reyes
“The Runners Beyond the Wall” by Darrell Schweitzer
“Drain” by Matthew Jackson
“The Thing in the Cellar” by William Blake-Smith
“Found in a Bus Shelter at 3:00 am, Under a Mostly Empty Sky” by Stephen Gracia

FICTION: UNTHEMED

“To Be a Star” by Parke Godwin
“The Empty City” by Jessica Amanda Salmonson
“Abbey at the Edge of the Earth” by Collin B. Greenwood
“Alien Abduction” by M. A. Brines

…

Vintage Bits: Black Isle Resurfaces

Saturday, October 13, 2012 John ONeill Comments 6 comments

Interplay, publisher of some of the most acclaimed fantasy role playing games of all time – such as the Bard’s Tale series, Wasteland, Dragon Wars, Baldur’s Gate, Fallout, and Icewind Dale — has announced that the legendary development studio behind many of its most popular titles, Black Isle Studios, has reformed.

Black Isle was owned by Interplay and created in 1996 by Feargus Urquhart. It was formed from the crack team of developers who had created Fallout. Over the next few years, they developed many hits, including Fallout 2, Planescape: Torment, and Icewind Dale. Working with a tiny outfit in Canada named BioWare, they also produced Baldur’s Gate and Baldur’s Gate II: Shadows of Amn.

Interplay began to experience serious financial difficulties in 2001-2002, after publishing a number of high-budget failures such as Messiah and Kingpin. Black Isle was dissolved as Interplay imploded, a move that shocked the industry. All the employees were laid off on December 8, 2003.

Their last titles were the poorly-received PC game, Lionheart, and Baldur’s Gate: Dark Alliance II for the Playstation 2. At the time they were dissolved, they were working on Baldur’s Gate III: The Black Hound, Baldur’s Gate: Dark Alliance III and Fallout 3, none of which ever saw the light of day. A nearly bankrupt Interplay eventually sold the rights to the Fallout series to Bethesda, who developed and released its own version of Fallout 3 in 2008.

The closing of Black Isle was a serious blow to RPG gamers, and it marked the end of Interplay as a force in the industry. As someone whose all-time favorite games include Dragon Wars and Icewind Dale, I saw it as the end of an era. Interplay survived for most of the next decade by re-packaging its classic games, especially Fallout, Baldur’s Gate, and Icewind Dale, as well as their sequels.

Most of the star developers associated with Black Isle, including Feargus Urquhart and Chris Avellone, are not on board for this new iteration. Urquhart and Avellone founded the successful Obsidian Entertainment (Star Wars: Knights of the Old Republic II, Neverwinter Nights 2). But Mark O’Green and Chris Taylor (designer of the original Fallout) have both reportedly returned.

No announcement yet on what titles the resurrected Black Isle is working on. But I’m certainly looking forward to finding out.

Mystery 101: Books To Die For is a Complete Course in Mystery Fiction

Tuesday, October 9, 2012 John ONeill Comments 8 comments

I don’t read much mystery fiction, and if I’m honest with myself it’s because I feel a little lost in the mystery section of the bookstore. I don’t know the authors or the major titles, and there are just so many choices it’s overwhelming. Safer to take my money and retreat back to the science fiction aisle, and buy that Asimov reprint.

But if I were a little more adventurous, or had a knowledgeable friend to hold my hand, I bet I’d find a lot of great reading in those shelves. There’s always a ton of old ladies buying mystery paperbacks, anyway. And if there’s a more discerning paperback reader than the American old lady, I haven’t met her.

It’s very possible that knowledgeable friend arrived in the mail this week, in the form of Books to Die For: The World’s Greatest Mystery Writers on the World’s Greatest Mystery Novels, a fabulous book that looks like it could open the door to a lifetime of mystery reading.

With so many mystery novels to choose among, and so many new titles appearing each year, where should a reader start? What are the classics of the genre? Which are the hidden gems?

In the most ambitious anthology of its kind yet attempted, the world’s leading mystery writers have come together to champion the greatest mystery novels ever written. In a series of personal essays that often reveal as much about the authors and their own work as they do about the books that they love, 119 authors from 20 countries have created a guide that will be indispensable for generations of readers and writers. From Agatha Christie to Lee Child, from Edgar Allan Poe to P. D. James, from Sherlock Holmes to Hannibal Lecter and Philip Marlowe to Lord Peter Wimsey, Books to Die For brings together the cream of the mystery world for a feast of reading pleasure, a treasure trove for those new to the genre and for those who believe that there is nothing new left to discover.

Even if you’re not in the mood for a mystery novel marathon, Books To Die For is perfectly suited for browsing, with brief personal essays from the world’s most illustrious mystery writers, chatting about the finest mystery novels ever written. The book is arranged chronologically, starting in 1841 with Edgar Allan Poe’s The Dupin Tales; the second entry is Charles Dickens’ Bleak House (covered by Sara Paretsky). The last one is The Perk, by Mark Gimenez, published in 2008.

In between are 118 enthusiastic mini book reviews, most averaging two to four pages, by writers including Rita May Brown, Linda Barnes, Carol O’Connell, Chuck Hogan, Joseph Finder, Charlaine Harris, Joe R. Lansdale, Laura Lippman, Max Allan Collins, Phil Rickman, Bill Pronzini, Jeffery Deaver, F. Paul Wilson, John Connolly, Joseph Wambaugh, Elmore Leonard, Eoin Colfer, Anne Perry, and many, many others.

Books To Die For is edited by John Connolly and Declan Burke; it was published by Atria on October 2. It is 560 pages in hardcover, and priced at $29.99. The digital edition is $14.99.

Adventures Fantastic on “The Duelist”: “Black Gate‘s Online Fiction Debut Has Set a High Standard”

Sunday, October 7, 2012 John ONeill Comments 7 comments

Our first Online Fiction Feature of 2012 was Jason E. Thummel’s adventure fantasy novelette “The Duelist,” posted last Sunday. Adventures Fantastic was one of the first to review it this week:

Was it worth the wait? The answer is “Yes!”… This is a tale of a drunken duelist who is the top in his field… the plot is a solid sword and sorcery story. First I like the protagonist, Androi Karpelov, because even though he’s a very flawed hero, he’s still a man with honor. And he’s willing to take great risks to satisfy that honor… The story moves at a nice clip, never dragging.

Black Gate‘s online fiction debut has set a high standard of quality. That’s a good thing.

Thummel is also the author of the novel The Spear of Destiny and the short story collection In Savage Lands… I liked them a lot. Look for a review sometime in the next few months. This is a writer whose work I’m going to keep an eye out for.

I’m looking forward to more of Black Gate‘s fiction offerings. It’s been one of my favorite publications for a long time.

Author Donald Crankshaw turns a critical eye to our format at the Back of the Envelope blog:

How well does Black Gate‘s new format work for reading stories? Are they comfortable to read? Is it easy to keep track of your place? I find these questions particularly interesting… the story uses the same unusual color-scheme, light blue letters on a black background, as for Black Gate‘s blog… Surprisingly — or perhaps not so surprisingly, assuming that their web designer knows what he’s doing — I found the blue-on-black color scheme to be comfortable to read, and had no trouble with eye strain. Another thing that surprised me was that the lettering was large enough to read clearly on a mobile device…

Black Gate‘s blog posts have in-line commenting on the article page. This is how I prefer to see comments on blogs, but it can work to the detriment of long stories, partly by making a long page even longer, and partly because spamming and trolling can distract from the story. The solution Black Gate came up with works well. The story does not contain in-line comments, but a link to the blog post announcing the story, allowing readers to comment there. It also keeps all the comments in one place, to prevent a proliferation of pages.

Overall, I think the formatting that Black Gate used worked well. My only real concern is how well it will handle even longer stories, and I suppose we’ll see that when it happens.

Our complete schedule of upcoming fiction is here.

Rediscovering the Joy of the Boxed Adventure: Warhammer Fantasy Roleplay

Saturday, October 6, 2012 John ONeill Comments 7 comments

If you’ve been gaming as long as I have, you’ll remember when the great adventures of the day — Gygax’s Tomb of Horrors, say, or Descent Into The Depths of the Earth — came packaged as slender stapled sheets wrapped in a two-tone cover. Color arrived years later, and adventure modules got thicker and more elaborate. In the mid-80s TSR dazzled gamers with the first boxed adventure sets, including the World of Greyhawk, The Ruins of Undermountain, and the fabulous Menzoberranzan, home of the Drow.

These weren’t just game modules — they were entire campaigns, weeks or even months of epic subterranean exploits crammed into a cardboard carton. There was nothing like opening up Dragon Mountain or Dark Sun for the first time, and seeing reams of folded maps and dense booklets promising near-limitless adventure.

Alas, it was not to last. TSR published its last boxed adventure in the late 90s. By the time Third Edition D&D arrived they had vanished, replaced with bland adventure books. Boxed sets were too expensive to produce, pundits said. And modern gamers want to be able to flip through books before they buy, see what they’re getting. The rest of the gaming industry followed D&D‘s lead, and the beloved boxed set appeared to have disappeared for good.

But nobody seems to have told Fantasy Flight, publisher of Warhammer Fantasy Roleplay. Since 2009, they have been producing a top-flight line of boxed adventures for the Warhammer RPG, including The Edge of Night, The Gathering Storm, and the latest, The Witch’s Song:

Something unnatural is stirring in the small fishing village of Fauligmere. Legends of a swamp witch are whispered among the superstitious townsfolk. And if it weren’t for the haunting voice coming from the mists of the Cursed Marshes, you might laugh at such tales. But in Fauligmere, nothing is as it seems.

The Witch’s Song is a standalone adventure for Warhammer Fantasy Roleplay, introducing new rules and options for hedge wizards and witch characters. This boxed adventure features a full-colour book detailing this mysterious adventure in a suspicious town, as well as all the sheets, cards, and tokens a GM needs to bring the story to life. Players must investigate the mysteries that plague Fauligmere, gain the favour of the people, and learn the truth behind the town’s legacy. Can you resist the lure of the witch’s song?

Typical for Fantasy Flight, the production values and art are top-notch. Best of all, they don’t skimp on that most essential aspect of the boxed adventure: the goodies. The Witch’s Song, for example, is packed with dozens of play aids, including action cards, location cards, creature cards, player handouts, party sheets, and more — most illustrated in full color.

Is it too much to believe this is the start of a new trend? In May of last year, Wizards of the Coast released The Shadowfell, the first D&D boxed adventure in more than a decade. Since then, they’ve followed up with Madness at Gardmore Abbey. It’s still too early to declare a true return of the boxed adventure, but I’m keeping a weather eye out.

New Treasures: The Demoness of Waking Dreams by Stephanie Chong

Friday, October 5, 2012 John ONeill Comments 6 comments

One of the critiques I get about my New Treasures column is that I don’t cover much Paranormal Romance.

That’s probably true. A lot of it arrives here at the rooftop headquarters, but I can’t get Howard or Mike Penkas to read it. As for me, I like to focus on the week’s most exciting titles for New Treasures, and I just don’t know that much about what’s really exciting in Paranormal Romance.

Yeah, that sounds like an excuse to me too. There’s a lot of good work being done in the sub-genre — it’s been the most popular form of fantasy for at least the last three years — and we’re not doing a service to anyone by neglecting it. I should just jump in with both feet and educate myself.

So where do I start? I have a tried and true system for selecting books: I go with the best covers. And this week that meant my hands wandered towards Stephanie Chong’s second novel, The Demoness of Waking Dreams.

Ex-cop Brandon Clarkson is an angel with an edge. His tough exterior is the perfect camouflage for his job — hunting down the most dangerous criminals on earth. A self-reliant and demanding lone wolf, Brandon is the perfect angel to track and capture demoness Luciana Rossetti.

Beneath the surface of Luciana’s cool, green-eyed beauty lurks the heart of a malevolent killer. In the winding streets of Venice, she lures Brandon into her dark world of pleasure.

They are perfectly matched. Angel and demon. Man and woman. But only one can win the battle of wills, of strength and of desire.

My first thought was to pass this off to my teenage daughter Tabitha to get her take on it. But flipping though it, I discovered some pretty steamy scenes that would probably get me in trouble. For the sake of propriety, this is a mission I should undertake myself. Yeah. That would be best.

Chong’s first novel, Where Demons Fear to Tread, is part of the same series (The Company of Angels), but seems to deal with different characters. This volume seems to be suitably standalone.

The Demoness of Waking Dreams was published by Harlequin MIRA on August 28, 2012. It is 359 pages for $7.99 in paperback ($6.99 for the digital edition).

Why I Stopped Reading Granta

Thursday, October 4, 2012 John ONeill Comments 6 comments

I used to subscribe to Granta when I was in grad school. It’s a literary magazine published in the UK, originally produced by students at Cambridge University (where it offered early work by Ted Hughes, A. A. Milne, Sylvia Plath, and many others). It was relaunched as a wider journal of “New Writing” in 1979; since then it’s published work by Mario Vargas Llosa, Richard Ford, Saul Bellow, Salman Rushdie, Ian McEwan, Gabriel García Márquez, and lots more.

But while Granta showcased some terrific writing — when it wasn’t focused on an odd mix of memoir and photojournalism — too often the fiction left me cold. On their website the editorial team writes convincingly of their “belief in the power and urgency of the story, both in fiction and non-fiction, and the story’s supreme ability to describe, illuminate and make real.” But what I frequently read in Granta weren’t so much stories as brief literary fireworks: dazzling to watch, but ultimately empty. For someone looking for love in the crowded literary scene, Granta seemed a bit too smitten with beauty and a bit too scornful of personality.

So I let my subscription lapse. But I did pick up the odd issue now and then. Not because of all that beauty or anything. Just, you know, for the articles.

Granta’s changed management a few times since we hung out together in grad school. The owner of The New York Review of Books took a controlling stake in 1994; in 2005 it changed hands again. I’ve lost track of how many editors it’s had over the same period. But it still does themed issues, and not very predictable themes, either. Granta #69 was The Assassin issue, and #74, Summer 2001, was Confessions of a Middle-Aged Ecstasy Eater (“Perhaps no truth is more momentous, as none more difficult to face, than the blackest, most abject one about oneself. My son supplies me with drugs, with Ecstasy.”)

In tune with that unpredictability, the theme of last year’s Autumn issue was Horror. This was intriguing enough for me to buy a copy, just to see what happened when Granta wandered into my neighborhood. The issue has an impressive table of contents, featuring original fiction by Don DeLillo, Sarah Hall, Rajesh Parameswaran, and Stephen King, and others. Of course there’s also the usual mix of non-fiction, from Will Self, Paul Auster, and Santiago Roncagliolo, among others.

And as a perfect metaphor for this awkward meeting of literature and genre, Mark Doty’s memoir-slash-essay “Insatiable” opens with the odd assertion, from a 2003 Walt Whitman bio, that “Bram Stoker based the character of Dracula on Walt Whitman.”

…

Hawkmoon Gets Some Respect With Tor Reprints

Wednesday, October 3, 2012 John ONeill Comments 21 comments

It’s good to see Michael Moorcock back in print in attractive accessible editions again. Thirty years ago the man ruled the paperback shelves with numerous titles in print, including half a dozen Elric novels, the Chronicles of Corum, the Jerry Cornelius books… and of course, Hawkmoon.

Moorcock is still in print, of course — but chiefly in expensive omnibus editions these days. You can’t ride your bike down to the corner store, spot a slender Moorcock paperback on the rack with a glorious Michael Whelan cover, shell out 95 cents, and cram that baby into your back pocket like you used to. (And if you can, listen to an old man and take that Hershey’s bar out of your pocket first. Trust me, you’ll thank me later.)

Anyway, my point is, those fat hardcover editions are great for cranky old collectors like me. But they don’t do much to introduce the man whom Michael Chabon called “The greatest writer of post-Tolkien British fantasy” to a new generation. Michael Moorcock deserves to be celebrated with permanent editions of his work, sure. But he should also be available in cheap paperbacks that teenagers can fold in half while they’re reading, mesmerized, on the back of the bus.

The era of the cheap paperback is over. But Tor did the next best thing two years ago, releasing all four Hawkmoon novels — The Jewel in the Skull, The Mad God’s Amulet, The Sword of the Dawn, and The Runestaff — in slender trade paperbacks with gorgeous new covers by Vance Kovacs. Now that all four have been remaindered (selling at Amazon for between $5.60 and $6.00 each, while supplies last), I took the opportunity to buy a complete set.

Collectively known as The History of the Runestaff, the novels follow the adventures of Dorian Hawkmoon — an aspect of Moorcock’s Eternal Champion — on a post-holocaust Earth as he travels a world of antique cities, scientific sorcery, and crystalline machines and is inexorably pulled into a war against the ruthless armies of Granbretan. Here’s the description for the first novel, The Jewel in the Skull:

Dorian Hawkmoon, the last Duke of Koln, swore to destroy the Dark Empire of Granbretan. But after his defeat and capture at the hands of the vast forces of the Empire. Hawkmoon becomes a puppet co-opted by his arch nemesis to infiltrate the last stronghold of rebellion against Granbretan, the small but powerful city of Kamarang. He’s been implanted with a black jewel, through whose power the Dark Empire can control his every decision. But in the city of Kamarang, Hawkmoon discovers the power inside him to overcome any control, and his vengeance against the Dark Empire is filled with an unrelenting fury.

The Hawkmoon novels were originally written between 1967 and 1969; the Tor reprints were published between January and December of 2010. Roughly 200 – 220 pages each, their original cover price was $14 – $15; they are currently much less. Move quickly if you want copies; they are selling fast.

Amanda Palmer’s Kickstarter Scandal (and New Album)

Wednesday, October 3, 2012 John ONeill Comments 10 comments

Musician Amanda Palmer has been a favorite of fantasy fans since her days with the Dresden Dolls. Her first solo album, Who Killed Amanda Palmer? (a loose homage to “Who Killed Laura Palmer?”, the famous line from cult TV show Twin Peaks), generated a companion photo book with text by Neil Gaiman and pictures by SF photographer Kyle Cassidy. I first heard about it from Kyle when he came to Chicago to add to his “Where I Write” project, photographing SF and fantasy writers in their writing caves (and taking a pic of me in my big green chair.)

Palmer’s 2011 wedding to Gaiman cemented her status as genre royalty. But true fame had to wait until May of this year, and it arrived in the form of a legendary Kickstarter campaign. Seeking $100,000 to fund her new album and tour, Palmer raised closer to $1.2 million, winning the title Queen of Kickstarter from MTV and numerous news outlets in the process.

Palmer’s new album, Theatre of Evil, arrived a few weeks ago. But its success has been overshadowed by a growing controversy surrounding hiring opening acts for her tour. Here’s what The New Yorker said yesterday, under the headline “AMANDA PALMER’S ACCIDENTAL EXPERIMENT WITH REAL COMMUNISM”:

Amanda Palmer, the singer who raised a spectacular sum on Kickstarter to fund her new album and then neglected to pay the musicians who toured with her, is the Internet’s villain of the month… Album in hand, Palmer prepared to tour. She advertised for local horn and string players to help out at each stop along the way: “join us for a couple tunes,” as the post on her Web site had it. Even better, “basically, you get to BE the opening ACT!”

Just one thing, local musicians. There would be none of this million-plus dollars available for you. Supposedly, Palmer had spent it all on producing her album… She promised instead to “feed you beer, hug/high-five you up and down (pick your poison), give you merch, and thank you mightily.” This is a compensation package which, honestly, might be worse than nothing. Depends on the beer.

Cue furor, via the usual music, snark, and music-and-snark Web sites. Palmer has since renounced her hornsploitation scheme and will pay the band, but the outrage remains.

The story has been picked up by The New York Times (“Rockers Playing for Beer: Fair Play?”), Digital Trends (“Kickstarter queen Amanda Palmer, meet your Internet backlash”), Gawker, (“Amanda Palmer’s Million-Dollar Music Project and Kickstarter’s Accountability Problem,” accompanied by a graphic showing Palmer grabbing bags of money), and other news outlets. She’s been called out on Twitter multiple times by musicians unions, and American Federation of Musicians President Raymond M. Hair Jr. told the New York Times, “If there’s a need for the musician to be on the stage, then there ought to be compensation for it.” As The New Yorker noted, Palmer has since relented and agreed to pay the opening acts, but so far the furor shows no sign of dying down.

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