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Category: Essays

The Nightmare Men: “Master By Name, Master By Number”

The Nightmare Men: “Master By Name, Master By Number”

‘He was impossible to miss. Tall in his dark suit, with his leonine head and imposing looks, he would have seemed prominent in any crowd…’ Such is the description of Titus Crow, delivered by his amanuensis and friend, Henri-Laurent De Marigny in the opening pages of the 1977 story, “The Viking’s Stone”. Created in 1971 by author Brian Lumley, the character was crafted in the tradition of other occult investigators, such as John Silence or Carnacki; Crow was an avowed agent of good, his struggles all the more impressive for occurring as they did in the harsh, nihilistic universe created by HP Lovecraft.

“Titus Crow?” said Arnold. “Yes, well, we’ve all had reason to fear him in our time…”

-Geoffrey Arnold, “The Black Recalled” (1983)

thecompleatcrowTitus Crow first appeared in Lumley’s 1971 story, “The Caller of the Black”. Crow’s credentials as a psychic sleuth and occult investigator are impressively vetted in the story, as he defeats both mortal and immortal enemies through the cunning application of the standard Lovecraftian eldritch lore, a shower faucet and a window pole. From the outset, it is clear that Crow inhabits the same deadly universe as Inspector Legrasse or John Kirowan, where elder entities prey on a mostly unaware human population; but unlike the former, Crow is well-armed against such entities and, unlike the latter, he’s quite happy to test himself against their machinations out of  simple heroism.

Schooled in a wealth of occult lore and possessed of an innate desire to confront evil, Crow is seemingly destined from birth to pit himself against the abominable. Indeed the 1987 story, “Inception” concerns the weird circumstances of Crow’s birth and baptism and the battle between Good and Evil which revolves around the latter. Too, the occult numerology behind the date and hour of that special birth comes into play more than once, as those numbers show Crow to be a Master Magus, a fact which puts a spanner into more than one opponent’s scheme.

In “The Lord of the Worms” (1983), Crow’s early career working for the British War Department in World War Two is mentioned, during which he worked to foil Hitler’s occult machinations. His destruction of the eponymous entity is his first step on the road which leads to his first ‘official’ case as an occult investigator in “The Caller of the Black”, wherein he confronts the villainous sorcerer Gedney and the nightmarish entity known only as ‘The Black’.

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It Came From GenCon 2012: Craft Edition

It Came From GenCon 2012: Craft Edition

GenCon isn’t called the biggest four days in gaming for nothing. As Howard Andrew Jones recently pointed out, it’s easy to go for several years and completely miss major tracks of programming (such as the fantastic Writers Symposium programs). One thing that’s easy to overlook amidst all the games are the great crafting booths…

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Goblin Road’s stuffed Hob Goblins

Black Gate has always been about finding the lesser-known sides of the fantasy world, and the Goblin Road line of products definitely fits the bill. They make dolls and masks, but let’s focus first on the dolls – such as this fun little guy shown to the right. These Hob Goblin toys are handcrafted in Ohio.

These things were just adorable and, as a gamer who has young gamers-to-be in the family, I thought they were awesome. The one flaw that I can see is that there isn’t a ton of diversity. There are three colors of vest, but all of the dolls had tan skin. I’d love to see some diversity in skin tone, as well as hair styles, and so on, to help mix it up a bit.

One fun little feature is that each Hob Goblin comes with a goblin adoption certificate, sort of like the ones that used to be included with Cabbage Patch Kids dolls, indicating that the goblin has been adopted by a kind human for their care and feeding.

In addition to the Hob Goblin dolls, Goblin Road produces molded leather masks of various styles, and some other accessories, such as horns. These were fairly impressive and reasonably priced as well, but aren’t currently listed on the website, though I’m told that the website will be updated to include these products in the relatively near future.

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GenCon 2012 – Dungeons & Dragons Next Keynote Liveblog

GenCon 2012 – Dungeons & Dragons Next Keynote Liveblog

Waiting for the D&D Next keynote to begin at GenCon 2012. Check it out on the big screen!
Waiting for the D&D Next keynote to begin at GenCon 2012. Check it out on the big screen!

For the first time in GenCon history, the week began with a keynote event on Thursday evening. And who gave the keynote? None other than the folks behind Dungeons & Dragons.

For the last several months, Dungeons & Dragons has been undergoing a transformation into their Dungeons & Dragons Next format (which they are loathe to officially call 5th edition).

The event was delayed a bit due to rain and venue change, but once things are moving, I’ll be liveblogging about the event. I know I won’t catch everything, but I’m sure there’ll be a link to video of the event online shortly and I’ll post it (and other background links) in an update over the next day or so, when I have more stable net access.

The Event Begins

7:25 pm – Peter Adkison, founder of Wizards of the Coast, runs onstage and discusses how this inaugural keynote came into being. Basically, Adkison strong-armed Greg Leeds (current CEO of Wizards of the Coast) into doing it, and made it clear that he expected Greg himself to get on stage and start the event off. So, with that ….

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The End of the World and Everyone Knows It

The End of the World and Everyone Knows It

on-the-beachI’ve always had a hankering for apocalyptic fiction. It probably goes back to the original Planet of the Apes being one of the first big-screen movies I ever experienced, though I was too young to appreciate or remember more than a flash or two — “Daddy, why is is that monkey riding a horse?”. I was probably asleep by the time Heston knelt in the sand in front of the Statue of Liberty. Does that still count as a spoiler? Nevertheless, it seems to have left an impression.

Recently, there’s been a boomlet of what I call full-stop apocalyptic movies. What I’m talking about is the sort of movie where everyone, and I do mean everyone, dies at the end thanks to some earth-ending cataclysmic event. No escaping to another world on a spaceship ala When Worlds Collide (or getting picked up by a Vogon construction fleet). Nope, the curtain comes down on everything and everyone in one dreadful, final coda.

You have to be in the right sort of mood to enjoy this kind of thing. I find a largish whiskey helps. While it sounds bleak, as an author or dramatist, the idea isn’t without merit. We’re all going to be face-to-face with death at some point. In this sort of story, all your characters are going to be meeting death at about the same time. The interest comes in seeing how each recognizes, struggles against, and eventually experiences their final moments, singly or together.

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The Thrill of the Unexpected: Why I Edit Clockwork Phoenix

The Thrill of the Unexpected: Why I Edit Clockwork Phoenix

Hi, folks! Mike Allen here. When I last came through, I blogged about monsters. I want to thank Black Gate overlord John O’Neill for granting me leave to return to this space and shill my new project.

Among the many things I do, I’m the editor of a series of fantasy anthologies called Clockwork Phoenix. At least, the first three books were marketed as fantasy by my previous publisher, even though I included some strange science fiction in their pages as well. (Though I’m someone who sees science fiction as a subset of fantasy rather than a whole separate thing, one of the reasons I’ll use them if they’re odd enough.)

One of the rewards were offering is a signed, numbered, limited edition chapbook of Cherie Priests fantasy tale The Immigrant.
One of the rewards we're offering is a signed, numbered, limited edition chapbook of Cherie Priest's fantasy tale "The Immigrant."

And I’m going to be editing and publishing a fourth volume in the series, thanks to a Kickstarter campaign that’s still underway. As of this writing I’m closing in on an $8,000 goal that will let me for the first time pay five cents a word for fiction – we’re going pro. If we keep going past that, I hope to launch a webzine that will be a companion to Clockwork Phoenix and the poetry journal I also edit and publish, Mythic Delirium, creating even more space for the kind of writing I love to thrive. But we’ll blow up that bridge when we come to it, eh?

John suggested I talk to you folks about how Clockwork Phoenix functions as a fantasy market, and I think that’s a fair question, given what Black Gate is all about.

Put bluntly, Clockwork Phoenix is a market for those who want to push the boundaries of what fantasy can be. I encourage stylistic experiments but insist the stories should also be compelling.

I want to point out that this gives me also sorts of freedom to include material that can’t be easily classified, I wouldn’t call it a break with long standing tradition in our field, at least as I’ve experienced said traditions.

I want to tell you how I was first introduced to short fiction that carries the fantasy label. I’m pretty sure then you’ll see what I mean.

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Writing of Arabia

Writing of Arabia

lionI get more and more e-mails about the sources I use to write about ancient Arabia, and questions about those sources come up more and more frequently every time I turn up on a convention panel. As a result, I took a long post live on my blog today about one of my favorite books, a historical memoir from the 11th century. When I talk about any of my sources in person I can only tell you how good I think it is. One of the benefits about putting my thoughts in writing is that I can provide examples from the text to prove my point.

So here, follow this link to read some truly great material from an 11th century warrior. Read on for tales of hunting, warfare, and loyal animals.

Purely by chance, another Black Gate writer took a post live about a graphic novel related to ancient Arabia over on his own web post this morning. Follow this link for more details about a stunning graphic novel known as the New Tales of the Arabian Nights over at the web site of John R. Fultz.

And  here’s a final link to a longer essay I penned about other great texts detailing old Arabia and its literature. These books deserve a far wider audience.


Howard Andrew Jones is the author of the historical fantasy novels The Desert of Souls, and the forthcoming The Bones of the Old Ones, as well as the related short story collection The Waters of Eternity, and the Paizo Pathfinder novel Plague of Shadows. You can keep up with him at his website, www.howardandrewjones.com, and keep up with him on Twitter or follow his occasional meanderings on Facebook.

A Brief Tribute to the Stories of Ray Bradbury

A Brief Tribute to the Stories of Ray Bradbury

the-october-countryI came to Ray Bradbury at what is likely a later age than most. I never had to read Fahrenheit 451 in school; if I read one of his short stories as a student I have no recollection. Several years ago, in a desire to start filling in some gaps I had in classic genre fiction, I gave Fahrenheit 451 a try. It was a powerful read and made a profound impact on me. It prompted me to seek out more Bradbury—and I’ve been hooked ever since.

Since then I’ve marveled in the wonders of Dandelion Wine, The Golden Apples of the Sun, The October Country, The Halloween Tree, Something Wicked This Way Comes, and The Martian Chronicles. If somehow you haven’t read any Bradbury yet, my advice is to pick any of the above titles and dive in. I’d recommend one over the others, but there’s no need. They’re all pretty much brilliant. You won’t be disappointed.

I’ve always been a little leery of science fiction and have read far more deeply of fantasy. Rightly or wrongly, my perception is that SF worships at the altar of technology, and is fixated upon cold, clinical subject matter for which I have little interest. But if the genre contained more books like The Martian Chronicles, I might view it a lot differently (a parenthetical aside: Though it may be the subject of a catchy song, to call Bradbury “the greatest sci-fi writer in history” isn’t accurate. Dark fantasy, horror, soft sci-fi, traditional literary fiction—Bradbury has written in them all, and sometimes all at once. He is in many ways genre-defying). Bradbury’s stories are in tune with our humanity and his fiction is life-affirming. They remind us that We’re human, and we’re alive, damn it. Bradbury often said that he loved life and was driven to write not only by his love of libraries and of reading, but of the very act of living itself. And that’s potent fuel for a lifetime of stories.

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The Nightmare Men: The Good Inspector

The Nightmare Men: The Good Inspector

jrlegrasseLike Van Helsing before him, Inspector John Raymond Legrasse has only had one canonical appearance: HP Lovecraft’s seminal “The Call of Cthulhu”. But like the Dutch professor, the Creole Inspector has continued on past the end of his own story, popping up here and there, stubbornly inserting himself into the arcane worlds of others, most notably those of CJ Henderson.

Described as a “commonplace looking middle-aged man”, Legrasse is a man devoted to duty and possessed of an unshakeable resolve, despite his unassuming appearance. This resolve pitches him into conflict with the servants of one of Lovecraft’s most enduring creations, Cthulhu. Legrasse’ part in “The Call of Cthulhu” is a minor one, but its reverberations reach far, especially when one considers how much a template ‘The Tale of Inspector Legrasse’ is for the modern occult detective story.

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The Nightmare Men: God’s Madman

The Nightmare Men: God’s Madman

vanhelsingAbraham Van Helsing only had one truly canonical appearance, arriving as he did mid-way through Bram Stoker’s Dracula. However, so strong was the Dutch professor’s hold on the public imagination, and so fierce his rivalry with the Lord of the Undead, that he has followed his nightmare enemy into the Twentieth Century like a gin-drinking Fury.

Described by Stoker as ‘a man of medium weight, strongly built, with his shoulders set back over a broad, deep chest…’ Van Helsing radiates physical and mental vitality, placing him in dynamic opposition to the ambulatory black hole that is Dracula. Van Helsing exudes the stuff of life, where Dracula only consumes. Besides his physicality, Van Helsing is ‘a philosopher and metaphysician, and one of the most advanced scientists of his day’; again, this is in contrast to Dracula, who is mired in Old World nightmare and squalor. One represents life, knowledge and light, while the other brings only darkness and decay. Van Helsing, like John Silence, is a representative of all that is good in man, set in opposition to malign forces which seek to pervert the natural world.

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What Writers Can Learn From Joss Whedon’s The Avengers

What Writers Can Learn From Joss Whedon’s The Avengers

avengers-movie-poster-1Disclaimer: This article will reference some scenes from The Avengers film. While I’ve tried to avoid specific spoilers about major twists, there are some things that give away plot elements and twists from the other Marvel Comics movies, such as Thor.

If you are a writer, be sure that you get a receipt when you go to The Avengers, because you should be claiming it as a work-related research expense on your taxes this year. (This should not be considered tax advice. Please consult with your tax preparer before making financial decisions.)

There has been no shortage of digital ink spilled gushing over how great the movie is. I’ll provide a link to some of the highlights below if you want to delve into the film itself. However, I wanted to go beyond discussing The Avengers as purely a viewing experience, but to focus on a couple of elements that writers can best take away from it.

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