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Bombs and Gorgeous Automatons: The Watchmaker of Filigree Street by Natasha Pulley

Bombs and Gorgeous Automatons: The Watchmaker of Filigree Street by Natasha Pulley

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The Watchmaker of Filigree Street-small The Watchmaker of Filigree Street-back-small

Imagine living in 1800s London and working near Scotland Yard as a telegraphist. Now, imagine how the foundations of your uneventful life are upended when a stranger saves you from a catastrophic bombing. And get this: they knew it would happen.

Thus begins The Watchmaker of Filigree Street by Natasha Pulley. When Thaniel Steepleton, the disillusioned telegraphist, befriends Keita Mori, a masterful watchmaker, their lives begin to weave around the clock. Cursed with the ability to see the future, Mori struggles to live in the present whilst preventing bad things from happening to Thaniel. In the meantime, bad things unfortunately happen to Mori, considering he ranks as the premier suspect in the bombing. Later on, a brilliant physicist named Grace enters their lives and attempts to rid Mori of his ability to foretell the future.

Along with this gripping tale, we learn about Mori’s aristocratic past in a war-torn Japan. We also learn the reason why he needed to start his life anew in London. Matsumoto, a man from his past, also journeys to London and weaves in and out of Grace’s life, hoping to find a place of permanence. The two subplots strengthen the plot in their center.

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Star Trek Movie Rewatch: Star Trek III: The Search for Spock (1984)

Star Trek Movie Rewatch: Star Trek III: The Search for Spock (1984)

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Where’s Spock? Why, he’s right there in the director’s chair, of course. For the third cinematic voyage of the Starship Enterprise, Leonard Nimoy took on a dual role as actor and director, though the former role was somewhat minimal. Which set a pattern for numerous other Star Trek cast members. According to Memory Alpha, the Star Trek wiki, 15 cast members eventually sat in the big chair, although only Nimoy, Shatner and Jonathan Frakes directed movies.

I don’t recall if I watched The Search for Spock prior to this rewatch project. But I actually watched it twice within a month or two to make up for it. Why? Well, because it didn’t really stick the first time around. Which is to say that about the best I can do to critique this movie is to damn it with faint praise. It’s like one of the many Star Trek TV episodes that’s not bad but that doesn’t have anything special to recommend it. I think the word serviceable sums it up best.

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The Lost Level by Brian Keene

The Lost Level by Brian Keene

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oie_62316zU0eMAQ8Lost worlds, pocket universes, dimensional traveling: these are things that warm my heart. Barsoom, the World of Tiers, and the Land of the Lost are places I want to see. A sword-swinging hero and warrior princess, well that’s pretty great by me. If your reactions are like mine then you are Brian Keene’s target audience for The Lost Level (2015), his love song to a certain kind of glorious pulp adventure that there aren’t enough of anymore. On the acknowledgements page he spells out explicitly the artists whose works helped inspire The Lost Level: Edgar Rice Burroughs, Robert E. Howard, Sid and Marty Krofft, Roy Thomas, Joe R. Lansdale, Mike Grell, John Eric Holmes, Karl Edward Wagner, Otis Adelbert Kline, Carlton Mellick III, and H.G. Wells. A tantalizing roll call of pulp genius. I am definitely this book’s target.

See that cover to the left? Even before I read a glowing review from Charles Rutledge, someone whose opinion I trust, that cover (by Kirsi Salonen) bellowed “BUY ME!” so loud and clear I knew I couldn’t hold out for long. Briefly, The Lost Level is the tale of a man from Earth lost in a different dimension, and his adventures alongside a warrior princess and a furry, blue alien. Now that I’ve read it… well, I really love the cover.

Brian Keene is best known as a prolific writer of gonzo horror (38 novels and 10 story collections over 13 years). His first novel, The Rising is credited with helping spark the current zombie craze, but I think it’s too good to merit the blame. I’ve only dipped a toe into his vast body of work but it’s been fun, if a little bloody. His established talent, coupled with that eye-popping cover, led me to have high hopes for the book.

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Book Review: The Mark of the Shadow Grove by Ross Smeltzer

Book Review: The Mark of the Shadow Grove by Ross Smeltzer

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If you have a book you’d like me to review, please see this post for instructions to submit. I am officially out of stories, since I haven’t received any recently and I’m reluctant to go back to submissions from more than a year ago.

Shadow Grove CoverWhile I usually limit myself to self-published books in my reviews here, I’ll occasionally review small press publications if I’m asked. This month’s review is of one such book, Ross Smeltzer’s The Mark of the Shadow Grove.

The Mark of the Shadow Grove is somewhere between a novel and a story collection. It contains three novellas, “The Witch of Kinderhook,” “Lord of All High and Hidden Places”, and “The Rule of Old Blood.” These three stories are all first person, but each one has a different narrator from a different time period: a necromancer’s apprentice in the 1820s, a young coed in the 1880s, and a journalist in the 1920s. But though the stories are from different perspectives and different times, they are ultimately connected, telling the story of two intertwined families, and the dark secrets that bind them. It is Lovecraftian in its horror, with gods beyond human ken who cause madness in those who encounter them, but it has eschewed any of Lovecraft’s deities for more familiar ones.

“The Witch of Kinderhook” tells its story both through the recollections of Tom, the aforementioned apprentice, and the journal of his missing master, Carver. Carver is not much of a necromancer. In reality he is a medical examiner with a history of fraud, an unhealthy obsession with old books of supposed occult lore, and an ill-founded belief in his ability to apply science to the ancient search for reviving the dead. He has come to Kinderhook to find the witch who dwells there, sure that she knows the secrets he seeks. Carver is disappointed with what he finds, and holds the witch’s attempts to teach him in contempt. Tom, meanwhile, is drawn to the beautiful witch Katrina.

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Legend of Legacy: Laborious

Legend of Legacy: Laborious

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Atlus has been one of the major players in getting unique and interesting RPGS onto the various Nintendo handhelds over the years: From the recent side stories of Shin Megami Tensei, to my personal favorite, the Etrian Odyssey series. However, not all of them can hook me, and today’s game Legend of Legacy is a case where thinking outside the box proved to be its undoing.

Legendof LegacyLegend of Legacy starts out as most JRPGs (Japanese role playing games) do: Mysterious setting, hidden treasures and a group of heroes on a quest, but the game quickly changes things up.

You can choose one person to be the main character at the start of the game, quickly meeting and teaming up with two other characters with the option to swap party members at anytime from the starting town.

The story is just a loose reason to go exploring, and the game allows you to skip cutscenes if you so choose. Similar to Etrian Odyssey, the main point of Legend of Legacy is to explore and build an effective party.

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Classically Awful or Awfully Classic: A.E. Van Vogt’s The World of Null-A

Classically Awful or Awfully Classic: A.E. Van Vogt’s The World of Null-A

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The World of Null-A-smallAlfred Elton van Vogt (1912-2000) is one of the great names of 20th century science fiction, and not just because the moniker sounds so odd, like it belongs to a mad scientist in a lurid Gernsbackian tale, the kind where “cosmic rays” are used to mutate the sleepy denizens of the city zoo into panicky prehistoric behemoths, which then rampage through the streets, spreading riot and chaos, thus allowing a cabal of sinister foreigners to hijack the metropolis’s secret supply of plutonium in order to build a colossal… sorry. Got a bit carried away there; once you’re in full Pulp Mode it’s hard to disengage. Back to A.E. van Vogt.

Van Vogt was a giant of the golden age of the 40’s, first appearing in John Campbell’s Astounding Science Fiction with the short story “Black Destroyer” in 1939. In the years that followed, he dominated the pages of the magazine with countless short stories and novels that even today are regarded as classics, among which the best known are Slan, The Empire of the Atom, The Voyage of the Space Beagle, The War Against the Rull, The Book of Ptath, and The Weapon Shops of Isher. (He frequently incorporated his short stories into his full length books; van Vogt was a pioneer of the “fix-up” — a term he coined — in which a novel is cobbled together from earlier, shorter pieces.)

In an era in which many of the SF writers of the 40’s and 50’s (some of major importance) have vanished from the shelves, most of the van Vogt books I’ve mentioned are still in print, and he remains influential — and controversial. (He did a short stint as a cheerleader for L. Ron Hubbard’s dianetics, for instance.) His writing seems to be equal parts sublime and appalling, and any discussion of van Vogt must sooner or later get around to addressing one simple question: can a “classic” be a godawful, incoherent mess?

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The Series Series: The Pagan Night by Tim Akers

The Series Series: The Pagan Night by Tim Akers

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It’s a tempting mistake to see The Pagan Night as an attempt to pare George R.R. Martin’s A Song of Ice and Fire series down to a more manageable scale. At first glance, the setting appears to be an old-school medieval European fantasy world with knights, peasants, heraldry, tournaments, and dark forests full of monsters.

Those dark forests are where Akers gets up to some impressive hijinks.

You may know the old saw about how a conquered people’s gods will become their conquerors’ demons. Akers takes that mythological observation and gives it a literal, visceral physicality that owes more to Miyazaki’s brilliant Princess Mononoke than to anything out of European myth or folklore. The novel’s conquered Tenerrans are animists — their customs look like those of European tribes, but their worldview seems to owe its greatest debt to Shinto.

But here’s a divergence: what happens to the gods who arise on their own from the natural world, now that the human rites that managed relations with them are outlawed? The gods go feral, mad, destructive. They must be killed again and again, only to come back again and again, always less like their old selves… until maybe they don’t anymore, and the land begins to die. Unless they can be protected in secret by the faithful.

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Changa: Before the Safari by Milton Davis

Changa: Before the Safari by Milton Davis

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oie_14244n24u2oHPRemember swords & sorcery? You know, the wild, adventurous storytelling that brought most of us here together at Black Gate. I’ve put it on the back burner for the last couple of months, choosing instead to delve into epic high fantasy. But a few weeks ago I got a message from sword & soul impresario/writer/publisher Milton Davis, who wanted to know if I’d be interested in reading the new Changa collection, Before the Safari, pre-publication. Is Conan’s hair square-cut? Does Ningauble have seven eyes? Is Elric bad luck for his friends? Yes. There are a few perks to reviewing at Black Gate and this is one of them. (The hard copy won’t be hitting the shelves until July, but you can get the e-book right now).

Changa Diop, for those not familiar with him (and every self-respecting S&S fan should be by now), was once a prince of the Bakongo people, but his father was overthrown and killed by the sorcerer Usenge. In the original collections, Changa’s Safari 1, 2, and 3 (reviewed by me and Joe Bonandonna), we learned that Changa eventually ended up enslaved and forced to fight in gladiatorial combat. He was rescued from his bloody life by the Swahili Belay. A merchant, Belay taught Changa his trade and eventually made him heir in preference to his own sons.

The three Safari books tell of Changa’s great adventure as he takes his merchant fleet from 14th century Sofala, in present day Mozambique, across the Indian Ocean to China and back again. If you have the slightest interest in old school S&S, these are right up your alley. Changa Diop is an adventurer of heroic proportions and deeds, worthy of standing alongside any of the S&S greats. Constantly pushed to his limits, he faces off against demons, pirates, evil sorcerers, and monsters — lots and lots of monsters.

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The Quest of Frank Schildiner

The Quest of Frank Schildiner

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7a0183d69395cea098c126a7581be8a7franktourbkJean-Claude Carriere is best remembered as the acclaimed screenwriter of Hotel Paradiso (1966), Belle de Jour (1967), The Discreet Charm Of The Bourgeoisie (1972), The Return Of Martin Guerre (1982), and The Unbearable Lightness of Being (1988). Less well known is the fact that he also authored (under the house name of Benoit Becker) six very bloody sequels to Mary Shelley’s classic Frankenstein; or, The Modern Prometheus (1818) in 1957 and 1958 for a French horror-specialty imprint. Carriere’s  books chronicle the exploits of Gouroull, as he christened the Monster, as he moves across Europe from 1875 to 1939.

Gouroull is portrayed very much in the mold of Mary Shelley’s literary original. He is a terrifying amoral creation possessed of superhuman strength and cunning. Truly the only one of his kind, he is a creation who has outlived his creator and knows not love or restraint. Gouroull is the ultimate sociopath. This Frankenstein monster is quite foreign to our pop cultural mindset. Gouroull uses his razor sharp teeth to slash his victims’ throats. He does not breathe. His skin is naturally flame-resistant. Ichor runs in his veins in place of blood. He is a monster like no other.

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An Old Dark House Double Feature: The Ghost and the Guest (1943) and The Monster Walks (1932)

An Old Dark House Double Feature: The Ghost and the Guest (1943) and The Monster Walks (1932)

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The Ghost and the Guest Lobby Card-small

The Ghost and the Guest
PRC Pictures, 1943
Directed by William Nigh

Stop me if you’ve heard this one. A decrepit old mansion that appears to be haunted. A pair of newlyweds move in and by the time it’s all said and done, we find out that the mansion is actually a hub for some nefarious criminal type dudes.

This was not a particularly fresh concept, even in 1943, and the execution leaves more than a bit to be desired. To call it a B-movie is probably elevating it to a much higher status than it deserves. I’m not sure if there’s such a thing a Z movie but this one’s no better than a V, at best.

The most notable factoid about this uninspired piece of work is that it was written by none other than Morey Amsterdam, best known for his role as one of the sidekicks on The Dick Van Dyke Show. His comic stylings, even at that time, were probably kind of old school, but he made it work with superior timing and delivery. None of which is on display from any of the alleged thespians in this particular cinematic exercise, where the comedy — and pretty much everything else — leaves a lot to be desired.

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