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Doctor Who and the Daemons – the Novel!

Doctor Who and the Daemons – the Novel!

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Daemons002 More than once on Black Gate, I’ve heard that the seventies were a dead zone for science fiction and fantasy. For teens in search of readily available genre “gateway drugs,” I suppose this might have been true for many, but my particular experience of growing up managed, against all odds, to be different. Ohio was my home base, a vanilla environment for “culture” of the fantastical sort, but luckily I had a smorgasbord of British relatives. One especially perceptive and sibylline aunt started sending me Doctor Who novelizations.

Doctor Who and the Dinosaur Invasion, that was the first I tried. Next, one of the best offerings in the canon, Doctor Who and the Auton Invasion.  I was in third grade and after facing down those blank-eyed Autons and their Nestene masters, I was hooked.

Note that I wasn’t in any way watching the TV show. In Columbus, Ohio, it simply wasn’t available, not until the early eighties, and then, when PBS did pick up a few random episodes, it was Tom Baker’s roost to rule. The Jon Pertwee, Patrick Troughton, and William Hartnell adventures I first encountered were absent entire.

What Tom Baker’s run taught me is that talented actors can be mired forever in substandard scripts and even worse special effects. This was a total and unpleasant surprise, because the novelizations were fast-paced genre gems, especially those penned by Terrance Dicks.  (Malcolm Hulke was the other regular adapter for the Doctor Who franchise, with a rotating cast of fellow contributors including Gerry Davis, Ian Marter, and David Whitaker.) How could such pacey, adrenaline-filled books arise from such hokey, hamstrung screen material?

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Urban Areas: The City, by Stella Gemmell

Urban Areas: The City, by Stella Gemmell

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The CityA little while ago, I stumbled on a book that seemed especially worth writing about here: The City, by Stella Gemmell. It’s Gemmell’s first solo novel; she also completed Troy: Fall of Kings, the last book by her late husband, David. David Gemmell was a widely-known heroic fantasy writer — those unfamiliar with his work can see his Wikipedia entry, a wiki dedicated to his books, an obituary from The Guardian, a retrospective of his life and career from this site, and a look back at his first novel, Legend. I’ve only read a couple of his works myself, his early novels Legend and Waylander, but knowing his background I found myself curious about The City.

It’s the story of a vast, unnamed city at the centre of a sprawling empire, engaged in an ongoing brutal war and ruled by a mysterious immortal. The novel begins with a disgraced general struggling to survive in the labyrinthine sewers that undergird the city, then begins moving freely through a large cast, most of whom are soldiers in the city’s army. It becomes clear that the Emperor’s a tyrant, who must be overthrown — but can any merely human conspiracy survive against his mysterious powers?

The fantasy element of the book’s fairly light, beyond the setting (which itself turns out to have its own secrets). The book’s main focus is on war, battle, and the experience of the individual soldier. It ably moves from plot strand to plot strand, character to character, and occasionally skips forward by years or months. It’s an intricately-plotted book, and I suspect benefits from being read in a short time. Luckily, the style’s clear and plain without being simplistic, driving the reader on quickly through a series of fights and betrayals.

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The Top Five Differences Between HBO’s Game of Thrones and George R.R. Martin’s A Game of Thrones

The Top Five Differences Between HBO’s Game of Thrones and George R.R. Martin’s A Game of Thrones

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Game of Thrones-smallIt’s rare a show comes along that leaves readers wondering whether the book or screen version is better.

Generally speaking, film and television adaptations rarely live up to the complexity and depth of novels. In an effort to condense plot and keep things moving relatively quickly, and understandably, shows and films often act as the tip of the iceberg.

The original works, however, are more likely to reveal the underlying complexities (the rest of the iceberg, you might say) and true personalities of most of the characters. And, as expected, whole scenes are generally chopped from the film version due to lack of time.

So, of course, when a show like Game of Thrones comes along (the fourth season of which will be starting next week), that has some fans claiming the show is as good, perhaps even better, than George R.R. Martin’s A Game of Thrones, then we have no choice but to examine the merits of each.

In my opinion, the show lacks in several major areas. First: relationships.

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Mary Gentle’s The Black Opera: Another Opinion

Mary Gentle’s The Black Opera: Another Opinion

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The Black OperaTwo years ago, veteran author Mary Gentle’s most recent novel The Black Opera was published to mixed reviews. Some liked the book’s mix of alternate-history fantasy and comic-opera theatricality — as the sub-title has it, “a novel of Opera, Volcanoes, and the Mind of God.” Others, ably represented at Black Gate by Sean Stiennon’s review, found the pacing was slack, the fantastic elements underdeveloped — particularly with regard to how they affected the setting — and, perhaps especially, that the drama was undermined by a lack of conflict among the characters. Having just read the book myself, and having greatly enjoyed it, I felt like putting forward a few thoughts in the novel’s defence. Oddly, I don’t so much disagree with many of the criticisms as think that in context they actually work to make a pleasant, effective story.

First, let’s be precise about what we’re looking at. The Black Opera‘s set in the early-to-mid nineteenth century in a world where miracles happen: inconsistent but often startlingly powerful violations of physical laws that seem to be related to powerful musical performances. Ghosts and the walking dead are not uncommon. In Naples, a freethinking opera librettist named Conrad Scalese is saved from the Inquisition by agents of King Ferdinand II, who conscripts Conrad into a secret project: combating a secret society of Satanists who plan to invoke a miracle that will raise Satan and destroy Naples. They will do this by staging a Black Opera — so Conrad, on Ferdinand’s behalf, must create a countering ‘white opera’ to overcome their evil plan. The book follows Conrad’s frantic attempts to create and stage his opera on a tight timetable, introducing and setting up characters and subplots before an extended climax brings everything to a dramatic head.

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Firefly, A Retrospective — Part 7

Firefly, A Retrospective — Part 7

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The Firefly cast, out of uniform
The Firefly cast, out of uniform

Hey Independents! Well, today we get to the end of the first and only season of Firefly. Alas, it’s a bittersweet experience, but let’s load up and dig in for the last three shows.

The Message (Episode 12)

The crew is at a bazaar, with Simon and Kaylee having a date until Simon ruins it by being Simon. Mal is having a hard time finding a fence for the Lassiter pistol (see last week’s installment, episode 11). They check the local post office, where Jayne has a package from his mom – it’s the hat!!! (You Browncoats know what I mean. For everyone else, just Google “Jayne’s hat.”)

Mal and Zoe receive a crate. A sarcophagus, actually. Inside is the corpse of a young man. His name was Tracy. Mal and Zoe fought beside him in the war. In a brief flashback, we get the distinct impression this kid was kind of a dunce, but a lovable one.

Mal takes the coffin onboard Serenity and finds an audio recording. It explains that Tracy got into trouble and expected to be killed. He wanted Mal and Zoe to take his body home. While the ship and crew take off for the kid’s homeworld, some scruffy-looking federal agents bust into the post office looking for the sarcophagus. The post master tells them who took it.

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I Invoke the Voidal! Oblivion Hand by Adrian Cole

I Invoke the Voidal! Oblivion Hand by Adrian Cole

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oie_24224952K95LzfUEStripped of all his memories for some great transgression against the Dark Gods, the mysterious one called the Voidal, or Fatecaster, endlessly traverses the dimensions of the omniverse. Always he brings vengeance via his Oblivion Hand, an additional punishment of the Dark Gods. And furthermore, any who aid or befriend him are made to suffer.

Oblivion Hand (Wildside Press 2001) is a fix-up of eight early stories by Adrian Cole about his dark wanderer, the Voidal. Cole’s amnesiac protagonist was introduced in a chapbook titled “The Coming of the Voidal” (in this book reworked and retitled “Well Met in Hell.”) Five more tales appeared in a variety of small magazines and anthologies between 1977 and 1980, including Fantasy Crossroads and the Gerald Page-edited Heroic Fantasy. Two more, “The Lair of the Spydron” and “Urge and Demiurge,” were scheduled to be in Phantasy Digest and Weird Adventures respectively, but both magazines shut down before the stories could be published. They appear for the first time in Oblivion Hand.

In a review I did of the first two stories, “Well Met in Hell” and “The Lair of the Spydron,” I was harsh and almost disdainful. Still, there was something about them that I remember liking. Reading Lin Carter’s Kellory the Warlock last week (and whoever thought a writer most people agree was generally mediocre could attract so many comments a quarter of a century after his death?), elements of it reminded me of Cole’s book. Both authors were intent on creating a setting that wasn’t just another watered down mimeograph of Middle-earth; they wanted something stranger. Carter succeeded, but Cole did immeasurably better.

Cole’s omniverse is an endless collection of interesting settings: universe-sized dimensions; monster-infested pocket worlds; a realm filled not with planets but islands that float in space. Countless arrays of gods rule over these various worlds. Terrible beings like the Spydron create and work their will on hidden places they carve out for themselves. Powerful sorcerers raise themselves up above the gods in other worlds.

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The Public Life of Sherlock Holmes: The Case of the Short-Lived Holmes

The Public Life of Sherlock Holmes: The Case of the Short-Lived Holmes

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HouseofCardsNetflix’s House of Cards redefined what can be achieved by a web series. Everything about it, from casting to story to visuals, screams “quality.” The fact that it was intended to run for only a single season yet has already been renewed for a third testifies to the success that the show has had. It’s tough to maintain viewership when there’s almost nobody to root for, but they’ve done it.

But I wonder how many people realize that it is a remake of a 1990 British miniseries (apparently lust for power transcends decades. And centuries…)? Ian Richardson plays the Kevin Spacey role. Francis Urquhart has a disarming smile that makes him seem more warm than Spacey’s Frank Underwood. Don’t be fooled!

HouseofCardsRichardsonThe original House of Cards has a few Holmes ties. Female lead Susannah Harker appeared opposite Charlton Heston in the TV version of Crucifer of Blood, a modified version of The Sign of the Four.

She was also the client in Jeremy Brett’s version of The Adventure of the Dying Detective. Also, Colin Jeavons was Brett’s Inspector Lestrade. But it is Richardson’s brief tenure as Sherlock Holmes that we will look at now.

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Politics and Fantasy Make Strange Bedfellows

Politics and Fantasy Make Strange Bedfellows

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strange bedfellowsIn January, both M. Harold Page and I wrote posts about politics in fantasy literature. While we came at the topic from different points, I think we narrowed in on the same conclusion. I quote from Page’s post:

Of all the genres, Fantasy must be the worst possible channel for the politically minded author. They simply can’t be heard over that clash of steel and the roar of dragons…

Really enjoyed and appreciated his post. And I do take his point – escapism is great fun and entertaining. But ultimately escape and make believe can only go so far, and at other times and places we will have other needs, other reasons to want to read. Something that touches us inside.

The reason I’m coming back to this topic, perhaps more convinced than I was before of this serious liability in fantasy, is that I’ve just read Strange Bedfellows: An Anthology of Political Science Fiction. I’d mentioned the anthology in my post as something I was looking forward to reading.

Now that I have, maybe I’m having one of those stumbling-upon-a-watch-in-the-heath moments, because, for the life of me, I can’t see how fantasy could have done even a fraction of what this anthology seems to have accomplished effortlessly. A few examples will make this clear.

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The Series Series: Blood and Iron by Jon Sprunk

The Series Series: Blood and Iron by Jon Sprunk

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Blood and Iron Jon Sprunk-smallOf all the wild re-envisionings of the Crusades I’ve seen lately, Jon Sprunk’s Blood and Iron may be the wildest. His alternate-universe Europeans are recognizably European, but the opposing culture they face is that of a Babylonian Empire that never fell. And why has this Babylon-by-another-name persisted for thousands of years, so powerful that only its own internal strife can shake it? Because its royals actually have the supernatural powers and demi-god ancestry that the ruling class of our world’s Fertile Crescent claimed.

The Crusades seem to be having a moment in fantasy literature. This is the third novel I’ve covered this year that reimagines them. David Hair’s novel Mage’s Blood separated east and west with a sea so storm-ridden it could only be crossed every twelve years by means of a giant magic bridge, and the twelfth year coming was sure to unleash war. The alternate history in M. Harold Page’s Marshal Versus the Assassins was much more familiar — basically our own, with the addition of a few conspiracies and with unambiguously real miracles.

Jon Sprunk’s book takes the prize for strange worldbuilding. The Akeshian Empire is approximately what the Akkadian Empire might have looked like, had each of its major cities lasted as long and urbanized as complexly as Rome did. When monotheism comes to Akeshia, it arrives as a local heresy run amok, rather than as a foreign faith attracting converts. Akeshia’s gods are not kind gods; its semi-divine ruling caste are not nice people. However, when our hero comes to understand them from something closer to their own perspective, he finds much to admire and many people worth trying to save from the civil war that is beginning to take shape around him.

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Firefly, A Retrospective — Part 6

Firefly, A Retrospective — Part 6

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Firefly cast-smallHey there! I’m back this week with part 6 of my examination of the Firefly series. So far, we’ve covered the pilot in Part 1, episodes two and three (“Train Job” and “Bushwhacked”) in Part 2, “Shindig” and “Safe “ in Part 3, “Our Mrs. Reynolds” and “Jaynestown” in Part 4, and “Out of Gas” and “Ariel” in Part 5.

We’re into the second half of the season, where I really feel the show finds its stride.

First up, War Stories!

War Stories (Episode 10)

It starts with Simon and Shepherd Book (who was absent last episode during the hospital heist) discussing River’s condition. Simon thinks he’s closing in on what the Alliance did to her. River is struggling, though, because the treatments aren’t working all the time.

The crew is feeling good after their last job, though Wash gets irritated with Zoe for not backing his plan to cut out the middlemen when selling their loot. Instead, she takes the captain’s side in the discussion, and Wash feels Mal and Zoe are too close. Meanwhile, Inara’s attractive female client arrives on the ship. Jayne sees them and announces that he’ll be in his bunk. Classic Jayne!

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