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Deepest, Darkest Eden edited by Cody Goodfellow

Deepest, Darkest Eden edited by Cody Goodfellow

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oie_11233710dfgxIM2cClark Ashton Smith, one third of the Weird Tales triumvirate along with H. P. Lovecraft and Robert E. Howard, has been a favorite of mine ever since I bought a copy of the Lin Carter-edited collection Hyperborea. I was thirteen or fourteen and Smith’s archly told stories of the titular prehistoric land and its impending doom before an encroaching wall of ice, stunned me. I was long familiar with Lovecraft’s purple prose, yet nothing had really prepared me for Smith’s cynical, lush, and utterly weird writing. The stories were stunning and I was a fan.

I was pretty excited when John R. Fultz announced that he had a story in soon-to-be-published Deepest, Darkest Eden,  a collection of new stories edited by Cody Goodfellow and set in Smith’s Hyperborea. As soon as I finished reading Fultz’ post (and letting my brain drink in the gloriously pulpy cover by Mark E. Rogers) I headed over to publisher Miskatonic River Press’ site and ordered my copy. I couldn’t wait to get the return to Clark Ashton Smith’s decadent, dying land into my hands.

For me, stories set in someone else’s created world, or using their characters, need to center on what makes the original special. They don’t need to replicate it exactly, and with Clark Ashton Smith’s idiosyncratic prose it would be a mistake to try, but they should aim for similar artistic goals. Ryan Harvey, in his long article about Smith’s Hyperborean Cycle, concluded that it’s an “unusual medley of elements, with Lovecraftian themes rubbing against satiric jabs, elevated mocking language, black jokes, and a sense of a slow, chilly annihilation that cannot be escaped”. That gives any author setting out to play in Smith’s imaginary Hyperborea a wide array of ideas to pursue.

Many of the stories in Deepest, Darkest, Eden — and there are eighteen plus two poems — are very successful at meeting my test for success. Several of the authors have clearly subsumed the alternately funny and despairing world view of Smith and mixed it with their own talents to create worthwhile additions to the Hyperborean Cycle.

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Neoclassical Adventure

Neoclassical Adventure

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afgIf you’ve been following the online discussion of tabletop roleplaying games (especially fantasy roleplaying games) over the last few years, odds are good you’ve heard of the “Old School Renaissance.” For that matter, if you’ve been following the RPG coverage here at Black Gate, you’ve probably already noticed this term being used in numerous blog entries before this one. As folks online are wont to do, some will quibble and kvetch about the precise meaning of the OSR (as it’s come to be known; it even has a logo!), but, at its most basic, the Old School Renaissance is a renewed appreciation for the RPGs of the 1970s and ’80s, as well as a renewed interest in playing these classic games.

Gamers being what they are (and always have been), it wasn’t long after the OSR picked up steam that people wanted to start producing new material for their favorite RPGs, a desire facilitated by the Open Gaming License and System Reference Document that Wizards of the Coast released at the same time as the Third Edition of Dungeons & Dragons in 2000. Together, they made it possible to create and sell “clones” (or “retro-clones”) of popular roleplaying games from the past, games that are in many cases are long out of print or locked away in the IP vaults of a corporation. Want to write an adventure for your beloved 1981 edition of D&D? Labyrinth Lord lets you do that. Want to publish a new campaign setting for AD&D? OSRIC gives you the tools for just that. There are also clones for games like RuneQuest, Gamma World, Chill, and many more, not to mention many older games that have come back into print as a result of the renewed interest the OSR has generated in them. Whatever your favorite game of the past, odds are good that you’ll be satisfied.

There’s another category of old school RPGs, however. They’re not clones, since they aren’t modern-day restatements of older rules sets, but they do take clear inspiration from their predecessors of yore. They are, for lack of a better term, neoclassical roleplaying games.

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Sharon Shinn’s Royal Airs: A Review

Sharon Shinn’s Royal Airs: A Review

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BGRAFirst of all, I love getting snail mail. Postcards are great, letters are better — but best of all is a lumpy Manila package with something mysterious inside of it.

But when I came home to see my mailbox was stuffed full of a Manila envelope from Sharon Shinn, there was no mystery.

There was only a short squeal and a jig. I knew what awaited me. I bounded up the stairs to the third floor, reciting all the while:

“Her book! Her book! Her newest book!!!”

Because Sharon? Rocks.

(I mean, I thought she rocked long before I met her, but after John O’Neill introduced us at one of those World Fantasy breakfasts where you can’t believe you’re eating pancakes with a woman whose books you devour regularly, she rocked about a thousand times more.)

Royal Airs is the second in the “Elemental Blessings” series, which take place in the Kingdom of Chialto. It’s an exciting time in this secondary world, with “smoker cars” taking over for horse-drawn carriages, the blushing dawn of flying machines, alliances forming and falling apart with realms across the mountains and seas, the delicate balance of power between the regent, the primes of the Five Houses, and the heirs to the throne.

All of this and magic too!

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Spotlight on Fantasy Webcomics: Thistil Mistil Kistil‘s spin on Loki

Spotlight on Fantasy Webcomics: Thistil Mistil Kistil‘s spin on Loki

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It’s the official release date for Marvel’s Thor: The Dark World, and posts on Norse Mythology, the Thunder God, and the Trickster Loki are cropping up all over the Internet. (Fantasy author Max Gladstone’s post on “The Real Loki” at Think Progress is one of my favorites.) I’m grateful to Marvel for drawing attention to Asgard, especially because it gives me the excuse to write about one of my very favorite webcomics, Thistil Mistil Kistil (TMK) by Sarah Schanze. It’s a unique spin on Norse mythology that features Loki as one of the major protagonists — and while he’s still a trickster with a distinct tendency toward chaos (and probably ADHD), he’s not the villain that the stories so often make him out to be.

An early page from Sarah Schanze's Thistil, Mistil, Kistil, featuring hero Coal and trickster god Loki.
An early page from Sarah Schanze’s Thistil, Mistil, Kistil, featuring hero Coal and trickster god Loki.

The story begins with Coal, a young Viking warrior who ought to be on his way to Valhalla. But despite his heroic death, he’s brought to Odin and the All Father (with the help of an irritable Thor) explains that Loki has stolen the weapons of the gods and it’s up to Coal to get them back. Since Loki once saved Coal’s life, Coal believes he might just be able to accomplish the task — but Loki being Loki, it’s not going to be simple. Set during the Viking Era, with plenty of detail about the world in which the historical (rather than mythical) Vikings explored, TMK combines fantasy, history, and mythology in one big quest tale. And as Coal and Loki search for the missing weapons (because of course Loki doesn’t have them any more — that would be too easy!), new non-Viking characters–including shy Hedda, the former thrall, and Ibrahim, a Moor scholar–get pulled into the adventure.

I discovered TMK in 2010, through Comic Creators for Freedom, a group that does a fundraiser every year to promote awareness of and fight against human trafficking. That was where I first met Hedda, who doesn’t appear until Chapter 5 of the story (so I had to wait a while to actually see her appear). For people unfamiliar with CCF’s fundraiser, the comic creators collaborate on a desktop wallpaper featuring characters from each of their comics, which donors to the fundraiser receive. All of the donations go to the charity Love146. I’ve found several of my favorite webcomics through the fundraiser, and I feel good about supporting artists who are involved with the charity.

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A Contagious Love of Fantasy: Lin Carter’s Imaginary Worlds

A Contagious Love of Fantasy: Lin Carter’s Imaginary Worlds

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Lin Carter Imaginary Worlds-smallI recently did a review here at Black Gate of L. Sprague de Camp’s 1976 Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy. De Camp’s book is one of the few histories of the genre of fantasy around, and it is a great and enjoyable book. But it’s not the only one, nor probably the most favored. I get the sense from others’ comments that the Best History of Fantasy title probably goes to Lin Carter’s 1973 Imaginary Worlds.

Each of the chapters in de Camp’s book is dedicated to a separate writer. But most of the chapters in Carter’s book are centered around themes; in each chapter he examines fantasy writers that explore that theme well. In addition, Carter’s concluding chapters contain advice to authors on how to write fantasy. I found this latter part less interesting.

One of the plusses I pointed out for de Camp’s history was that you could tell he loved the genre. The same must be said in spades for Lin Carter. Carter wrote the introduction for Literary Swordsmen, and I was very excited to read de Camp’s book just on the strength of Carter’s intro. Imagine how enthusiastic I was to get Carter’s own book on the subject! (I’ve also heard that Carter’s intros to the Ballantine Adult Fantasy are fantastic as well.)

Carter’s love of fantasy is contagious. He writes with a real verve for his favorite fantasy authors, books, and tropes. Carter is unapologetic about his love for fantasy and seems completely unaffected by criticisms of childishness or escapism. Given his thoughtful interactions with the genre, he does not come off as a slavish fanboy. Instead, Carter strikes me as an intelligent and committed fantasist. Quite refreshing! I wish he were still alive.

Often when I read or hear other people talk about their favorite authors or books, I make notes for possible future purchases. If you’re setting out for yourself the task of trying to catch up on the great works of fantasy, the many references that Carter gives can leave you feeling exhausted.

But Carter is also good at pointing out what you probably shouldn’t bother with or if you’re only going to read one book by author X, make sure you read just Y. These suggestions are incredibly helpful and lessen your anxiety if you are indeed trying to catch up on the great works. (Speaking of which, I definitely want to get a copy of The Worm Ouroboros by E. R. Eddison. De Camp and Carter both raved about it.)

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Galaxy Science Fiction, June 1951: A Retro-Review

Galaxy Science Fiction, June 1951: A Retro-Review

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Galaxy Science Fiction June 1951-smallThe June, 1951 edition of Galaxy Science Fiction featured several longer works: two novelets and the second part of a serial novel. That only left room for one short story.

In his editorial remarks, H. L. Gold writes of his discovery of science fiction and how his love for it helped him realize what he wanted for a career.

Unfortunately, the dream of editing as good a magazine as possible does not include production difficulties. Because buying paper these days is like being mugged on a dark street, GALAXY has been late much too often… Other headaches are distribution, newsstand display, rocketing costs, ruckuses over ads, sweating good stories into better stories, and improving art, which has been the biggest single gripe of readers.

Regardless of the hassles, Gold found a way to keep the magazine going, and the June issue is another strong showing.

“Hunt the Hunter” by Kris Neville — Ri and Mia act as scouts for humanity’s leader, Extrone, helping him to successfully hunt a farn beast. Extrone is an intimidating figure who will risk confrontations with hostile aliens for the chance at killing a farn beast, something so rare in the systems humanity controls. Ri and Mia try to hide their traitorous thoughts as they lead Extrone toward the beasts, hoping to complete their mission quickly before Extrone’s impatience leads to wrath.

I loved Extrone’s character in this story. By far, it overshadows everyone else, but it works. I could picture Jeff Bridges playing the role, if this was a movie, barking out commands and delivering the slow, menacing dialogue.

I read a little about Neville, and it seems he was one who quickly vaulted into several of the big magazines. But he apparently felt that his work extended beyond the accepted boundaries of science fiction at the time. So he withdrew from science fiction and instead wrote texts in the field of epoxy resins. Yes, I’m serious.

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October Short Story Round-up

October Short Story Round-up

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Another month, another batch of new short stories for your reading enjoyment. First there’s the usual complement of two stories from the October issue of Curtis Ellett’s Swords and Sorcery Magazine. Then, between Beneath Ceaseless Skies #131 and #132, there are an additional seven stories. I was hoping the Autumn Heroic Fantasy Quarterly would hit the ether before I had to get this done, but no such luck.

oie_44528E6erIABHSwords and Sorcery Magazine is straightforward. See that title? That’s pretty much what you get and I consider that a good thing. That I’m writing this while listening to Manowar’s Battle Hymns is absolutely appropriate.

Swords and Sorcery opens with James Lecky’s “Forged in Heaven, Tempered in Hell“. The story is told alternately from the perspectives of Halvari, High Priest of Baal-Rethok, and Kharchadour the God-Slayer as they face one another across the battlefield. The priest is the chief servant of the last of the demonic idiot gods and the God-Slayer is the man who’s killed all of Baal-Rethok’s co-deities.

The priest’s narrative consists mostly of begging his master to destroy the approaching warrior, while the God-Slayer’s recounts his origins. There’s nothing strikingly original about the plot, but what makes this story work is the bloody determination of Kharchadour. Also, I’m a big fan of the standalone short story that doesn’t feel like it’s missing a real beginning or ending, of which this is a great example.

Donald Jacob Uitvlugt is the author of S&S’s second story, “Right of Ultissima.” Lady Alina of Marovia is introduced smashing open the door to the Loremaster Tolek’s lab with her sword. For twenty years, she has sought vengeance for her father’s death. Before she can act, Tolek calls for the Rite of Ultissima, the privilege of speaking a last few words before death. What he says forces her to reconsider her entire life. Uitvlugt refers to his writing as haiku fiction: short and impactful. At under 1,800 words, it is pretty short. Its impact, mostly derived from some not surprising psychological insights, and unfortunately not the trappings of magic and swords, is only moderate.

So last month I was excited that Beneath Ceaseless Skies seemed to be back on the heroic fiction train. Well, that train derailed.  Issue #131, the double-sized fifth anniversary issue, has five stories — one to commemorate each year of its existence — and not a single one can be even marginally considered heroic fiction. I almost don’t care that two of them are really good.

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A Look Into the Heart of the Great Continent: Milt Davis’ Woman of the Woods

A Look Into the Heart of the Great Continent: Milt Davis’ Woman of the Woods

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Woman of the Woods - smallSword and Soul is a genre that embraces the pulp-style action and adventure of Sword and Sorcery with the world-building of Heroic and Epic Fantasy.

It was born in the 1970s, when famed author Charles Saunders created Imaro, the first black fantasy hero in Sword and Sorcery fiction. Using the diverse mythologies, religions, histories, and traditions of Africa and its many ancient cultures, Sword and Soul offers us a look into the heart of that great continent and the rich heritage of its people. The setting is often an alternate-world version or a forgotten age of prehistoric Africa, something that is often ignored in fantastic fiction, other than those tales of “the great white hunter in Darkest Africa.”

The beauty of Sword and Soul — what makes it unique and refreshing for me — is that it revolves around a world, its people and cultures and traditions, that are not usually represented in the medieval, European-based worlds of fantasy.

Milton J. Davis (author of Changa’s Safari, Meji, and co-editor, along with Charles Saunders, of the anthologies Griots and the upcoming Griots 2: Sisters of the Spear) is at the forefront of the new Sword and Soul movement, leading a wave of new authors who are building new worlds and expanding on old concepts and traditions.

In Woman of the Woods, Davis returns to the world of Meji and introduces us to a new character, Sadatina. She’s a young Adamu girl on the threshold of womanhood, who finds herself at the center of a war between her people and their old enemy, the Mosele. For all the action, adventure, and magic, this is also a dramatic “coming of age” story, with real flesh and blood characters that have a past and carry the emotional weight and baggage everyone collects over the years.

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Self-published Book Review: The Nameless Dwarf by D. P. Prior

Self-published Book Review: The Nameless Dwarf by D. P. Prior

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Nameless_chroniclesI have a soft spot for dwarves. I consider elves over-used Mary Sues and I could go another decade or two without reading another story about fairies, but give me short smiths with beards and axes who drink too much and I’ll keep reading. Which brings us to this month’s self-published book: The Nameless Dwarf: The Complete Chronicles. This wasn’t a book that the author submitted to me by my normal process: I’ll get back to those next month. This time, I actually bought the book from Amazon for actual money, because hey, it was about a dwarf.

Nameless (and yes, everybody calls him Nameless) has a bit of a history. Much of it is chronicled in earlier books, only a couple of which seem to be available from Amazon. Because of this, I decided to take a chance on The Nameless Dwarf without reading about Nameless’s previous adventures. The problem is that the backstory is a bit much to take in all at the beginning. The long and short of it is that Nameless came in possession of a cursed axe. Despite this, he engaged in a number of adventures with the well-known hero Shader, but later, the axe overcame him and caused him to do all sorts of unsavory things, including butchering a lot of his fellow dwarves and becoming a tyrannical dictator and driving them to war, until at last his people fled. When Nameless was finally freed of the cursed axe, he decided that he needed to seek his people out, not to ask forgiveness, which was impossible, but to tell them they could go home, before their exile in the nightmare lands of Qlippoth destroy them utterly. And that’s where the novel begins. I can’t help feeling that the backstory would have had more power if I had been able to read the earlier books and there were plenty of references to people and events from the previous stories that I would have liked to know more about. But even so, there was enough explained at the beginning that I wasn’t entirely lost.

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The Great Captains by Henry Treece

The Great Captains by Henry Treece

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oie_262359311A1AFqJk

They were great men, yet to see them only as men, stripped of their doom-driven greatness, is to represent them on too trivial a scale. To draw them as massive heroes only would be to recreate them as inhuman cyphers.

from the preface to The Great Captains

The Great Captains (1956) is Henry Treece’s brutal and gripping version of the King Arthur story. Treece has pruned away the romantic embellishments that have obscured the old legend and returned it to the historic time and place in which it might really have happened. Excalibur isn’t buried in an anvil, but a tree stump, and Camelot isn’t a fairy tale castle, but a restored Roman town. Instead of an anachronistic quasi-medieval setting, the story unfolds during the bloody chaos of the waning days of Roman Britain decades after the last legionaries sailed for Gaul.

Britain’s darkest hours came in the Fifth Century AD, when waves of Germanic invaders swept across the English Channel. Stripped of all Roman soldiers in 407 AD, the people of Britain were forced to fend for themselves. In the end, they failed. None of the 1,000 or more prosperous Roman-style villas survived the Saxon onslaught. London, once rich and home to 60,000 people, was abandoned. Starvation and violence covered the land. Yet there were moments of hope.

In the middle of the Fifth Century AD, Ambrosius Aurelianus, a soldier of noble Roman ancestry, rallied the people and raised an army. For years, he fought off the invaders. His success spurred on the British and a generation after his death, the Saxons were routed at the Battle of Badon, securing another generation of peace for the land. According to the Historia Brittonum, written around 828 AD,

The twelfth battle was on Mount Badon in which there fell in one day 960 men from one charge by Arthur; and no one struck them down except Arthur himself.

This is the first historical mention of Arthur. The Historia goes on to document twelve great battles waged by Arthur, dux bellorum (war leader), against the Saxons and their allies. From this, all the great legends of Arthur Pendragon, Once and Future King, arise. And though many historians today have come to doubt he existed, Arthur lives on as the chivalric hero who leads the righteous against a seemingly overwhelming enemy.

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