In the middle of the last century, you couldn’t say “Robin Hood” without evoking the image of Errol Flynn in 1938’s classic The Adventures of Robin Hood — every movie and TV show in the next thirty years about the bandit of Sherwood Forest was made in its long, green shadow. The Robin Hood story depicted in the Flynn film became the de facto standard version of the legend, cinematic comfort food, with subsequent screen incarnations not straying far from its characters and situation. Still, there were good times to be had in that long, green shadow, and tales of Robin and his Merrie Men owned Saturday afternoons for the sleepy Fifties and well afterwards.
The Revolution from Rosinante (1981), Long Shot for Rosinante (1981), and The Pirates of Rosinante
(1982), all published by Del Rey. Covers by Chris Barbieri (book 1) and Rick Sternbach (2 and 3)
It’s good to know there are other writers out there who obsess over vintage paperbacks the way I do. Well, there’s Rich Horton and James Davis Nicoll, anyway. And I enjoyed James’ thoughtful Tor.com article this week on the long-forgotten Rosinante Trilogy by Alexis Gilliland, published in the early 80s by Del Rey. Here’s his take:
Gilliland also had a lot of fun drawing on stock SF ideas and taking them in directions other authors of the time did not. Cantrell is, among other things, a deconstruction of those marvelous old-time SF engineers who never saw a cool idea sketched on a napkin that they did immediately put into effect without ever considering the ramifications… I don’t know why these books were not more popular, why they are not better known, or why there has been no new Gilliland book since the 1990s. The books’ brevity might have worked against them. Only one is more than 200 pages and the other two are closer to 185. They’re also remarkably eventful books: there is about a thousand pages of plot crammed into less than 600… they were fun and innovative in many ways. For those interested in judging for themselves, at least they are back in print.
So, in 2020, as the Pandemic settled in like an unwanted relative who just came for a week and is still tying up the bathroom, I did a series of posts for the FB Page of the Nero Wolfe fan club, The Wolfe Pack. I speculated on what Stay at Home would be like for Archie, living in the Brownstone with Nero Wolfe, Fritz Brenner, and Theodore Horstmann. I have already re-posted days one through thirty-nine. Here are days forty-two (May 2) and forty-three (May 3). It helps if you read the series in order, so I’ve included links to the earlier entries.
Day Forty Two – 2020 Stay at Home
Lewis Hewitt called early this morning, which was a surprise. He was more prone to call after lunch or in the evening. Wolfe would say that he was excitable. But that didn’t really matter, because my employer was upstairs in the plant room; spending money, not earning it. I had only just entered the office after breakfast in the kitchen with Fritz, when the phone rang. “Nero Wolfe’s Office, Archie Goodwin speaking.”
“Archie, this is Lewis Hewitt. I must speak with Wolfe.” Now, normally, he would say ‘Mister Wolfe’ in this situation. And his voice would be a lot calmer than it sounded.
“Being the orchid fancier that you are, you know that he’s in the plant rooms upstairs from nine until eleven, every day but Sunday. And Sunday it ain’t.”
“Yes, yes, I know, Archie. But I need his help. He needs to come out here to my house.”
Since PathfinderSecond Edition is a complete revamp of the Pathfinder rules system, they have balanced supplement releases that focus on the rules with those that provide Second Edition expansions of their Lost Omens setting on the planet of Golarion. That setting has been explored in depth by Paizo for over a decade, in supplements for D&D 3.5 that predated the release of Pathfinder First Edition, so they have a large foundation to build upon with new setting material for Second Edition.
While some of those – like Lost Omens: Gods and Magic and the Lost Omens: World Guide – have had a lot of mechanics that can be incorporated into game play, their main focus is narrative, providing setting information that Gamemasters can use in planning out a story set in the world of Golarion. Their two most recent supplements in the Lost Omens line have focused a bit more on the narrative.
In Absalom: City of Lost Omens (Paizo, Amazon), the emphasis is on a single city. The “city at the center of the world,” Absalom is the largest, most cosmopolitan city in the entire Lost Omens setting. A variety of adventures and scenarios have been set there, including the entire Agents of Edgewatch (Paizo, Amazon) adventure path, so there’s no shortage of previous material for them to draw on in this 400-page tome about the city. …
The Black Hawks and The Righteous (HarperVoyager, October 2019 and September 2021).
Covers by Richard Anderson (left) and uncredited
I bought David Wragg’s debut fantasy The Black Hawks when it first appeared in 2019. It sounded right up my alley — the tale of a dysfunctional band of mercenaries drafted into a desperate conflict to protect a stranded prince.
I was delighted to see a second — and apparently, final — volume appear at the end of last year. The Righteous concludes the tales of the seasoned (and entertaining) mercenary band, and opens with them imprisoned and sentenced for execution for their part in the rebellion, alongside their employer, the knight Vedren Chel. A daring escape sends them on the run, and headlong into a brand new adventure.
What pushed you to get Wyldblood up and running? And for the uninitiated, what exactly is Wyldblood?
It all started in lockdown, as many things do. I’ve published magazines before, but nothing like Wyldblood, and it just felt like the right time. More importantly, I had the time, though for some reason that’s been quickly sucked away in a nasty combination of too much reading to do and the real world returning with full force.
Wyldblood is a small press and we specialize in science fiction and fantasy – speculative fiction, basically, though we’re not big fans of horror and stories that drip too much blood. We publish a regular magazine (we’re up to issue 8), occasional anthologies (we’ve got werewolves in Call of the Wyld and steampunk in Runs Like Clockwork), reprints of classic authors and, when we get all our reading done, we’ll be publishing original novels and novellas. We’re based in the U.K., but we’re everywhere, really. We lurk on the internet: wyldblood.com and @WyldbloodPress.
Seven Deaths of an Empire (Solaris, June 2021). Cover artist uncredited
I’m late to the party with this one. Solaris published G R Matthews’s mainstream debut Seven Deaths of an Empire in June of last year, and it received plenty of good notice. Library Journal called it “reminiscent of Game of Thrones,” SFX Magazine labeled it “Refreshingly original,” and Grimdark Magazine proclaimed it “fantasy at its finest.” Why do I always miss the good ones?
At this point I figure I’d wait for the paperback, and that’s finally arriving at the end of this month. About time — I’m impatient to learn what all the fuss is about.
It’s as if Hollywood, or at least director Ti West, finally granted Black Gate photog Chris Z’s greatest wish.
Though his suggestions for movies I need to review have never it past the Big Cheese John O (“We do NOT work blue at Black Gate”), Chris Z takes enormous pleasure in creating fake email accounts and sending in suggestions like, “Please have Goth Chick review Zombeavers!” or “I’d love to read Goth Chick’s take on Zombies vs. Strippers!” Never mind that even if I had an inclination to accommodate Chris Z’s suggestions with more than an eyeroll, getting my hands on these movies requires using my credit card number in places it definitely shouldn’t be left on its own.
So, color me shocked when I learned about the movie X and the fact I could actually pull up into my local AMC Theater and see it, which I fully intend to do ASAP.
Tesseracts 14, Edited by John Robert Colombo and Brett Alexander Savory, Cover by Erik Mohr
Michael R. Colangelo’s “Rocketship Red” was published in the fourteenth installment of the long-running Canadian anthology series Tesseracts, a volume edited by John Robert Colombo and Brett Alexander Savory in 2010. In addition to writing short fiction, Colangelo has served as a reviewer for FearZone and the fiction editor for The Harrow, an on-line zine that ran from 1998 until 2009.
“Rocketship Red” feels a bit like a throwback piece, the sort of story aimed at juveniles in the 1950s, which gives it an almost instantaneous feeling of nostalgia. It opens with Eagan running through the Canadian wheatfields near his father’s soy farm, flying a bright red kite and pretending the kite is a rocket and he’s its intrepid pilot. Although Eagan hated working the soy farm, he knew it would be his life, however a visit from two American air force captains who were coming to buy soy, would change the trajectory of his life.
Eagan’s interest in rockets and space, however, causes him to forge a bond with Captain Sampson, who tells Eagan to reach out to him when he turns seventeen and is able to attend “rocket flying school,” a phrase that reinforces the nostalgic element of the story. The rest of the story briefly outlines Eagan’s conflict with his father over leaving the soy farm, his attendance at the Flight Academy, and his career as a pilot, all covered in less than three pages.
If that seems like a lot to fit into a few short pages, it is. In many ways Colangelo’s story feels more like an outline for a longer story, or even a novel, that could follow Eagan’s journey from soy farmer’s son to cadet at the academy to his career flying rockets for the air force with explorations of Sampson’s mentorship of him. Furthermore, Colangelo introduces various throw-away concepts in the story, such as antimatter farming projects, dark zones in space, and the rift. None of these are given any detail, but they do serve to provide broad strokes for Eagan’s career.
By the Eighties the once-thriving genre of pirate movies had been condemned and hung from the yardarm, and based upon the crimes against cinema of this week’s first two films, it’s easy to see why. The terrible Cutthroat Island would follow in 1995 to put the final nail in the genre’s coffin until it lurched from the grave for a surprise resurrection in 2003’s Pirates of the Caribbean.
But don’t lament too loudly, for if there’s one piratical scallywag not even ill-conceived and overblown cinematic hubris can catch and hang at Executioner’s Dock, it’s that unrepentant scoundrel Long John Silver. An’ ye can lay to that, matey! …
