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Book Review: The 'Timeliner' trilogy

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Book Review: The 'Timeliner' trilogy by Richard C. Meredith


3 / 5 Stars

Richard C. Meredith (1937 – 1979) wrote a number of sf novels, such as ‘We All Died At Breakaway Station’, ‘The Sky is Filled with Ships’, and ‘The Awakening’.

‘At the Narrow Passage’ was first published in 1973 in hardcover, followed by ‘No Brother, No Friend’ in 1976, and ‘Vestiges of Time’ in 1978.

Meredith made arrangements with Playboy Press to republish a revised edition of the ‘Timeliner' trilogy, starting with ‘Passage’ in September 1979, and continuing with ‘Friend’ in October and ‘Vestiges’ in November. Shortly after the revised trilogy was released, in March, 1979, Meredith died suddenly of a stroke.

The Playboy Press versions thus represent the final editions of the Timeliner novels. All three volumes have cover artwork by Kenn Barr.

The Timeliner novels borrow from H. Beam Piper’s ‘Paratime’ canon, in that they posit an infinite number of parallel universes simultaneously co-existing, without knowledge of one another’s existence.



As ‘At the Narrow Passage’ opens, the protagonist, Eric Mathers, a Captain of the British Infantry, is preparing for a commando mission. It’s Spring, 1971, and on para RTGB-307, the First World War is raging.

Eric Mathers is an agent for a lizard-like alien race called the ‘Krith’. The Krith have the ability to travel at will across paratimes, using a kind of teleportation unique to their physical makeup. Acting in shadow and stealth, the Krith manipulate human affairs on hundreds of paratime worlds. Eric Mathers has signed on an as agent for the Krith because he believes their argument that they are working for the ultimate good of the human race, by preventing paras from destroying themselves in nuclear wars. According to the Kriths, the loss of too many para civilizations to self-destruction can jeopardize the stability of adjoining paras. 


The mission the Kirth have selected for Eric Mathers and his comrades is dangerous: they are to sneak behind the German lines and infiltrate a chateau in Beaugency, where a German officer named Count Albert von Heinen is staying. They are to capture von Heinen and transport him back to British lines. Why is von Heinen important ? Because he is in charge of the German effort to construct an Atomic Bomb – the first one to exist in this particular paratime.


Eric Mathers embarks on his mission, albeit with reservations, and soon finds that all is not what it seems. Have the Krith been less than open with him about their true intentions ? When Mathers decides to investigate the motives of the Krith, a decision that takes him across a wide span of parallel universes, he comes to a growing awareness that a vast and brutal struggle is being waged across the paratimes. And that the fate of the Universe, not just Mankind, may come to rest on his shoulders…..

Overall, the Timeliner trilogy succeeds as adventure sf, with the inclusion of some ‘cosmic’ aspects to lend a note of sophistication to the run-and-gun actions sequences that dominate the first two volumes. 


There  also are plenty of Sexytime passages (Meredith evidently published a volume of erotic poetry ?! at one time in his writing career), involving an array of oversexed females who are ever-ready to unlcothe for the benefit of our square-jawed hero......but, then, this is not unheard- of activity for any 70s adventure novel.

The third volume is the weakest; while I won’t disclose any spoilers, it spends much of its length devoted to the somewhat clichéd sf trope of the Disembodied Consciousness Wandering the Universe. 


As well, Meredith made an effort to address Deep Metaphysical Questions about the meaning of life, time, and existence; this sort of thing is difficult to pull off in what is essentially a space opera, and the third installment suffers because of it.


However, despite the underwhelming nature of the final volume, the Timeliner trilogy is one of the better adventure series to appear in the 70s, particularly when you consider that at the time it first was published in the early- to mid- 70s, that sub-genre of straightforward, entertaining sf was being neglected in favor of novels that were self-consciously 'literary', a consequence of the changes wrought by the advent of the New Wave. 

That makes all three volumes worth searching out; they can be purchased for reasonable prices at your usual online used-book dealers.

Holiday acquisitions: 2013

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Holiday acquisitions: 2013

Here's what I picked up from Thanksgiving through Christmas of last year. Most of these were purchased from an antique mall in Owego, New York, for $1 - $4 each.


The 'Mutants Amok' entries got favorable reviews from Glorious Trash ('Mutant Hell is even more brain-addled than its predecessor, and I mean that as a compliment'), so they were worth getting. 'Passport to Eternity', The Ballard anthology, would seem to be an Old School Treasure......


The Avram Davidson anthology and the Manley Wade Wellman volumes are the top 'finds' here......the Ace version of 'The Languages of Pao' is nothing more than a direct copy of the typeset of the smaller-sized, 1966 Ace paperback (#F-390), which tells you that Ace could at times be utterly cheap and mercenary in how they approached publishing.


The 'Brak' volumes caught my eye, what with their understated, highly stylized Charles Moll covers. The Zelazny book is one of the Ace 'illustrated' sf mass-market paperbacks, and a member of a series that launched in the mid-80s. It features copious, high-quality black-and-white illustrations by Esteban Maroto. 

The Vance anthology may constitute a 'find' (or not). 'Uncut', the anthology of stories by British author Christopher Fowler, is rather obscure, but may be worthwhile. I suspect the Philip Jose Farmer novel 'Flesh' is filled with New Wave Excess, but I'll give it a try......

Space Clusters by Cover and Nino

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'Space Clusters' by Arthur Byron Cover and Alex Nino



'Space Clusters' was published in 1986, as one of a number of 48- to 64-page DC 'Original Graphic Novels' devoted to fantasy and sf themes.

As 'Clusters' opens, Lieutenant Kara Basuto, a galactic bounty hunter, is in pursuit of Ethan Dayak, thief and murderer and the galaxy's most celebrated outlaw.


Dayak has the uncanny luck to escape from Basuto's grasp time and again, although not without cost.

In a desperate move to escape the relentless Basuto, Ethan Dayak decides to place his spaceship on autopilot, lock himself in suspended animation, and leave the galaxy altogether.....


Kara Basuto has no intention of letting her quarry escape. She follows Dayak into the depths of space....where both of them will become something no human has ever become: 'Space Clusters'......


'Clusters' is a mixed success. The narrative starts off reasonably well, but becomes increasingly fragmented and incoherent, as if author Cover was intent on retaining the New Wave stylings he used in his novels and short stories of the 70s ('Autumn Angels', 'The Platypus of Doom', 'In between Then and Now') even though the graphic novel format is not particularly well-designed for such an approach.


What salvages 'Clusters' is Alex Nino's artwork. Doing away with a linear, panel-based structure in favor of full-page collages, Nino's art is vibrant and imaginative and gives the book an integral 'graphic novel' aesthetic.

For this reason, fans of sf comics and art may want to pick up a copy of 'Space Clusters'.

Book Review: The Holmes - Dracula File

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Book Review: 'The Holmes - Dracula File' by Fred Saberhagen

4 / 5 Stars

‘The Holmes-Dracula File’ (249 pp) was published in 1978 by Ace Books, with cover art by Robert Adragna.

London, late May, 1897. The city is preparing for June 22, and the celebration of Queen Victoria’s Diamond Jubilee.

A middle-aged man awakens with amnesia. He discovers he is bound with steel cuffs to a mattress atop a wheeled cart. He is lying in a tenement room, somewhere close to the harbor. Still stupefied from the blow to the head that led to his abduction, he can only lie helplessly while he is wheeled into an adjoining laboratory. A team of gowned and masked researchers press a cage of insects onto his naked chest……..

At 221B Baker Street, Sherlock Holmes and John Watson have a client. Sarah Tarlton, a young American woman, is distraught over the disappearance of her fiancé, the scientist John Scott, in Sumatra. Scott had embarked on an expedition into the unexplored depths of the jungle to study tropical diseases. After five months without contact, Tarlton fears that Scott has fallen victim to misfortune.

To Sarah Tarlton’s consternation, equipment from Scott’s Sumatran expedition recently has arrived at a warehouse in London, and been picked up by a man who eyewitnesses state bears a strong resemblance to John Scott; as well, the signature on the receipt is that of John Scott.

Is John Scott alive and well in London ? If so, why has he not contacted his fiancé ?

As Holmes and Watson embark on their investigation into the fate of John Scott, they will discover a conspiracy that threatens the fate of the entire city….. a conspiracy with a disturbing link to the supernatural..........

‘The Holmes-Dracula File’ is quintessential proto-Steampunk, and the thematic and spiritual predecessor to novels such as Kim Newman’s Anno Dracula and K. W. Jeter’s Morlock Night. Saberhagen’s borrowing of prominent fictional personalities as main and supporting characters, and use of a plot that is referential to well-known Victorian-era fiction, were innovative back in 1978. Nowadays these approaches to crafting a narrative are a given for many Steampunk sf and fantasy novels.

Were it written in 2013, ‘Holmes-Dracula’ would have been 400 or more pages in length, burdened with over-written prose and the management of several simultaneous sub-plots. 


Because that’s what a lot of contemporary Steampunk fiction is like, as epitomized by Felix Palma’s The Map of Time, a mass market paperback that is not only 720 pages long……..but the first volume of a trilogy.

But as a novel written in ’78, ‘Holmes-Dracula’ benefits from having short chapters, the presence of just two plot threads, prose that avoids being overly descriptive, and an absence of too many internal monologues and overwrought explorations of the emotional angst and personal traumas of its lead characters. 


That said, ‘Holmes-Dracula’ isn’t perfect. Without disclosing spoilers, I’ll admit that Saberhagen’s rationale for the appearance of Dracula in the aftermath of the events of Stoker’s novel is more than a little contrived, and the major revelation that confronts Holmes in the novel’s closing pages also seems contrived. As well, Saberhagen chooses to depict the Count less as a monster, and more as a thoughtful aristocrat; this approach may seem a violation of the essence of the Stoker version of the character, and may be disappointing to some readers.


I also should emphasize that this is not a ‘Holmes Vs Dracula’ adventure, such as Sherlock Holmes vs. Dracula: The Adventure of the Sanguinary Count (1978) from Loren Estleman, or the DC / Wildstorm comic series / graphic novel Victorian Undead: Sherlock Homes Vs Dracula (2011). Rather, ‘Holmes-Dracula’ is a mystery novel, in which Holmes and Dracula are the main characters.


‘The Holmes-Dracula File’ remains one of the better proto-Steampunk novels and markedly superior to much of the Steampunk stuff being churned out nowadays. Used copies can be had for affordable prices (i.e., under $5.00).

Book Review: The Holmes-Dracula File

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Book Review: 'The Holmes - Dracula File' by Fred Saberhagen


4 / 5 Stars

‘The Holmes-Dracula File’ (249 pp) was published in 1978 by Ace Books, with cover art by Robert Adragna.

London, late May, 1897. The city is preparing for June 22, and the celebration of Queen Victoria’s Diamond Jubilee.

A middle-aged man awakens with amnesia. He discovers he is bound with steel cuffs to a mattress atop a wheeled cart. He is lying in a tenement room, somewhere close to the harbor. Still stupefied from the blow to the head that led to his abduction, he can only lie helplessly while he is wheeled into an adjoining laboratory. A team of gowned and masked researchers press a cage of insects onto his naked chest……..

At 221B Baker Street, Sherlock Holmes and John Watson have a client. Sarah Tarlton, a young American woman, is distraught over the disappearance of her fiancé, the scientist John Scott, in Sumatra. Scott had embarked on an expedition into the unexplored depths of the jungle to study tropical diseases. After five months without contact, Tarlton fears that Scott has fallen victim to misfortune.

To Sarah Tarlton’s consternation, equipment from Scott’s Sumatran expedition recently has arrived at a warehouse in London, and been picked up by a man who eyewitnesses state bears a strong resemblance to John Scott; as well, the signature on the receipt is that of John Scott.

Is John Scott alive and well in London ? If so, why has he not contacted his fiancé ?

As Holmes and Watson embark on their investigation into the fate of John Scott, they will discover a conspiracy that threatens the fate of the entire city….. a conspiracy with a disturbing link to the supernatural..........

‘The Holmes-Dracula File’ is quintessential proto-Steampunk, and the thematic and spiritual predecessor to novels such as Kim Newman’s Anno Dracula and K. W. Jeter’s Morlock Night. Saberhagen’s borrowing of prominent fictional personalities as main and supporting characters, and use of a plot that is referential to well-known Victorian-era fiction, were innovative back in 1978. Nowadays these approaches to crafting a narrative are a given for many Steampunk sf and fantasy novels.

Were it written in 2013, ‘Holmes-Dracula’ would have been 400 or more pages in length, burdened with over-written prose and the management of several simultaneous sub-plots. 


Because that’s what a lot of contemporary Steampunk fiction is like, as epitomized by Felix Palma’s The Map of Time, a mass market paperback that is not only 720 pages long……..but the first volume of a trilogy.

But as a novel written in ’78, ‘Holmes-Dracula’ benefits from having short chapters, the presence of just two plot threads, prose that avoids being overly descriptive, and an absence of too many internal monologues and overwrought explorations of the emotional angst and personal traumas of its lead characters. 


That said, ‘Holmes-Dracula’ isn’t perfect. Without disclosing spoilers, I’ll admit that Saberhagen’s rationale for the appearance of Dracula in the aftermath of the events of Stoker’s novel is more than a little contrived, and the major revelation that confronts Holmes in the novel’s closing pages also seems contrived. As well, Saberhagen chooses to depict the Count less as a monster, and more as a thoughtful aristocrat; this approach may seem a violation of the essence of the Stoker version of the character, and may be disappointing to some readers.


I also should emphasize that this is not a ‘Holmes Vs Dracula’ adventure, such as Sherlock Holmes vs. Dracula: The Adventure of the Sanguinary Count (1978) from Loren Estleman, or the DC / Wildstorm comic series / graphic novel Victorian Undead: Sherlock Homes Vs Dracula (2011). Rather, ‘Holmes-Dracula’ is a mystery novel, in which Holmes and Dracula are the main characters.


‘The Holmes-Dracula File’ remains one of the better proto-Steampunk novels and markedly superior to much of the Steampunk stuff being churned out nowadays. Used copies can be had for affordable prices (i.e., under $5.00).

Father Shandor: The Hand of Glory from Warrior No. 8

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'Father Shandor, Demon Stalker'
'Hand of Glory'
from Warrior (UK) No. 8, December, 1982

Our hero is featured in one of the more striking covers sported by Warrior.....







Third Game by Charles V. De Vet

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Book Review: 'Third Game' by Charles V. De Vet


4 / 5 Stars

‘Third Game’, by Charles V. De Vet, is the sequel to the novelette / novel 'Second Game', which was first published in Astounding in March 1958 as a short story of the same title. An expanded version of 'Second Game' was released in 1962 as ‘Cosmic Checkmate’, part of Ace Double F-149.
The novel was expanded again for a May, 1981 DAW Book


‘Third Game’ appeared as a novelette in the February 1991 issue of Analog Science Fiction / Science Fact.


In 'Third Game' Kalin Stranberg, the son of Second Game protagonist Leonard Stranberg and his Veldqan wife, travels to Veldq. Kalin is on a special mission: discover why Veldq - despite having 'won' the war against the Federation - is beset by increasing civil unrest .

To try and understand the causes of the troubles afflicting Veldq, Kalin consults Yondtl, the corpulent, but brilliant, social outcast that aided Leonard Stranberg during his clandestine mission on Veldq years before. But Yondtl offers no easy solutions, for he himself is growing resentful with Veldqan society.

It's up to Kalin to visit different areas of Veldq and discern the pathology underlying the planet's troubles. One clue may lie with the Kinsmen, a clan occupying the lowest levels of Veldqan society....but learning more about the Kinsmen may be problematic, for  Kalin has been targeted for assassination by enemies of the state.....

 'Third Game' is a satisfactory sequel to Second Game. The plot moves at a quick pace, and the author never tips his hand as to whether Kalin Stranberg will succeed in his mission. I do recommend reading Second Game before taking on 'Third Game', as it will make grasping the subtleties of the narrative a bit easier.

If you liked Second Game, then 'Third Game' is worth searching out.

The Bus by Paul Kirchner


Conan: The Phemonenon

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'Conan: The Phenomenon' by Paul M. Sammon



January 22 marked the 78th year since the death of Robert E. Howard, so it's as good a time as any to take a look at  'Conan: The Phenomenon', which was published in hardcover by Dark Horse Books in 2008. The trade paperback version reviewed here was released in September 2013.

C:TP is essentially a coffee table book devoted to the famous barbarian; the author, Paul M. Sammon, is probably the world's foremost Conan Fanboy. The book, which measures 9 inches x 12 inches, is very well made, featuring glossy, high-quality paper and very good reproductions of the artwork, many examples of which occupy not just an entire page, but sometimes a double-page spread.

The book features a Foreword by Michael Moorcock, who, in tendentious prose, somehow re-casts the barbarian as freedom fighter devoted to the overthrow of oppressive, exploitative capitalist societies (!?)

It's no secret that Moorcock (like many British authors and artists in the sf and fantasy realms) regards Marxism with undisguised affection and reverence, but branding Conan as a hero of the Class Struggle seems more than a little contrived.....


Anyways, the opening chapter, 'Birth of A Barbarian', provides a biography of Robert E. Howard, along with a variety of archived photographs of the young REH out and about in Cross Plains, TX. 


Sammon makes an effort here to refute the argument that REH was a Mamma's Boy with an Oedipal complex that obliged him to commit suicide following her death. Rather, Sammon believes that REH had planned all along to kill himself, but had delayed the act until the death of his mother, in order to spare her the trauma of discovering her only child had blown his brains out (despite the gunshot wound which pulverized a large portion of his brain, REH's robust constitution kept him alive, unconscious, for eight hours before he expired !).


The second chapter, 'Conan Rising', covers the publishing history of the Conan character following Howard's death in June, 1936, on till the late 1960s. 

Sammon does a good job of explaining the convoluted nature of the legal agreements governing the franchise, agreements which led to a seemingly unceasing stream of lawsuits. It's difficult to come away from this chapter with anything other than dismay at the role L. Sprague de Camp (and to some extent Lin Carter) played in milking the REH canon for his own financial gain.



This chapter also gives deserved coverage to the pivotal role Frank Frazetta played in the marketing of the Lancer Books series of Conan adventures, a publishing move which brought the barbarian, and by extension REH's entire catalogue, into pop culture prominence.




'Conan the Ubiquitous' covers the further dissemination of the character into pop culture, occasioned by the arrival of the Conan comic book franchise, launched by Marvel in August of 1970. 

This chapter reproduces covers and interior art of these comic books, and is sure to spark nostalgia in anyone who remembers seeing those comics on the rack in their drugstore of convenience store back in the day.

While Sammon gives appropriate credit to the role Barry Windsor Smith's artwork played in heightening the impact Conan had on the buying public, he over-praises (in my opinion) Roy Thomas, who wrote much of the content from 1970 - 1974 before taking over as editor-in-chief for Marvel.


Thomas, Stan Lee, and Martin Goodman were unwilling to recognize that Windsor-Smith had brought a new approach - modeled on European attitudes towards graphic art - to artistic quality as far as comic books were concerned. Lee and Goodman were loathe to part with the additional sheckels that would've retained Smith's services, as well as loathe to alter the publishing schedule to accommodate his intricate draftsmanship. Unsurprisingly, Windsor-Smith left Marvel, and to a great extent the entire comics industry, for greener pastures.

For me, the Windsor-Smith issues remain the apogee of the franchise's appearance in four-color comics.


'Conan the Thespian' is devoted to the two feature films, Conan the Barbarian (1982) and Conan the Destroyer (1984). There are stills, and insider accounts, of the movie-making process that may strike some readers as going overboard into vaguely disturbing realms of Fanboy territory ( a feeling reinforced by the photo of diminutive co-producer Edward Summer posing for a 'buddy photo' with an amiable Arnold Schwarzenegger).


The chapter also makes note of the exploitation of the REH estate throughout the 1980s and early 1990s, when a glut of Conan novels churned out by avaricious publishers (such as Tor Books) diluted the quality of the franchise.


The final chapter, 'Conan the Triumphant', deals with the franchise from the mid 90s to the late 2000s. Not surprisingly, since this is a Dark Horse book after all, Sammon gives plenty of favorable coverage to the efforts of Mike Richardson, the founder and publisher of Dark Horse comics, to acquire the licensing rights to revive the comic book Conan.


I haven't invested much effort to acquiring any of the Dark Horse Conan comics, with the exception of the Tim Truman / Joe R. Landsdale miniseries Conan and the Songs of the Dead. So I can't say if the Dark Horse incarnation does justice to the character or not, although Songs of the Dead certainly was a top-notch effort.

This chapter also covers the favorable changes to the handling of the REH franchise that came about in the mid- 1990s, when the Baum family of Texas inherited a majority of the publishing rights and acted to reduce the quantity of pastiches that had flooded the market with low-quality product. 

As a result, high-quality volumes of the REH canon, including the Del Rey illustrated versions, provided readers for the first time with content that was free of the clumsy editorial decisions of de Camp and others.



'Conan: The Phenomenon' closes on an optimistic note, as the Del Rey lineup of R. E. Howard volumes promises to attract and sustain a new generation of Conan fans. 


Whether you're a dedicated Conan Fanboy, or a fan of sci-fi and fantasy literature in general, its quality and affordability make Conan: The Phenomenon a worthwhile purchase.

Book Review: Rune

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Book Review: 'Rune' by Christopher Fowler


4 / 5 Stars

‘Rune’ was first published in 1990; this Ballantine paperback edition (339 pp., cover artist unknown) was released in July, 1992.

Author Christopher Fowler is prolific, publishing novels and short story collections in the crime and horror / fantasy genres. Two of the supporting characters in ‘Rune’, the elderly detectives Arthur Bryant and John May, went on to become lead characters in the ‘Peculiar Crimes Unit’ series of novels, the tenth of which was released in 2012.

‘Rune’ is set in London in the early 90s. It’s Spring, and the city is shrouded in chilly temperatures and continuous rain. As the novel opens an aged executive, possessed by a deep and abiding terror, is running through the city streets. After a series of mishaps with traffic and passersby, he comes to a gruesome end.

The deceased man’s son, Harry Buckingham, is an advertising executive and very much the self-assured Modern British Man. Stunned by the sudden nature of his father’s passing, Harry questions those who witnessed his father’s strange behavior during his last moments. 


It emerges that Harry’s father is one of a number of businessmen who recently have killed themselves under violent, inexplicable circumstances. There is a common link to these suicides: the victims had in their possession scraps of paper marked with an unknown script.

Aided by a punk rock girl named Grace, Harry Buckingham embarks on an investigation of the strange script. It turns out that the script is comprised of runes: a prehistoric form of writing used in pagan religious rituals. To his alarm, Harry learns that with the proper visual cues, exposure to the runes can trigger super-realistic hallucinations in susceptible viewers.

Someone is marrying runes with modern videotape and broadcasting technologies……. and for a nefarious purpose. Will Harry and Grace act in time to discover the agents behind a scheme to brainwash British society into a new state of consumer compliance ? Or will they, too, fall victim to the terrifying power of the runes ?

‘Rune’ is an entertaining combination of the corporate thriller, horror, and cyberpunk genres, leavened with a healthy dose of satiric humor. Author Fowler does a good job of giving his narrative a sense of time, place, and culture for the London of the early 90s. The subplots support, rather than leach momentum from, the main narrative, and the novel features an interesting (but manageable) cast of characters.

‘Rune’ is recommended for those who appreciate a worthy effort at introducing occult horror into a modern sensibility.

Moby Dick by Voss

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'Moby Dick' by Al Voss
from the January, 1982 issue of Heavy Metal magazine






The Black Widow from Bizarre Adventures 1981

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The Black Widow in 'I Got the Yo Yo, You Got the String'
by Ralph Macchio and Paul Gulacy
from Bizarre Adventures (Marvel / Curtis) No. 25, March, 1981


The March 1981, 25th issue of the Marvel / Curtis black and white comic magazine Bizarre Adventures (previously titled Marvel Preview) featured an all –female cast of 'Lethal Ladies', which included The Black Widow, 'Lady Daemon', and 'The Daughters of the Dragon'.

The Black Widow adventure, titled ‘I Got the Yo, You Got the String’, was written by Ralph Macchio. The plot, which has something to do with a double-double cross, is incoherent, but the comic features some really good artwork by Paul Gulacy, who models the Widow on Victoria Principal, who at that time in 1981 was a superstar due to her recurring role on the Dallas sitcom.


Gulacy also models some of the supporting characters in 'Yo Yo' on other famous actors…..and if you look carefully, he  pays homage to the op-art effects that Jim Steranko used in his 'Nick Fury Agent of SHIELD' comics from the mid-60s. 

It's all part of Gulacy's approach to illustration that makes it worth showcasing more than 30 years after it first appeared.
























Book Review: Hiding in Hip Hop

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Book Review: 'Hiding in Hip Hop' by Terrance Dean
celebrating Black History Month 2014


4 / 5 Stars

Here at the PorPor Books Blog, we like to celebrate Black History Month by reading a book - fiction or non-fiction - that illuminates the Black Experience.

For Black History Month 2014, our selection is 'Hiding in Hip Hop', an autobiography by Terrance Dean.

I felt a sharp pain and my body flinched.


In ‘Hiding’, Dean relates his experiences as a ‘down low’ man – the term preferred by bisexual black men who exhibit masculine behavior and dislike being labeled as 'gay'.

Dean attributes his attraction to men as the result of being molested, at the age of13, by a neighbor in his 20s named ‘Ramone’. As he grew older, Dean dated and had sexual experiences with women, but remained attracted to men. As a college student, his first gay liaison was with a neighbor named ‘Kelvin’…..


I had never experienced such an excruciating pain in my life…..


The bulk of ‘Hiding’ deals with Dean’s experiences as a down low man in the television, feature film, and music industries in LA and New York City during the 1990s. In the black community, the prevailing opinion is that gays are un-natural, and homosexuality is considered a perversion. 

Accordingly, down low men were, and are, scrupulously careful about how, when, where, and with whom they confide their secrets. Dean describes his introduction to the underground world of the ‘down low brothers’, where carefully screened parties allow ‘beautiful’ black men to congregate and hook up without fear of being discovered.

I stared at the ceiling praying that it would be over soon.

Much of the entertaining portions of ‘Hiding’ derive from Dean’s accounts of hookups and one-night stands with actors and rappers whose external appearance is studiously straight. It’s hard not to start laughing aloud when Dean relates an encounter with a 'thug' rapper who, even in the throes of passion, nonetheless insists that he’s a ‘real’ man and ‘not gay’ !


Interestingly, Dean states that down low men are not on very good terms with gay black men. According to Dean, too many black gays are intent on 'outing' down low brothers, framing them as hypocrites who cover up their homosexuality even while publicly disparaging or denegrating gays. 

For their part, down low men view gays as overly effeminate, and too fond of becoming emotionally unhinged.

Dean is careful not to disclose the names of the down low brothers mentioned in his book, providing just enough of a hint to get the reader speculating, but never confirming, the identity of the guilty party. 


However, I suspect readers with a detailed knowledge of hip hop in the 1990s will be able to figure out who’s who for some of the pseudonyms liberally sprinkled through ‘Hiding’. If you google ‘Hiding in Hip Hop + identities’ or 'Hiding in Hip Hop + guesses', you’ll get some links to websites where people make educated guesses…....and you’ll laugh even harder.

I looked around and saw other guys kissing and fondling one another….Most of them looked like L.A. thugs.

 
‘Hiding’ is not a perfect book; the narrative often jumps back and forth in time, making any effort to apply a chronology difficult. As well, Dean expends considerable page space on lengthy, angst-filled expositions about how hard life is being on the down low, living a lie, forced to hide the truth, etc., etc. These complaints have a superficial quality as it becomes clear that for Dean, being down low allows him to have cake and eat it, too.

All in all, ‘Hiding’ is an interesting, often entertaining read, and well worth picking up.

The Arctic Marauder by Jacques Tardi

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'The Arctic Marauder' by Jacques Tardi



'The Arctic Marauder', released by Fantagraphics in 2011, is the English translation of Jacques Tardi's graphic novel Le Démon Des Glaces ('The Ice Demon' is a loose English translation), first published in France in 1974.

According to Brian J. Robb's overview of the genre, Steampunk: An Illustrated History, "Marauder' is one of the first, and most important, of the proto-Steampunk graphic novels.

'Marauder' is set in 1889, and the story begins with the hero, a young medical student named Jerome Plumier, aboard the steamer L'Anjou en route from Murmansk to Le Havre. The ship sails amongst a group of icebergs; it is unusual for icebergs to be so far from the Arctic.



There is astonishment on board the L' Anjou when one of the bergs is seen to have a ship perched atop its needle-like summit. Plumier joins a lifeboat expedition to the berg and joins the crew is scaling to the top of the ice, where the stranded ship, the Iceland Loafer, presents an additional surprise: the entire crew is frozen stiff at their stations....
Barely have Plumier and his companions taken in this strange and troubling sight, when disaster strikes......and Jerome Plumier finds himself involved in a dangerous adventure to discover the truth behind the mystery of the Iceland Loafer.



'The Arctic Marauder' certainly has Steampunk credentials; I won't reveal any spoilers, but the plot delves deeply into Jules Verne - style territory. The plot remains engaging, and while the revelations coming fast and furious in the latter chapters, they are not overly contrived.


Tardi's distinctive pen-and-ink draftsmanship on scratchboard is the real attraction of 'Marauder'. While his human characters are drawn in a cartoony style not unusual among European artists during the 70s, his depiction of architecture, Victorian-era machinery, and the icy landscapes of the Arctic are unusual and display an eccentric craftsmanship quite unlike anyone else in the contemporary comic art scene.

Practically every panel uses intricate arrays of horizontal and vertical shadings, rather than ink wash or watercolor, to lend depth and contrast to the illustrations. I find it hard to believe that Tardi hand-drew all of these striations by meticulously scoring his scratchboard with a needle or scalpel.........

 
...........but I can't figure out any other way, especially in the era before PC-aided drawing, that he could have made them.

There is more shading and cross-hatching in a single page of 'Marauder', than there is in an entire month's worth of comics published by DC, Marvel, Image, Dark Horse and Dynamite..... Tardi's work, when compared to the artwork in contemporary comic books, might as well be from the 19th century, so different is it in style and execution. 

It's for the artwork, and not so much its archival value, that I recommend getting a copy of 'Marauder'.

Book Review: Fantasy Annual V

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Book Review: 'Fantasy Annual V' edited  by Terry Carr


2 / 5 Stars

When DAW’s ‘The Year’s Best Fantasy’ series launched in 1975, and proved successful, the market was established for yearly ‘Best Of’ anthologies for fantasy literature, although the output of so-called ‘adult’ fantasy literature arguably was very limited back in those days.

Pocket Books decided to launch their own anthology series, titled ‘The Year’s Finest Fantasy’ in 1978; starting in 1981, the title was shortened to simply ‘Fantasy Annual’. A total of five volumes were released before the series was discontinued.

“Fantasy Annual V’ (264 pp), the last volume in the series, was released in November, 1982. The cover artist is unknown. The contents all were previously published in 1981, in sf and fantasy magazines and digests.

Editor Terry Carr brought a different attitude to the Pocket Books series, as compared to that of Lin Carter, the editor of 'The Years Best Fantasy' at DAW Books. 


Carr avoided ‘classic’ or ‘traditional’ fantasy tales featuring, for example, barbarians, evil magicians, Dark Lords, enchanted castles, dragons, dwarves, and goblins. Instead, Carr preferred to showcase stories with a supernatural or mild horror content, particularly 'urban' ghost stories.

My capsule reviews of the entrants in ‘Fantasy Annual V’ :

In Parke Godwin’s ‘The Fire When It Comes’, a young couple share their NYC apartment with the ghost of an embittered actress. Insipid and trite, this is the worst story in the anthology.
 

George R. R. Martin's ‘Remembering Melody’ explores what happens when that crazy hippie chick from your misspent youth won’t take no for an answer. An effective horror story.

Thomas M. Disch’s ‘The Grown Up’ is a sardonic look at a man who goes to sleep as a 25 year-old, and awakens with the mind of a 10 year-old boy. 

C. J. Cherryh’s ‘The Haunted Tower’ puts a mayor’s mistress into the Tower of London, there to be educated in the Meaning of Life by a succession of historical ghosts. Plodding and unrewarding.

Roger Zelazny’s “And I Only Am Escaped to Tell Thee’, despite its three- page length, is one of the best of his short stories, and the best entry in this anthology.

In Tony Sarowitz’s ‘Dinosaurs on Broadway’, a young women adjusts poorly to life in NYC; her angst is manifested in hallucinations of dinosaurs. The fantasy elements are muted, if barely present, making this story one of another of the lamest of entries.

J. Michael Reaves’s ‘Werewind’ mixes ghosts, the Santa Ana winds, and LA's film studio culture........ and tosses in a serial killer, to boot. Another of the better entrants in the anthology.

Robert Silverberg’s ‘The Regulars’ is a slight tale about patrons of a homely bar....... that never closes.

James Tiptree, Jr (Alice Sheldon) contributes ‘Lirios: A Tale of the Quintana Roo’, about an apparition appearing on the coast of Mexico. Well-written, if not particularly memorable.

Jessica Amanda Salmonson’s ‘Lincoy’s Journey’ deals with a young girl’s adventures in an Asian afterlife.

In Michael Bishop’s ‘The Quickening’, everyone wakes up to discover they have been teleported to a foreign country; the protagonist struggles to deal with this strange turn of events.

Curiously, although Lisa Tuttle’s ‘A Friend in Need’ is advertised on the back cover of Fantasy Annual V, it doesn’t appear in the book (!?). I am familiar with this short story, as it appeared in ‘The Year’s Best Fantasy Stories Series 8’ (DAW, 1982). It’s an unremarkable ‘urban’ fantasy tale, and its failure to appear here in Fantasy Annual V is no calamity. 


Summing up, ‘Fantasy Annual V’ suffers from two weaknesses. One is that, back in 1981, there simply weren’t enough outlets available to accommodate those quality fantasy short stories being produced, and secondly, inflexibility on the part of editor Carr meant that marginal tales made it into the anthology. 

Unless you are adamant about obtaining every volume in the series, this one can be passed by.

Heads by Arthur Suydam

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'Heads' by Arthur Suydam
(from 'Arthur Suydam's Demon Dreams' issue # 2, May 1984) 

Heads’originaly appeared in the Spring 1980 issue of Epic Illustrated. While I don’t have that original issue in my collection, the Pacific Comics reprint of ‘Heads’, in the second issue of 'Demon Dreams', a collection of Suydam reprints, serves quite well. 

This tale has a truly bizarre air of genius that is absent from most mainstream and ‘alternative’ comics these days….


 
 
 

 

Book Review: Black Snow Days

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Book Review: 'Black Snow Days' by Claudia O'Keefe


1 / 5 Stars

‘Black Snow Days’ (344 pp) was published in 1990, with cover artwork by Kevin Jankauski. It is one of the 12 novels, all first novels for their authors, making up the Third Series of Ace Science Fiction Specials.

‘Black Snow Days’ is one of the worst sf novels I’ve ever read. I struggled mightily to get as far as page 192 before giving up in despair.............

The novel does have an interesting premise: in 2046, snotty young punk Eric Pope is engaged in an illegal landspeeder race through the futuristic metropolis of Deerhorn, North Dakota. Pope crashes his speeder into a grain silo and suffers mortal injuries, blacking out as his rescuers struggle to remove him from the crumpled metal of his cockpit.

When next Eric Pope awakes, it’s 2058, and he is in the underground fallout shelter constructed by his late mother’s biotechnology company. World War Three has come and gone; outside the shelter, Nuclear Winter covers the radiation-drenched landscape. There are constant storms in which gritty snow – the ‘black snow’ of the book’s title – sweeps down to cover the earth with yet more fallout.

Eric discovers that he has been subjected to a protracted, but effective, healing process. His missing limbs have been replaced by newly grown ones, his maimed face repaired by implants and vat-grown tissue. His mother arranged to have his new body augmented with auto- detoxifying and auto- healing modules, and his brain has been enhanced by the addition of vat-grown neurons.

His late mother, it seems, had a mission in mind for her son: Eric Pope is custom-designed to survive on the surface of a post-nuclear earth, unprotected, unshielded. For purposes unknown to him, but probably vital for the survival of the human race.

There’s one problem: Jolie Pope also gave Eric schizophrenia. For his ‘female self’ exists as a mental avatar called Vivian. And however much Vivian interrupts Eric’s thoughts and actions, she can’t be wished away…..

Why is ‘Black Snow’ so bad ?

Well, most of the narrative is submerged under what can only be called gibberish. Gibberish in the sense of a continuous use of inane, empty prose. Combine the gibberish with segments  of dialogue in which crazed shelter dwellers argue among themselves and with Eric Pope; or badlands refugees argue among themselves and with Eric; or the AI that runs Eric’s futuristic supercar (called…..’Car’…..) argues with Eric; or Vivian argues with Eric; or the Car’s AI and Vivian argue with Eric, or Eric simply argues with….himself….. and things become so clotted and tedious that whatever momentum the thin narrative has gained is rapidly overwhelmed and dwindles to an afterthought.

Terry Carr died in 1987, so it’s unclear who (if anyone) provided pre-publication editorial oversight to Claudia O’Keefe, the author of ‘Black Snow’. Underneath the pretentiousness there is a good novel, unfortunately, the editorship necessary to help it emerge was not forthcoming.

‘Black Snow Days’ is a dud, and stands alongside Scholtz and Harcourt’s ‘Palimpsests’ as the most disappointing entries in the Third Series of the Ace Science Fiction Specials.

Heavy Metal February 1984

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'Heavy Metal' magazine February 1984



February, 1984……in rotation on MTV is ‘New Moon on Monday’ by Duran Duran, ‘Here Comes the Rain Again’ by Eurythmics, 'Jump' by Van Halen, and Rockwell’s ‘Somebody’s Watching Me’.

The latest issue of Heavy Metal magazine features a front cover by Enrich and a back cover by Ballestar. This is one of the better issues of 1984, with strips by Corben, Caza, Jose Font, and ‘Salammbo II: Carthage’ by Druillet. There are also the ongoing installments of ‘Tex Arcana’, ‘The Third Incal’, and ‘Ranxerox in New York’, as well as the usual crap: ‘I’m Age’ by Jeff Jones (by now, seriously unhinged in regards to his Gender Identity), ‘Valentina the Pirate’ by Crepax, and ‘Rock Opera’ by Kierkegaard, Jr.


Having acknowledged the existence of MTV, the hipsters in charge of contributing columns to the Dossier section of the magazine reinforce their capitulation with a lead-off article about  music video producer Brian Grant, and a worshipful overview of rising star Paul Young.




Elsewhere, there is an article devoted to a documentary about strippers....


The sf books section provides a photo of Norman Spinrad wearing a very bad hairpiece.....



The Dossier Hipsters are most excited by a film director named Martha Coolidge, whose 80s films nowadays are entirely forgotten......




Below, I've posted Corben's 'Roda and the Wolf'.








Book Review: Code Three

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Book Review: 'Code Three' by Rick Raphael


3 / 5 Stars

‘Code Three’ (176 pp) was published by Berkeley Books in April, 1967. This book is a fixup of two stories originally published in Analog magazine in the interval from 1963 – 1964. One of those two stories, ‘Once a Cop’, won the 1965 Hugo for short fiction.

If you grew up at all in the 70s, then you may remember watching at one time or another a TV show titled Emergency. It ran on NBC from 1972 – 1977, and chronicled the adventures of two paramedics in the LA County Fire Department: John Gage (played by Randolph Mantooth) and Roy DeSoto (Kevin Tighe). Each episode saw our heroes deal with, naturally enough, an Emergency – car crashes, building and brush fires, plane crashes, earthquakes, etc. 



Gage and DeSoto and the crew of Station 51 responded to these events with professional detachment and, sometime, a bit of humor. 




‘Code Three’ is basically a sci-fi version of Emergency. The novel is set in the future, when the North American continent is crossed horizontally and vertically by a series of enormous throughways, one mile in width. Each highway is divided into half-mile portions for east-west or north-south traffic, and these half-mile portions are in turn divided in multiple lanes – green, white, red, yellow, etc. for traffic traveling at different speeds.

And these are very high speeds. Auto technology has progressed to the point where vehicles use a sort of hover-drive to reach speeds in excess of 600 mph (!) although most vehicles make do with speeds of ‘only’ 100 – 300 mph.

The highway system is administered by the North American Continental Thruway System (NorCon), with whom lies responsible for law enforcement.

The novel follows the exploits of a team of two police and one paramedic aboard the patrol vehicle car 56 – nicknamed ‘Beulah’. This is a 250 ton, 60-feet long, 12 feet wide, 12 feet tall behemoth capable of reaching speeds of 600 mph.

In charge of Beulah is Patrol Sergeant Ben Martin, a veteran traffic cop who is starting to contemplate advancement to a desk job. Second in command is Patrol Trooper Clay Ferguson, and Kelly Lightfoot, an attractive, spunky redhead, serves as Medical-Surgical Officer.

As ‘Code Three’ opens, Beulah and her crew embark on a two week-long patrol of North American Thruway 26-West, the major highway connecting the USA’s east and west coasts. During their tour they will deal with accidents large and small, homicidal felons, and bad weather. Hit the sirens, turn on the red lights, and woo-woo-woo nee-ner nee-ner nee-ner prepare for action……

I can’t say that ‘Code Three’ is gripping entertainment or great, genre-transcending sf, but it is a reasonably entertaining read. Author Raphael writes with a clipped, declarative style that serves this sort of procedural narrative well. 


The ongoing repartee between the two cops and nurse Kelly, if it were to take place in contemporary times, would undoubtedly lead to sexual harassment charges at the very least, but during the Mad Men era when this novel was written, societal attitudes about workplace conversations were less …….evolved.

If you are interested in the sub-sub genre of sf devoted to Emergency Response, then ‘Code Three’ may be worth picking up.

Grey Morrow's Orion

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'Grey Morrow's Orion' by Grey Morrow





Grey Morrow (March 7, 1934 – November 6, 2001) had a long and productive career (spanning from the mid-50s to the late 90s) as an artist for comic books, newspaper strips, television cartoons, magazines, paperback book covers, and illustrated books.


Starting with the March, 1978 issue and appearing monthly through to the December, 1978 issue, Heavy Metal magazine published Morrow’s sword-and-sorcery strip ‘Orion’. This large –size (12 ½ x 9 1/8 inches) trade paperback compiles all the ‘Orion’ episodes, as well as all three issues of ‘Edge of Chaos’, a comic book the Morrow did for indie publisher Pacific Comics from July, 1983 to January, 1984.


The book features a Foreword by Morrow's wife Pocho Morrow, and an Introduction by Daniel Herman that covers Morrow's career.

With 'Orion', Morrow was able to do a creator-controlled comic that enabled him to avoid the restrictions of the Comics Code and the editorial oversight that came with working for companies like Marvel and DC. Needless to say, Morrow took full advantage of the opportunity, filling the pages of Orion with sword fights, monsters, evil wizards, and exposed bosoms, in the best sword-and-sorcery style.....





With Orion, Morrow took pains to avoid mimicking the hero conventions established by mainstream publications like 'Conan', in favor of a hero who was often fallible and fatigued, but not averse to spending time in hedonistic pursuits.
 


There was also an undercurrent of humor, as well as some degree of pathos, to the adventures of Orion, his homeboy Mamba, the cat-lady Felina, and her orge manservant Urza. 


Morrow not only pencilled and inked his artwork for Orion, but hand-colored it as well, a considerable undertaking back in the days before PC-based scanning and coloring of comic book artwork was feasible. While I suspect modern readers used to computer-generated coloration will find this aspect of the artwork to be underwhelming, by the standards of the time, it was quite effective.

For 'Edge of Chaos', apparently the original artwork for the first issue was not available, so scans had to be made of the printed comic; this explains the low-res appearance of that artwork.


The remaining issues 2 and 3 feature much better reproductions.

'Edge' features as lead character Eric Cleese, a hero modeled on Steve Reeves, the actor who portrayed 'Hercules' and other heroes in films in the 50s and 60s. 

Cleese is transported from his sloop to Olympus, a futuristic city floating in space, ruled by the fabled Gods of Greek mythology. Cleese is tasked by them to defeat the deranged wizard Moloch, who threatens to destroy their world.


Eric Cleese is in the same mold as Orion, but with a greater sense of self-deprecating humor. His encounters with monsters and demons are marked by a wise-cracking disbelief.



As with Heavy Metal, Pacific Comics eschewed the Comics Code, allowing Morrow to provide his readers with yet another bevy of beautiful, lightly-clad women.


One thing that makes Orion and Edge of Chaos stand out compared to contemporary comics is their realistic displays of anatomy. The grotesquely over-muscled bodies of modern superheroes are absent here, as are the hypersexualized depiction of female bodies that governs their depiction in many superhero titles.


I have mixed feelings about 'Grey Morrow's Orion'. On the one hand it's gratifying to have all of the episodes from Heavy Metal assembled into one volume, in large-scale book with quality stock paper and the best possible reproduction, as deserves a memorable piece of comic art. 

However, the decision to have the book published by a small, specialty press means that its cover price of $40 makes it overly expensive, particularly by the standards of the graphic novel market. (I was fortunate to procure a used copy of 'Grey Morrow's Orion' for around $23.)

While it would have required some degree of compromise in size and perhaps paper quality, a smaller-sized edition of 'Orion', akin to the volumes released by the New Comic Company for its 'Creepy Presents' and 'Eerie Presents' hardbound volumes would have been more affordable and expanded the opportunities for Morrow's artwork to reach a wider audience.
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