SO....what's a PorPor Book ?
'PorPor' is a derogatory term my brother used, to refer to the SF and Fantasy paperbacks and comic books I eagerly read from the late 60s to the late 80s.
This blog is devoted to those paperbacks and comics you can find on the shelves of second-hand bookstores...from the New Wave era and 'Dangerous Visions', to the advent of the cyberpunks and 'Neuromancer'.
‘Amazing Adventures’ 25 (July, 1974) features Killraven in ‘The Devil’s Marauder’, with script by Don McGregor and art by Rich Buckler, who was replacing Herb Trimpe.
Things start somewhat promisingly, as we are treated to the sight of an escaping slave being executed in rather gruesome fashion by a tripod driven by a villainous individual named Skar. Killraven launches himself at the tripod canopy and a major battle with Skar looms….or so it seems (panels below).
This issue of ‘Amazing Adventures’ is one of the least impressive ones in the Killraven series. It shows too many signs of hasty artwork on Buckler’s part, with poor color separations to boot. As far as the storyline goes, it initially sets up what looks like an exciting confrontation with a genuinely nasty adversary, but instead lapses into a rushed, underwhelming ending, as if McGregor had abruptly discovered that he had only 15 pages this issue, not the historic 20, to work with.
The other material in the book includes a three-page reprint of an old Marvel horror comic reprint, ‘Are You Ready for the Impossible’; a letters page; and several Bullpen pages, on one of which Stan Lee shills for the Marvel ‘Value Stamp’ booklet (50 cents).
All through the last half of 1973 it was clear that Marvel was running into production problems as Lee lavished attention on an ever-increasing line of b & w magazines designed to assuage his envy of James Warren’s publishing success with ‘Creepy’ and ‘Erie’. This meant that Marvel’s color comic output suffered from a lack of resources. Unfortunately, the early months of 1974 made clear that at Marvel, things were going to get worse before they got better….
'The Year's Best Fantasy Stories 3', edited by Lin Carter
3 / 5 Stars
‘The Year’s Best Fantasy Stories 3’, edited by Lin Carter, was published as DAW book No. 267 in November, 1977. The cover illustration is by Josh Kirby. Much as with the other DAW anthologies of the era, the fantasy edition of the ‘Year’s Best’ compilations usually had three, or perhaps four, good stories within their pages, which is the case with this volume.
This may or may not have had something to do with the fact that back in ’76, what was then called ‘adult fantasy’ was still an emerging field in book publishing, and unlike today, the store shelves were dominated by SF, with very few fantasy entries receiving mass market paperback publication. Many of the stories in ‘Fantasy 3’ came from small-press magazines or other fantasy anthologies, while some stories make first-time appearances; all were produced in 1976.
The emphasis in this volume is very much on Conan-style heroic fantasy tales.
‘Eudoric’s Unicorn,’ by L. Sprague de Camp, is a pleasant enough tale, if not particularly memorable. It’s an effort at infusing the old-tyme ‘dragon and threatened maiden’ trope with humor.
Veteran fantasy and SF writer Gardner Fox contributes ‘Shadow of a Demon,’ in which a barbarian hero named Niall enters the cursed city of Angalore, and a confrontation with a evil mage named Maylok. En route he saves a young woman from would-be molesters and takes to the party life:
Niall pushed Lylthia onto a bench and waved an arm at a serving maid. “Thort steaks and Kallarian,” he ordered, then turned his attention to the girl.
‘Shadow’ delivers the pulp-style sword-and-sorcery stuff in a satisfactory dose, and should satisfy any fan of the ‘Conan’ stories.
Pat McIntosh’s ‘Ring of Black Stone’ is also in the sword-and-sorcery camp, but it’s one of the more subdued and nuanced tales in the genre. Thula the war-maiden befriends an elderly woman and a little girl, as the latter go about burying the girl’s slain parents. Thula volunteers to find the elderly woman’s granddaughter Melvia, abducted by the slayers and taken to the city. The narratives centers less on brute-force hacking and slashing, and more on an understanding of the subtleties of magic, and some careful decision-making by its heroine.
‘Ring’ is one of the best stories in the anthology.
George R. R. Martin, whose ‘A Song of Ice and Fire’ / Game of Thrones series dominates contemporary fantasy publishing, provides ‘The Lonely Songs of Laren Dorr.’ Laren is a bard who sings his way around confrontations; he befriends a cursed young woman named Sharra, and decides to break the enchantment cast upon her. The story is an patent effort to produce a highly stylized, pretty, melancholy prose poem, but I ‘m afraid I’m too crude and brutish to appreciate it…..
Karl Edward Wagner gives us a 'Kane' story in ‘Two Suns Setting.’ While wandering through the wastelands, Kane encounters a well-behaved giant named Dwassllir, and embarks on an adventure to recover the lost Crown of King Brotemllain. Wagner wasn’t the most stylistically accomplished of sword and sorcery writers, and his passages of dialogue often are a little clumsy. However, ‘Two Suns’ makes up for these weaknesses with an engaging plot, and a bleak, existential sensibility concerning lost glories and faded elder races.
The anthology strikes a lame note with the next entry, ‘The Stairs in the Crypt,’ in which editor Carter takes a scrap of a manuscript by Clark Ashton Smith, and from it, fabricates a short story. It’s really nothing more than self- indulgence on the part of Carter to include this entry as one of the ‘year’s best.'
Raul Capella contributes ‘The Goblin Blade.’ Bickering allies Briot the thief and Dalmask the mage infiltrate castle Skernach, which has been occupied by a supernaturally enhanced warrior named Tormahan. The author is clearly trying to pay homage to the Fafhrd and Grey Mouser tales of Fritz Leiber. This is not a bad thing, although the story’s copious dialogue is not very convincing and tends to overwhelm the narrative.
With her entry ‘The Dark King,’ author C. J. Cherryh tries to produce a ‘deep’ fantasy tale like those produced by her contemporary, Tanith Lee. The story deals with a young regent named Sisyphos who makes a fateful bargain with Death. It’s not a bad effort, but I found myself thinking Lee may have handled the concept with a bit more aplomb.
Editor Carter doesn't shy from including another of his own compositions as a 'year's best' entry. Here it's one of his Conan pastiches, featuring ‘Thongor the Mighty,’ in a tale called ‘Black Moonlight.’ As a sword and sorcery tale it’s competent, but by ’76 Carter had been churning out reams of short stories and novels over a long career, and ‘Moonlight,’ like so much of his latter work, showed no marked advances in story conception or writing style.
It wasn’t difficult to foresee that in '76, a stage was being set for authors like Stephen R. Donaldson and Terry Brooks, whose works would elevate them to considerable commercial success as fantasy writers. All Lin Carter could do was watch from the sidelines, resentful that his years of investment in the field had not brought him to the attention of mainstream publishers.
‘The Pool of the Moon,’ by Charles Saunders, is a sword and sorcery tale involving Imaro, a black Conan-style hero let loose in a fantasy landscape with Afrocentric tones. Our hero rescues Nakulla, “…a seductive vision in gold and black”, and a princess of Darfur.
I can’t say it’s a terribly original story, but the inclusion of some ethnicity into the story gives it some offbeat flavor. It’s too bad what we now call ‘urban fiction’ didn’t exist back in ’77, because if it did, I’d like to think author Saunders could have made an impact by pursuing this line of fiction for an audience of black readers.
Summing up, 'The Year's Best Fantasy Stories: 3' is one of the better volumes in the franchise. As of the Fall of 2024, copies still can be had for about $10, making this anthology worth picking up.
February 1980. The radio is playing Don Fogelberg's 'Heart Hotels', Queen's 'Crazy Little Thing Called Love', and Michael Jackson's 'Rock With You'. The Winter Olympics are taking place in Lake Placid, New York, and the US hockey team wins the gold medal in a major upset over the Russians (Commies). Eric Heiden wins five gold medals in speed skating.
The latest issue of Heavy Metal features a cover by Patrick Couratin titled 'Mr Interlocutor ? Yes, Mr Bones' (obviously an avant garde title that is comprehensible only to French intellectuals), with the back cover by Jim Burns, titled 'Another DC-10 Bites the Dust'.
I've excerpted a little two-page comic by Enki Bilal, titled 'Road to Ruin'. Its wry humor is just right for the twin doldrums of Mid-Winter and Valentine's Day.
Book Review: 'Zardoz' by John Boorman (with Bill Stair)
1 / 5 Stars
'Zardoz' (1974) is considered nowadays to be of dubious worth as SF cinema, but at the time of its release it got reasonably good reviews and box office receipts.
In some ways the prominent costuming of Sean Connery in a red 'pudsuit' gave many people the idea the film was frivolous even before they saw it. Those sci-fi fans of my acquaintance who are under 40 years of age think Zardoz is 70's cheese / kitsch culture personified.
This paperback novelization of Zardoz (Signet, 1974, 127 pp.) is based on Boorman's script which he began creating in 1972; according to Boorman's Introduction, Bill Stair was brought on to "...help rationalize the visions that threatened to engulf me."
The novelization follows the film's script quite closely and there are no revelations here that do not appear in the film; however, some of the more confusing elements of the film - and in my opinion, these are large in number- do get more fleshing-out.
To synopsize: following the collapse of civilization, small bands of lotus-eaters, termed The Eternals, have retreated to lives of boredom within high-tech communities known as Vortexes.
Outside of these enclaves of plenty, the country is peopled by barely civilized tribes of mutants known as Brutals. Bands of armed raiders, termed The Exterminators, possess firearms and with these, and heavily applied doses of violence, keep the Brutal population in check.
An enormous flying stone head, representing the god Zardoz, regularly flies around the countryside, and when it touches down the Exterminators and the Brutals fill it with grain and other comestibles harvested from the land. This constitutes tribute to the Eternals.
Zed (played in the film by Connery) is the premiere Exterminator; in the midst of pillage and rapine, he wonders why Zardoz necessarily must solicit foodstuffs from the countryside. Zed decides to covertly secrete himself within Zardoz, and when the stone head returns to its Vortex of origin, Zed encounters the Eternals. Soon he is caught up in their intrigues and power plays. But Zed, however uncouth his appearance, has his own ideas of how to liberate the country from serfdom to the Eternals...
As a novel, 'Zardoz' is mediocre. The prose style overdoses on New Wave SF mannerisms; for example, the narrative frequently creaks to a halt to indulge in figurative and symbolic passages designed to showcase the existential angst of the Eternals.
There are too many sentences that try for Profundity, but instead come across as stilted and empty. The computer-controlled machinery that makes life in the Vortex possible is described in quasi-mythological terms, and comes across more as magic than technology per se.
The verdict ? Only truly die-hard fans of the film will want to read this novelization.
Tuesday, January 26, 2010
'His Head in the Clouds', by Ed Emshwiller
Ed Emshwiller (1925 – 1990) was a renowned SF artist during the 50s and 60s, during which he provided cover and interior illustrations for a large number of magazines and books.
Emshwiller was noted for bringing a whimsical, humorous approach to his compositions, and this is true for the image I’ve scanned here, the illustration for the Robert Silverberg story ‘His Head in the Clouds’, from the September 1957 issue of Original SF magazine. The image is featured in an article about the artist, ‘Ed Emshwiller: The Art of Things to Come’, by Luis Ortiz, in issue 19 (Summer 2007) of Illustration magazine.
Emshwiller was living in Levittown, Long Island, during the 50s and one of his neighbors was the Griffith family; their son Bill was the model for the boy depicted in the illustration. Bill Griffith’s father posed as the irate military officer in the viewscreen. Bill Griffith considered Emshwiller to be a ‘beatnik’ due to his unconventional occupation and art-focused lifestyle.
Bill Griffith went on to pursue art in his own way, as the originator of the ‘Zippy the Pinhead’ underground comic. Probably the most commercially successful character to emerge from the comix scene, ‘Zippy’ is syndicated in many major newspapers, and supports a complete line of consumer products.
Book Review: 'Warlord of Ghandor' by Del DowDell 3 / 5 Stars
‘Warlord of Ghandor’ is Dell book No. 253 (253 pp., 1977). The cover painting is by Don Maitz.
It’s 1649 and Robert Dowdall, an Irish noble and adventurer, is preparing to lead the Clans of Ireland in an effort to oppose the landing of Oliver Cromwell and the English army. The eve before the battle that would come to be known as the siege of Drogheda, Dowdall stumbles upon a strange portal hidden in the evening mist. Stepping through the portal, he arrives on the planet of Ghandor.
Ghandor is a small planet that orbits the Sun in a position equidistant from the Earth, in a manner akin to the Counter-Earth of the ‘Gor’ novels. Being somewhat smaller in diameter than the Earth, and with a lighter gravity, Ghandor confers upon Robert Dowdall superhuman physical powers, including the ability to make leaps of more than 30 feet vertically or horizontally.
Dowdall soon embarks on a series of adventures among the barbarian peoples of Ghandor, with the goal of saving his beloved, the stunning Princess Marjano, from imprisonment at the hands of despots or primitives.
Author Del Dowdell clearly intends that ‘Warlord of Ghandor’ be a pastiche of the ‘Princess of Mars’ by Edgar Rice Burroughs, and the exploits of Robert Dowdall will be quite familiar to those who have read the John Carter of Mars / Barsoom novels. There are strange races of men, various monsters and beasts, flying ships, exotic cities, strange technologies, and much swordplay all loose on the surface of Ghandor.
But those with an affection for the John Carter novels, however the degree of their literary drawbacks, will want to give ‘Warlord’ a look.
[Since the 1970s Del Dowdell has authored numerous adventure, science fiction, and mystery novels, many self-published or published by small presses; some of these are available at amazon.com.]
'The House on the Borderland' by Jim Burns
illustration for the novel by William Hope Hodgson
New English Library paperback edition (1996)
Reader MPorcius recommends checking out a gallery of Hodgson - related artwork by artist Stephen Fabian.
With the January 1980 issue of Heavy Metal, editor Ted White introduced new content to the magazine, in the form of columns that reviewed Music (by Lou Stathis), underground comics (Jay Kinney), SF books and magazines (Steve Brown), and SF cinema (‘Bhob’). These columns were well-written and brought a more …serious…tone to the magazine. In a sign that reflected Heavy Metal’s growing impact among SF fans, Bhob’s column features a brief interview with Stephen King, who at the dawn of the 80s was firmly in place as a pop culture and marketing phenomenon.
As far as the traditional graphic content was concerned, the January issue’s front and back covers, ‘Repent Harlequin ! Said the Ticktockman’ were provided by Don Ivan Punchatz. Inside the magazine Ricard Corben provided another installment of ‘Rowlf’.
Val Mayerik did the black and white story ‘Time Out III: The Pause That Refreshes’, an interesting tale (but too explicit to post here) that features one of the archetypes of the mid to late 70s, the 'Karate (Kung Fu) Boy', who, with his blow-dried- parted-in-the-middle- long hair, stylish pajama trousers, and rapid kicks and strikes at the thin air, maintained an attitude of arrogance around lesser mortals.
Because, as the Karate Boy was fond of saying, he was capable of delivering serious punishment (below).
[Needless to say, such Karate Boys would not have lasted more than 60 seconds in a modern MMA bout.]
Other worthy entries in the magazine included ‘The Hive’, by Paul Kirchner; ‘Shoot Out At the Fantasy Factory’, by Aven and Hill; ‘Exit/In’, by William McPheeters; and ‘Womb With a View’ by Dan Steffan.
But, as with other issues of Heavy Metal in 79 - 80, the most impressive story was (yet another) comic by Arthur Suydam.
‘Food for the Children’, which I’ve presented here, was probably the best of all his strips to appear in Heavy Metal. The artwork is brilliant, the plot uncomplicated, and the last two pages- presented as a double-page spread-memorable.
Book review: 'Splinter of the Mind's Eye', by Alan Dean Foster
2 / 5 Stars
It was the striking cover illustration by Ralph McQuarrie that drew my attention to the paperback edition of 'Splinter of the Mind's Eye' (224 pp., Del Rey Books, February 1978) sitting on the shelf at the Binghamton Public Library in the late Spring of 1978.
I was 17, and while not a Star Wars fanboy, I did enjoy the film, and the prospect of reading about some new adventures of Luke, The Force, and Darth Vader was appealing. I can't recall if I was impressed with the novel after finishing it, so I thought I might give it another go after the span of more than 30 years.
The plot is simple enough: Luke and Leia crash-land on the remote planet Mimban, and discover that it has been colonized by the Empire. In a shabby mining town tavern, they learn of a mysterious gemstone, the Kaiburr Crystal, that can confer invincibility upon a Force wielder. In short order Luke and Leia embark on a journey to Mimban's dangerous interior, a monster-filled wilderness of swamps and underground caverns, to discover the lost Temple of Pomojema that holds the Crystal.
But things take a turn for the worse when they learn that Darth Vader himself is seeking the Crystal for his own nefarious purposes. Can Luke and Leia beat the Sith Lord to the Crystal ? Or will Vader get to the Crystal first and render himself unbeatable ?
'Splinter' is something of a mediocre read. Foster, a veteran of working with licensed properties, obviously had to work within some confines of a story suitable for a wide audience of both younger and older fans. He does manage to interject some (rather graphic) combat into the storyline every now and then. But, by delaying the confrontation with Vader till the last few pages of the novel, Foster is left with trying to keep the narrative going by putting Luke and Leia through some unimaginative, standard-issue perils.
It doesn't help matters that Foster's prose is often corny and insipid. For example, in one passage Leia speaks in the voice of a 'steel kitten'; elsewhere we are told she is '...a she-falcon flying for her prey-perch.' When Luke wields his light saber it is for a 'demonic' attack.
For Star Wars fanboys, the book's biggest illicit thrill is Luke's frequent lusting (!) after Leia, who is more than a little flirty in return. At the time the novel was written, of course, The Empire Strikes Back had not been released, so the growing romantic affection between the two didn't seem as....disturbing....back in '78, as it would be two years later.
If you're a die-hard Star Wars fan you may want to have 'Splinter' in your library, but readers less interested in the franchise will find the book rather uninspiring.
'Slow Death' No. 4 (Last Gasp, 1972) features a cover illustration by Richard Corben (under the pseudonym 'Gore').
This issue includes 'Eyes of the Beholder' (uncredited, but probably by Metzger); 'Ecotopia 2001' by Irons and Veitch; 'Mangle, Robot Mangler' (a satire of Gold Key Comics' SF title 'Magnus, Robot Fighter' ; uncredited, but apparently by Corben); and 'Homesick', by Veitch and Jaxon.
Probably the best story in the book is the one I've posted here, 'The Awakening', by Corben. The Eco-catastrophe theme is subtle but effective.
The inside page of the back cover publishes a very grim and cynical poem, 'Napalm Sticks to Kids', apparently written by some US troops serving in Vietnam and originally published in 1971. By 1972 most of the US forces had been withdrawn from South Vietnam and the NVA, by virtue of their Spring Offensive, had seized control of much of the country. The writing was on the wall for the end of South Vietnam, and it was clear that any forthcoming US involvement would be restricted to air offensives.
However, the antiwar movement was still a strong political and social force, with the revelations of the My Lai Massacre continuing to raise questions about the US involvement in Vietnam. For 'counterculture' publications like the underground comix, the war in southeast Asia was still a very high-profile event, and continued to receive much attention.
.jpg)
