Killraven: Amazing Adventures No. 27

Killraven: 'Amazing Adventures' No. 27 (November 1974)

The cover for ‘Amazing Adventures’ No. 27 (November 1974) is uncredited but judging by the intricate style of the artwork and the ‘cosmic’ background, it’s probably Jim Starlin (and maybe the illustration was originally designed for an issue of ‘Captain Marvel’ or ‘Warlock’ ?).

‘The Death Breeders’ is scripted by Don McGregor, and Craig Russell provides the artwork.

The book opens with Killraven and company iceboating on Lake Michigan, where they are attacked by giant lampreys (?!). This is less cheesy than it sounds; as the scan’s I’ve posted below indicate, it’s a harrowing battle that sees poor Grok the mutant nearly exsanguinated...

This issue introduces Volcana Ash, a woman with the attributes of Medusa and the Human Torch. She leads the rebels to Milwaukee, where the Martians have set up a colony of human slaves who are treated most heinously. It’s Killraven’s intent to free the wretched slaves, but the Martians have other plans…

This issue is a welcome change from the rather mediocre efforts of the previous several installments of ‘Amazing Adventures’. Russell’s artwork is dynamic and shows attention to detail, and McGregor’s plot provides as much brutality and bloodshed as a Code-approved book could allow in 1974.

The Marvel Bullpen page trumpets the forthcoming hardbound book ‘Origins of Marvel Comics’, as well as a new magazine called ‘Nostalgia Illustrated’ (?!) which seems to have been yet another a spur-of-the-moment effort by Stan Lee to cash in on the nostalgia craze then gripping the popular culture.

Editor Roy Thomas’s essay refers to the staff’s pastimes in that Summer of '74:

“Steve Englehart and Gil Kane were basking languidly by their swimming pools – and maybe sneaking a fast dip or two between deadlines.”

Book Review: Dying for Tomorrow

Book Review: 'Dying for Tomorrow' by Michael Moorcock

2 / 5  Stars

‘Dying for Tomorrow’ (192 pp., DAW Book No. 282, 1978) first appeared in Britain in 1976 as ‘Moorcock’s Book of Martyrs’. The striking cover illustration is by Michael Whelan.

‘Dying’ collects 7 short stories that appeared in print earlier in Moorcock’s writing career, during the 60s, and 70s, in SF magazines such as New Worlds.

In the first story, ‘A Dead Singer’, Mo - an unemployed roadie - travels the back roads of Britain in a camper van; his meanderings are spurred by a foreboding assortment of recreational drugs, and Mo’s conviction that Jimi Hendrix, returned from the dead, is traveling alongside him in the van. 

This is a downbeat tale that perfectly captures the disillusionment that gripped so many erstwhile 60s flower-power children as they confronted the reduced expectations of the early 70s. It’s able to stand alongside Harlan Ellison’s ‘Shattered Like A Glass Goblin’ as a cruelly accurate portrayal of the squalor and self-inflicted misery that came with the dying years of the hippie movement.

The next entry, ‘The Greater Conqueror’, is a sword-and-sandals tale of a mercenary named Simon, seeking fame and fortune in the Middle East at the time of Alexander the Great. Simon becomes involved in a seemingly hopeless fight against occult forces seeking to use Alexander as a portal for the conquest of the world. Published in 1962, this is one of Moorcock’s earliest short stories and while the prose lacks polish it’s a serviceable enough adventure tale.

Moorcock’s best-known short story is ‘Behold the Man’, in which a neurotic British Jew named Karl Glogauer travels in a time machine to the Palestine of 28 AD. No one has heard of a great prophet named Jesus, but the local populace think that Glogauer, a strange visitor from some far-off realm, may be someone special in his own right…..This story remains a provocative and well-crafted examination of the intersection of history, myth and religion more than 40 years after its first appearance.

‘Good-bye, Miranda’ is a short (three page) tale of a girl haunted by a rejected suitor.

‘Flux’ is a sardonic retelling of the H. G. Wells classic tale ‘The Time Machine’. In a near-future European Union facing economic and social collapse, the multi-skilled genius Max File is sent 10 years into the future to see what happens, and how it might be corrected. Things go awry and Max finds himself in times and places far beyond the scope of his original mission.

‘Islands’ is an unconvincing story about a schizophrenic young man who seems to experience multiple possible realities simultaneously in time.

‘Waiting for the End of Time’ is a very New Wave-ish tale of the last pair of humans on the last city on the last planet in the galaxy, on the last day before the implosion of the galactic center eliminates all life and matter. There is much metaphysical prose. Like so many New Wave stories that tried to present Entropy as Art, it hasn’t aged well.

In summary, ‘Dying for Tomorrow’ contains a few memorable tales, but on the whole, this collection confirms that Moorcock’s best efforts at fiction tend to be in the novel-length format. Unless you’re a Moorcock completist, ‘Dying’ can be skipped.

Slow Death comics No. 3

'Slow Death' comics No. 3



‘Slow Death’ No. 3 (1971) features a cover illustration by Richard Corben, who also provides the (untitled) lead entry in the comic. Corben also contributes ‘Heirs of Earth’, a grimly funny little two-page story. Two of the longer pieces in the book come from Larry Weltz (‘The Sleeping Continent’), and Jaxon (‘Gene Shuffle’).

But the best entry in Slow Death No. 3 is another small masterpiece from Jim Osborne, which I have excerpted here, titled ‘Harbinger’. The entire four-page comic contains neither dialogue balloons nor text narration, but is nonetheless very successful in building up a feeling of religious awe and dread.

In utilizing a drawing style reminiscent of an engraving, Osborne’s piece is a homage to Lynd Ward (1905 – 1985), whose work I was vaguely familiar with from the children’s books I read in the 60s and 70s.

Ward does not get much attention nowadays, but in his time (1920s – 1970s) he was one of the premiere book illustrators and graphic artists in the US. He employed a distinctive style in his illustration, and devotees of graphic art will want to be acquainted with Ward’s body of work.

(Who says reading trash like underground comix won’t teach you something ?)

Book Review: Dark is the Sun

Book Review: 'Dark is the Sun' by Philip Jose Farmer

4 / 5 Stars

‘Dark is the Sun’ (Ballantine SF, 1980, 405 pp) is the paperback version of the novel that first appeared in hardcover in 1979; it features a fine cover illustration by Darrell K. Sweet (depicting, left to right, Sloosh, Aejip, Deyv, Vana, and Jum the dog).

It’s 15 billion years into the future, and Earth is peopled by primitive tribes who wander amidst long-forgotten machines and structures; a variety of quasi-human species descended from past genetic engineering projects; and plenty of dangerous animal and insect life. The planet has been physically moved, by technologically gifted elder civilizations since decayed, into an orbit far from the remains of the Sun, which is now nothing more than a Dwarf Star.

The galaxy, and perhaps the universe as well, are contracting and a ‘heat death’ is imminent in the next few centuries - if not sooner.

Deyv, a young man of the Turtle Tribe, is unaware of the colossal events taking place in remote space; instead, he is worried about leaving his tribal homelands on a mandatory Vision Quest to seek a mate. This means trekking into jungles filed with all manner of monsters and hostile tribes. To make things worse, once his quest is underway, Deyv loses his Soul Egg- a potent talisman- to a thief. If he cannot recover his Soul Egg, Deyv will be condemned to life as an outcast.

Deyv finds himself teaming up with a mutant centaur named Sloosh, and an attractive cannibal (!) girl named Vana. Together with Deyv’s unique pets Aejip and Jum, the party sets off to find the Soul Egg thief. But they soon discover that the thief has an agenda of his own, and there are revelations about the Earth, and its fate, that will require their utmost attention…if Man is to survive the coming collapse of his Universe.

By 1979, when he published this novel, Philip Jose Farmer had been producing at least one, (more often several) SF and fantasy adventure novels per year for more than two decades. This experience is put to good use with ‘Dark Is the Sun’. It’s meant to be pure escapist entertainment, an adventure in the ‘Barsoom’ genre founded by E. R. Burroughs, but with a more sophisticated and engaging prose style.

Farmer knows what he is doing: his writing is very readable and the characters, both human and unhuman, are interesting and offbeat. Many of the creatures and landscapes of the far-future Earth are drawn with imagination and an eye for the bizarre. The perils that beset our adventurers are many and keep the narrative rolling along at a good clip.

Somewhat inevitably the pace starts to drag a bit in the book’s middle third, and the novel could have been 50 pages shorter in length. But I got the sense that Farmer was having a lot of fun with his characters and was reluctant to cut the thread short.

‘Old School’ SF authors like Farmer, Robert Silverberg, Harry Harrison, and the underrated Edmund Cooper could do this sort of thing so effortlessly that it’s easy to assume that it required unremarkable effort and training on their part. But in fact, more and more as I read contemporary SF and fantasy novels, many featuring lengthy narratives dealing with complex world building and large casts of characters, it’s clear that conceiving and writing a Readable Novel is considerably harder than many aspiring novelists think it is. These guys knew how to do it, and they made it look easy.

‘Dark is the Sun’ is a fun read, and I recommend it to every SF fan.

'The Bus' by Paul Kirchner

 

'Talapalca' by He
(from the January 1978 issue of 'Heavy Metal' magazine)

A comic set in the time of the ancient Incas. Some very good pen-and-ink artistry from French artist Dominique He.

Book Review: The 1973 Annual World's Best SF

Book Review: 'The 1973 Annual World's Best SF', edited by Donald A. Wollheim

 

2 / 5 Stars

‘The 1973 Annual World’s Best SF’ (1973) is DAW Book No. 53. The cover art is by Jack Gaughan.

Somewhat confusingly, this volume is a continuation of the ‘World’s Best Science Fiction’ series published by Ace books, and edited by Wollheim, from 1965 to 1971. 

[After a dispute with the management of Ace books, Wollheim left the company in 1971 to found DAW Books. The 'Annual World's Best' incarnation started up at DAW with the 1972 edition].

All the stories in this anthology saw print in 1972, mainly in the pages of mainstream digest publications such as Analogue and Fantasy and Science Fiction.

In his Introduction, Wollheim displays a surprising amount of rancor towards the New Wave movement, which by 1973 was at its apogee. A body of literature that, as far as Wollheim was concerned, was “…laden with snide, open-ended, implausible, and sometimes plotless writing - and occasionally works that are offensively and pointlessly obscene.” 

Wollheim was particularly angered by the disparaging attitude on the part of many New Wave practitioners towards the ‘Old Hands’, i.e., established SF writers like Asimov, Clark, Anderson, Pohl, etc.

He has little praise for Damon Knight’s ‘Orbit’ anthology series (which expressly showcased New Wave content), and is less than impressed with Harlan Ellison’s second major New Wave anthology, ‘Again, Dangerous Visions’.

With his ‘1973 Annual World’s Best SF’ Wollheim clearly hoped to give heightened exposure to previously published tales by the ‘Old Hands’, and select newcomers. So how well does a seemingly anti-New Wave anthology, released at the height of the New Wave era, come across nearly 40 years later ?

Ironically, the first entry, Poul Anderson’s ‘Goat Song’, is a determined effort by an Old Hand to write something with a New Wave flavor. The plot takes the Greek myth of Orpheus and Eurydice and transplants it into an SF milieu; the first –person narrator, a Harpist, asks an omnipotent computer to revive his dead wife. The story suffers from Anderson’s exertions to be Profound; the prose style is clumsy and overwrought, there are too many stanzas of archaic poetry, and the computer, called ‘SUM’, too clearly derived from Harlan Ellison’s ‘AM’ in ‘I Have No Mouth and I Must Scream’.

James Tiptree, Jr (i.e., Alice Sheldon) provides ‘The Man Who Walked Home’, about a recurring apparition that may represent a man trapped in a time portal of some kind. The story focuses on the reactions of various people as, over the centuries, they convene at the location in Idaho where the apparition manifests itself on a yearly basis. The story’s time travel element is unconvincing, and overall, ‘Man’ didn’t impress me as a ‘year’s best’ candidate.

Michael Coney contributes ‘Oh, Valinda !’, a tale set in the polar regions of the planet Cantek. Some profit-minded Earthmen have enlisted a Cantek native to help them transport an iceberg through the ocean to a port where fresh water is badly needed. The story is meant to be a reflection on the pollution of the Earth’s polar regions and the effect of encroaching civilization upon the Eskimos living there. Featuring some rather unusual but well thought-out alien biology, it’s one of the better entries in the anthology.

Wollheim introduces Frederik Pohl’s novella ‘The Gold at the Starbow’s End’ as “…probably the best single piece that this very talented writer has produced in the last few years.” The story alternates between the observations of the crew of the first starship to Alpha Centauri, and the politicians and scientists back on Earth who are anxious to trumpet its accomplishments as a Cold War triumph. It’s not a bad story, but whether it’s one of Pohl’s best efforts at short fiction is open to debate.

Clifford Simak provides ‘To Walk A City’s Street’s’, in which a man with unusual abilities is forced by government agents to wander the seedier district of a city. There is a surprise ending.

T. J. Bass contributes ‘Rorqual Maru’, an entry in his ‘Hive’ series of stories and novels. In a far-future Earth depleted of most of its resources, genetic engineering and severe overpopulation have resulted in the advent of the Nebish, a species of Homo sapiens of small size and hesitant bearing. When a genetically engineered great blue whale – the Rorqual Maru- chances on abundant supplies of plankton, the Nebishes find themselves in competition with a race of long-forgotten, genetically engineered aquatic humans to lay claim to the harvest. This story served as the basis for Bass’s 1974 novel ‘The Godwhale’.

W. Macfarlane (a Google search for more info about the author was unsuccessful) provides ‘Changing Woman’, about an American Indian woman who takes a job as a cartographer for a mysterious project operating from a secure redoubt in northern California. The story’s prose suffers from too self-conscious an effort by the author to be arty and stylish; witness this example of dialogue:

“Birdeena Ora Oza Yadon, sweetie…” her boss was hesitant.

“Are you using your forked or unforked tongue ?”

‘Willie’s Blues’, by Robert J. Tilley, takes the trope of the White Boy Who Worships Jazz and A Special Negro Jazzman in Particular, and melds it with a conclusion about the moral implications of time travel. I have to admit I hate Jazz, and I also can’t stand white urban liberal hipsters who swoon over Jazz, but even so, this story came across reasonably well.

Vernor Vinge contributes ‘Long Shot’, the most ‘hard’ SF tale in the anthology. It’s about an AI that is chosen to direct a lengthy journey to a distant star. Vinge does a good job of giving the reader a sense of the challenges confronting an interstellar mission.

Phyllis MacLennon provides ‘Thus Love Betrays Us’, in which a Terran biologist is marooned on a dismal, fog-shrouded planet. His efforts to befriend a member of the native population have unforeseen consequences.

All in all, 'The 1973 Annual World's Best SF' is a middling example of an anthology. There are three or four memorable stories, but too many other entries are rather lackluster and indicate that, at least as far as 1972 was concerned, the Old Guard was still trying - with only mixed success- to deal with the challenge posed by the advent of the New Wave.

'The Bus' by Paul Kirchner

Before there was 'The Far Side', before there was 'The Perry Bible Fellowship', there was...

...The Bus.

‘The Bus’ was a black and white strip by Paul Kirchner that regularly appeared in Heavy Metal magazine in the late 70s and early 80s. Usually within the space of a third of a printed page, with 6 to 8 panels per strip, and featuring Kirchner’s careful draftsmanship and meticulous cross-hatching, ‘The Bus’ was often one of the better entries in a given issue of the magazine.

‘The Bus’ featured a sly, but not altogether benevolent, sense of humor. The hapless protagonist, a balding, middle-aged man in a raincoat, usually encountered all manner of surreal (and often menacing) goings-on. All this was cleverly communicated without employing any speech balloons, and the judicious use of sound effects and overlaid text boxes.

All of the strips that Kirchner produced are compiled in the small trade paperback version of ‘The Bus’ published by Ballantine Books in 1987. At amazon.com a new copy of the book is selling for a price of $ 195.24 (?!) and used copies at a (bargain-priced) $2.99 and up. If you are a fan of The Far Side, The Perry Bible Fellowship, and other comics - based humor of the quirky, more cerebral variety, then you may want to purchase a copy of 'The Bus'.

For those reluctant to spend money for a new or used copy in these Times of Recession, I will be posting excerpts from ‘The Bus’ here at the PorPor Books blog.

Killraven: 'Amazing Adventures' No. 26 (September 1974)

 

Issue 26 (September 1974) of ‘Amazing Adventures’ features the ‘War of the Worlds’ storyline; this time Killraven and his band of rebels are involved in ‘Something Worth Dying For’, written by Don McGregor and illustrated by Gene (‘The Dean’) Colan.

The locale is Battle Creek, Michigan, and the comic features more than a few references to cereals and junk foods in the speech balloons and text narrative; presumably in a hip and snarky post-modern sort of way.

There is some cheesecake provided for the fans when Carmilla Frost, the shapely molecular biologist who has joined the Killraven crew, decides to take a bath in a nearby stream despite the chill winter weather (a trooper, that Carmilla !). 

Some local perverts take too close an interest in her ablutions, and some mayhem occurs…..

The story culminates in a confrontation with the villain on the book’s cover, one ‘Pstun-Rage’ (?!).

This is another underwhelming issue in the series. Signs of tiredness were beginning to show in the writing and the art, no doubt occasioned by Stan Lee’s misguided insistence on expanding the Marvel product line without much regard to whether the company could handle the workload.

In his Soapbox Lee crows about the advent of ‘Spidey’ stories, a new comic produced in partnership with Sesame Street spinoff ‘The Electric Company’. In keeping with the Sesame Street ethos, Spidey was aimed at grade-school kids whose reading comprehension had been severely downgraded  by over-exposure to TV.

Needless to say, Lee saw the partnership as a signal opportunity to present comic books as an Aid to Learning (as opposed to their historical perception as vehicles for juvenile delinquency and stunted personal growth).

Book Review: Sandworld

Book Review: 'Sandworld' by Richard A. Lupoff

2 / 5 Stars

‘Sandworld’ (188 pp.) was published by Berkley in 1976; the cover artist is uncredited.

It’s a dark and stormy night in northern California. San Quentin prison convicts ‘Red’ O’Reilly, Bennie Nebayan, and Willie B. Hutkin are being driven to a courthouse in San Fran by prison guard Marc Mauriello. Along for the ride is civil rights monitor and ACLU attorney Alice Michaelson. After a particularly intense bolt of lightning strikes the pavement in the vicinity of their car, the group are stunned to discover that they have somehow been teleported to the surface of a planet located light-years from the Milky Way galaxy.

The planet (facetiously dubbed ‘Else’) is a desert planet, and our heroes are forced to undertake a trek across the trackless wastes in search of water. Along the way they become aware that someone – or something – is watching them. It turns out the planet is home to a race of aliens who consume the blood and soft tissues of their victims: a race of ‘vampires’.

Red O’Reilly takes on the role of leader as the group struggles to survive the nighttime attacks of the bloodthirsty aliens. When they enter the ruins of a once-great city, will they find a way to escape the vampires and return home to Earth ? Or do even worse perils await them as they explore the long- dead culture of a depleted planet ?

Richard Lupoff authored a large number of novels and short stories during the late 60s and 70s, many in the pulp style, and thus was potentially well-qualified for this effort at an Old School SF adventure. However, ‘Sandworld’ fails to live up to the billing announced on its back cover: ‘A novel of high adventure, action, and fantastic imagination.’

The narrative moves very slowly as the author belabors the psychological turmoil experienced by the inadvertent space travelers, and devotes excessive text to angry exchanges between the erstwhile prisoners and their jailor. In fact, the ‘vampires’ doesn’t even make an appearance until 50 pages into the book, and it’s nearly another 70 pages before our heroes actually come to grips with their stalkers. If there is one thing a suspense or adventure novel can’t afford to do, it’s to dissipate too much energy on exposition; the thrills and twists have to come, and come fast, or the reader loses interest.

Unfortunately, ‘Sandworld’ don't offer much in the way of excitement, and comes across as a diffident effort at best by Lupoff. Unless you are a completist for obscure 70s SF novels, this one can be avoided without penalty.