written by Ralph Macchio
illustrated by Bill Sienkiewicz
Part Two
from Marvel Super Special No. 36, 1984
Saturday, December 21, 2019
Dune Marvel Super Special Part Two
Dune
written by Ralph Macchio
illustrated by Bill Sienkiewicz
Part Two
from Marvel Super Special No. 36, 1984
written by Ralph Macchio
illustrated by Bill Sienkiewicz
Part Two
from Marvel Super Special No. 36, 1984
Tuesday, December 17, 2019
Dune Marvel Super Special Part One
Dune
written by Ralph Macchio
illustrated by Bill Sienkiewicz
Part One
from Marvel Super Special No. 36, 1984
Strange as it may seem, the novel Dune has never appeared as a comic book. The closest it has come to a comic book incarnation was in 1984, when Marvel comics produced a 64-page comic adaptation of the movie under the Marvel 'Super Special' imprint, which was designed to showcase comic book adaptations of feature films.
The comic book adaptation was written by Ralph Macchio and illustrated by Bill Sienkiewicz, with colors by Christine Scheele and lettering by Joe Rosen.
As the 'Super Special' adaptations went, Dune was one of the more challenging ones. To begin with, David Lynch's film sought to condense a 500+ page novel into a feature film with a 136 minute running time, which in turn presented a challenge to Ralph Macchio in terms of adapting the material into a 64-page comic. But Macchio did a god job, staying true to the film's plotting, which differs a bit from the novel.
Sienkiewicz's art is serviceable, relying on an expressionistic design that had to accommodate quite a bit of text boxes and dialogue balloons.The Dieselpunk stylings of the movie are absent, but in fairness, Sienkiewicz was probably working from an early-draft script when he took on the assignment.
There is no getting around the fact that, if you are not already familiar with the novel, both the film and the comic adaptation are not going to be very accessible. That said, this comic adaptation is in some ways much more easily grasped than the novel.
I'm posting the entirety of the Dune Super Special in two parts. Part Two will follow this post.
written by Ralph Macchio
illustrated by Bill Sienkiewicz
Part One
from Marvel Super Special No. 36, 1984
Strange as it may seem, the novel Dune has never appeared as a comic book. The closest it has come to a comic book incarnation was in 1984, when Marvel comics produced a 64-page comic adaptation of the movie under the Marvel 'Super Special' imprint, which was designed to showcase comic book adaptations of feature films.
The comic book adaptation was written by Ralph Macchio and illustrated by Bill Sienkiewicz, with colors by Christine Scheele and lettering by Joe Rosen.
As the 'Super Special' adaptations went, Dune was one of the more challenging ones. To begin with, David Lynch's film sought to condense a 500+ page novel into a feature film with a 136 minute running time, which in turn presented a challenge to Ralph Macchio in terms of adapting the material into a 64-page comic. But Macchio did a god job, staying true to the film's plotting, which differs a bit from the novel.
Sienkiewicz's art is serviceable, relying on an expressionistic design that had to accommodate quite a bit of text boxes and dialogue balloons.The Dieselpunk stylings of the movie are absent, but in fairness, Sienkiewicz was probably working from an early-draft script when he took on the assignment.
There is no getting around the fact that, if you are not already familiar with the novel, both the film and the comic adaptation are not going to be very accessible. That said, this comic adaptation is in some ways much more easily grasped than the novel.
I'm posting the entirety of the Dune Super Special in two parts. Part Two will follow this post.
Saturday, December 14, 2019
Book Review: Urshurak
Book Review: 'Urshurak' by The Brothers Hildebrandt and Jerry Nichols
3 / 5 Stars
In December 1979 I decided, as a Christmas present to myself, to get Urshurak (406 pp, Bantam Books, September 1979). It's hard to imagine this 40 years later, but at the time, Urshurak was a big deal.
Back in those days, when you went to the 'fantasy' section of Waldenbooks, you saw The Lord of the Rings (LOTR), some Conan titles, Stephen R. Donaldson's Thomas Covenant books, and that was pretty much it.
Urshurak, with its 16 full-color plates and 80 black-and-white drawings, signaled an effort by Bantam Books to take the genre seriously both in terms of marketing and book design.
Illustration from Urshurak used for a 1995 Bros. Hldebrandt trading card
The story goes that the Brothers Hildebrandt conceived of the project as a film treatment, and when that fell through, arranged with editor Ian Summers to incorporate their storyboards into a novel.
Unsurprisingly, Urshurak borrows quite heavily from LOTR, which by '79 had become synonymous with the Hildebrandts due to the success of their Tolkein calendars. Many of the characters and settings in Urshurak are counterparts to those from LOTR, and the plot, as well, is derivative of Tolkein's work. Signifying an awareness of more Inclusive sensibilities, as well as an eye towards casting a variety of actors, Urshurak adds a female (the Amazon Zyra) and two black men (Ali Ben Kara, Shandor the Wizard) to the Fellowship, along with the standard-issue Ranger, Dwarves, and Elves.
Illustration from Urshurak used for a 1995 Bros. Hldebrandt trading card
After re-reading the novel for the first time in 40 years, I have to say that the narrative, which necessarily has a stripped-down, condensed character (it's recapitulating LOTR within the span of 406 pages), is passable. What gives the novel three stars is its illustrations, which, even in an era when digitally-composed fantasy art is a pervasive feature of the genre, remain pleasing in their bright colors and composition.
(I was unwilling to risk cracking the binding of my copy of Urshurak to make scans of the artwork; to see the art, I direct you to this Blog Post).
Advertisement for Captain Company, 1994, June 1980
Summing up, looking at Urshurak after the passage of 40 years it's best regarded as a progenitor of the Young Adult lineage of fantasy novels that is currently exemplified by the 'Harry Potter' and 'Golden Compass' franchises. I venture to say that kids who like those books likely will find Urshurak an entertaining read. In that spirit, I am retaining my copy of the book to bestow to my nephews, in another 8 years.........
Wednesday, December 11, 2019
Dirty White Boy
Dirty White Boy
by Foreigner
Fall 1979
As December 1979 unfurled there was a sense of relief in the air that the year, and indeed the entire decade, was ending.
1979 had seen an oil shortage in the Summer that had further disrupted an already fragile U.S. economy, and the Iran hostage crisis of early November further had contributed to the feeling that the country had been going through a decided rough patch.
If you turned on the radio you were sure to hear Styx's 'Babe'. It was in Heavy Rotation and impossible to escape, the quintessential escapist song about love getting you through the hard times, as the decade dwindled away.
Luckily, Foreigner's 'Dirty White Boy' was still getting airplay and its hard rockin' served as a useful antidote to the insipidity of 'Babe'.
It's one of those classic rock songs from the 70s that sounds as good today as it did back then. It has a tongue-in-cheek tenor to it that likely wouldn't be detected by contemporary listeners, who no doubt are shocked by the cover art of the album Head Games.
A great reminiscence of the album from the perspective of a thirteen year-old fan is available here.
Hey baby if you're feelin' down I know what's good for you all day Are you worried what your friends see Will it ruin your reputation lovin' me Cause I'm a dirty white boy, yeah A dirty white boy A dirty white boy Don't drive no big black car Don't like no Hollywood Movie Star You want me to be true to you Don't give a damn what I do to you I'm just a dirty white boy Dirty white boy Dirty white boy Dirty white boy Well I'm a dirty white boy Dirty white boy Dirty white boy Dirty white boy I've been in trouble since I don't know when I'm in trouble now and I know somehow I'll find trouble again I'm a loner but I'm never alone Every night I get one step closer to the danger zone Cause I'm a dirty white boy Dirty white boy Dirty white boy I'm a dirty white boy Dirty white boy C'mon c'mon boy White boy I'm a dirty white boy Dirty White boy Well I'm a dirty white boy Yeah I'm a dirty white boy Dirty white boy Yeah!!
by Foreigner
Fall 1979
As December 1979 unfurled there was a sense of relief in the air that the year, and indeed the entire decade, was ending.
1979 had seen an oil shortage in the Summer that had further disrupted an already fragile U.S. economy, and the Iran hostage crisis of early November further had contributed to the feeling that the country had been going through a decided rough patch.
If you turned on the radio you were sure to hear Styx's 'Babe'. It was in Heavy Rotation and impossible to escape, the quintessential escapist song about love getting you through the hard times, as the decade dwindled away.
Luckily, Foreigner's 'Dirty White Boy' was still getting airplay and its hard rockin' served as a useful antidote to the insipidity of 'Babe'.
It's one of those classic rock songs from the 70s that sounds as good today as it did back then. It has a tongue-in-cheek tenor to it that likely wouldn't be detected by contemporary listeners, who no doubt are shocked by the cover art of the album Head Games.
A great reminiscence of the album from the perspective of a thirteen year-old fan is available here.
Hey baby if you're feelin' down I know what's good for you all day Are you worried what your friends see Will it ruin your reputation lovin' me Cause I'm a dirty white boy, yeah A dirty white boy A dirty white boy Don't drive no big black car Don't like no Hollywood Movie Star You want me to be true to you Don't give a damn what I do to you I'm just a dirty white boy Dirty white boy Dirty white boy Dirty white boy Well I'm a dirty white boy Dirty white boy Dirty white boy Dirty white boy I've been in trouble since I don't know when I'm in trouble now and I know somehow I'll find trouble again I'm a loner but I'm never alone Every night I get one step closer to the danger zone Cause I'm a dirty white boy Dirty white boy Dirty white boy I'm a dirty white boy Dirty white boy C'mon c'mon boy White boy I'm a dirty white boy Dirty White boy Well I'm a dirty white boy Yeah I'm a dirty white boy Dirty white boy Yeah!!
Sunday, December 8, 2019
Book Review: The Year's Best Fantasy Stories: 6
Book Review: 'The Year's Best Fantasy Stories: 6', edited by Lin Carter
3 / 5 Stars
'The Year's Best Fantasy Stories: 6' (187 pp) was published in November 1980. The cover art is by Josh Kirby. This is DAW Book No. 410.
All of the entries in this anthology first saw publication in 1979, often in the pages of other anthologies (such as the Swords Against Darkness series), and sf digests and magazines.
My capsule reviews of the contents:
In his Introduction, editor Carter remarks on the steady rise in the number of paperbacks dedicated to fantasy, and how this signals a favorable future for the genre.
Garden of Blood, by Roger Zelazny: Dilvish the Damned and his talking horse 'Black' confront a long-ago atrocity brought back to life. Nasty little acts of violence give this sword-and-sorcery tale sufficient bite to make it one of the better entries in this volume.
The Character Assassin, by Paul H. Cook: an aspiring writer has arguments with one of his characters, the odious Faraday, who can assume a material reality just so he can torment his creator. This story is not fantasy, but apparently had a 'literary' quality that led editor Carter to include it. It's one of the worst stories in the anthology.
The Things that are Gods, by John Brunner: The Traveler is Black must deal with a witch whose desire for power endangers the village of Stanguray.
The few Traveler in Black stories I've attempted to read struck me as pretty awful, and this novelette is no exception. In main part, its awfulness is due to Brunner's attempts to frame the story as 'literary' by the use of an opaque, elliptical prose that - presumably - leads less gifted critics to conclude that there is Something Profound going on. Here's an example of such writing from 'Things':
The granting of certain wishes formed an essential element in the conditions circumscribing him.......though it was true that the consequences of former wishes were gradually limiting the previous totality of possibilities. Some now were categorically unimplementable.
But even as he muttered formal confirmation- 'As you wish, so be it !' - he knew one thing beyond a peradventure.
This was not one of those.
Wading through this material was not easy......... 'The Things that are Gods' is another dud of an entry.
Zurvan's Saint, by Grail Undwin: slight fable about a priest enjoying a sojourn in a Celtic territory.
Perfidious Amber, by Tanith Lee: one of two entries in this anthology by Lee. In this entry, her recurring character Cyrion is drawn into a domestic melodrama involving a cursed ring. A competent, if not overly remarkable, tale from Lee.
The Mer She, by Fritz Leiber: in his Introduction to this story, editor Carter exclaims that Leiber is '.....probably the finest single fantasy writer living.' Well, that's one way to ingratiate yourself........
This is a 'Fafhrd and Gray Mouser' tale. The Mouser is aboard a ship loaded with merchandise, sailing across the Outer Sea for Salt Haven, safe harbor, and home. Trouble ensues when a witch is found stowed away in a chest of fine linens..........
Even by the standards of 1979, the year this story was written, there is an old-man pervert-creepiness to 'Mer She', as Leiber almost salivates onto the page in describing the nude body of the thirteen year-old stowaway, and the Mouser's involved practice of tying the 'minx' up with fine scarves, before ravishing her in his cramped cabin.
The story avoids the worst excesses of Leiber's fondness for pulp prose - the adjective 'yellowly' does slip in early on - but this story stands more as a testament to the non-Woke psychology of Ye Olde Tyme Fantasy Writers, than as one of 1979's best stories.
Demon of the Snows, by Lin Carter: a reasonably decent Thongor story from Carter.
The Pavilion Where All Times Meet, by Jayge Carr (the pseudonym of Margery Krueger): a sorceress coerces a man who cannot remember his past, to accompany her on a trek to a desert ruin. This tale has a downbeat tenor that makes its initial pages interesting, but the denouement doesn't hold up that well.
Cryptically Yours, by Brian Lumley: written in the unusual style of an epistolary exchange, this tale is about elderly wizards confronting a conspiracy that seeks to have them all eliminated. Clever, inventive, and one of the best entries in the anthology.
Red as Blood, by Tanith Lee: the other entry by Lee. This is her 'inaugural' retelling of an old fairy tale, a sub-genre Lee went on to work into the 1983 anthology Red as Blood, or Tales from the Sisters Grimmer. 'Red as Blood' recasts Snow White as a malevolent Goth Girl.....?! It's a contest to see if Lee's poetic prose can induce the reader to soldier on, even as the absence of any real plot becomes more evident with each succeeding paragraph......I called the contest a draw.
Sandmagic, by Orson Scott Card: Cer seeks vengeance on the race of the Nefyrre, even if it costs him his soul. Both offbeat, and downbeat, another of the better entries in the anthology.
Summing up, 'The Year's Best Fantasy Stories: 6' is yet another DAW anthology that had its share of mediocre entries, along with some more worthwhile material. If you can find a copy for under $10, then it's worth picking up.
'The Year's Best Fantasy Stories: 6' (187 pp) was published in November 1980. The cover art is by Josh Kirby. This is DAW Book No. 410.
All of the entries in this anthology first saw publication in 1979, often in the pages of other anthologies (such as the Swords Against Darkness series), and sf digests and magazines.
My capsule reviews of the contents:
In his Introduction, editor Carter remarks on the steady rise in the number of paperbacks dedicated to fantasy, and how this signals a favorable future for the genre.
Garden of Blood, by Roger Zelazny: Dilvish the Damned and his talking horse 'Black' confront a long-ago atrocity brought back to life. Nasty little acts of violence give this sword-and-sorcery tale sufficient bite to make it one of the better entries in this volume.
The Character Assassin, by Paul H. Cook: an aspiring writer has arguments with one of his characters, the odious Faraday, who can assume a material reality just so he can torment his creator. This story is not fantasy, but apparently had a 'literary' quality that led editor Carter to include it. It's one of the worst stories in the anthology.
The Things that are Gods, by John Brunner: The Traveler is Black must deal with a witch whose desire for power endangers the village of Stanguray.
The few Traveler in Black stories I've attempted to read struck me as pretty awful, and this novelette is no exception. In main part, its awfulness is due to Brunner's attempts to frame the story as 'literary' by the use of an opaque, elliptical prose that - presumably - leads less gifted critics to conclude that there is Something Profound going on. Here's an example of such writing from 'Things':
The granting of certain wishes formed an essential element in the conditions circumscribing him.......though it was true that the consequences of former wishes were gradually limiting the previous totality of possibilities. Some now were categorically unimplementable.
But even as he muttered formal confirmation- 'As you wish, so be it !' - he knew one thing beyond a peradventure.
This was not one of those.
Wading through this material was not easy......... 'The Things that are Gods' is another dud of an entry.
Zurvan's Saint, by Grail Undwin: slight fable about a priest enjoying a sojourn in a Celtic territory.
Perfidious Amber, by Tanith Lee: one of two entries in this anthology by Lee. In this entry, her recurring character Cyrion is drawn into a domestic melodrama involving a cursed ring. A competent, if not overly remarkable, tale from Lee.
The Mer She, by Fritz Leiber: in his Introduction to this story, editor Carter exclaims that Leiber is '.....probably the finest single fantasy writer living.' Well, that's one way to ingratiate yourself........
This is a 'Fafhrd and Gray Mouser' tale. The Mouser is aboard a ship loaded with merchandise, sailing across the Outer Sea for Salt Haven, safe harbor, and home. Trouble ensues when a witch is found stowed away in a chest of fine linens..........
Even by the standards of 1979, the year this story was written, there is an old-man pervert-creepiness to 'Mer She', as Leiber almost salivates onto the page in describing the nude body of the thirteen year-old stowaway, and the Mouser's involved practice of tying the 'minx' up with fine scarves, before ravishing her in his cramped cabin.
The story avoids the worst excesses of Leiber's fondness for pulp prose - the adjective 'yellowly' does slip in early on - but this story stands more as a testament to the non-Woke psychology of Ye Olde Tyme Fantasy Writers, than as one of 1979's best stories.
Demon of the Snows, by Lin Carter: a reasonably decent Thongor story from Carter.
The Pavilion Where All Times Meet, by Jayge Carr (the pseudonym of Margery Krueger): a sorceress coerces a man who cannot remember his past, to accompany her on a trek to a desert ruin. This tale has a downbeat tenor that makes its initial pages interesting, but the denouement doesn't hold up that well.
Cryptically Yours, by Brian Lumley: written in the unusual style of an epistolary exchange, this tale is about elderly wizards confronting a conspiracy that seeks to have them all eliminated. Clever, inventive, and one of the best entries in the anthology.
Red as Blood, by Tanith Lee: the other entry by Lee. This is her 'inaugural' retelling of an old fairy tale, a sub-genre Lee went on to work into the 1983 anthology Red as Blood, or Tales from the Sisters Grimmer. 'Red as Blood' recasts Snow White as a malevolent Goth Girl.....?! It's a contest to see if Lee's poetic prose can induce the reader to soldier on, even as the absence of any real plot becomes more evident with each succeeding paragraph......I called the contest a draw.
Sandmagic, by Orson Scott Card: Cer seeks vengeance on the race of the Nefyrre, even if it costs him his soul. Both offbeat, and downbeat, another of the better entries in the anthology.
Summing up, 'The Year's Best Fantasy Stories: 6' is yet another DAW anthology that had its share of mediocre entries, along with some more worthwhile material. If you can find a copy for under $10, then it's worth picking up.
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