Heavy Metal March 1983

'Heavy Metal' magazine, March 1983

March, 1983...... the single 'The Safety Dance', by Canadian group Men Without Hats, is released in the US, after having some degree of chart success in Canada at the end of 1982. The accompanying video , shot in the English village of West Kington, soon is in heavy rotation on MTV.

The latest issue of Heavy Metal magazine is on the stands, with a wraparound cover by Carol Donner. The advertising gets a bit quirky, with a full-page ad from Gold Eagle Books, the publisher of 'mack Bolan' and other adventure novels. Undoubtedly, Gold Eagle was hoping to tap into the young white male market served by Heavy Metal.

The Dossier section leads off with Rok Critic Lou Stathis turning his attention to...comic books !? Fear not, Stathis's commentary is as pretentious and self-serving as for his Rock reviews. Indeed, the entire Dossier section for this issue is devoted to comics.

 Also chipping in their two cents' worth are comics creators and luminaries Walt Simonson, Byron Preiss, Will Eisner, Art Spiegelman, and Harvey Kurtzman.

One of the best features of this month's issue is a lengthy interview with underground comix legend S. Clay Wilson, responsible for such beloved characters as the Checkered Demon, Ruby the Dyke, and Star-Eyed Stella. Sadly, Wilson remains disabled and in poor health from a brain injury suffered in November, 2008.

From the interview: "The Angels were fighting in one room, while (Janis) Joplin was singing to the hippies in the other. It was like one of my drawings come to life."

Brilliant !

Among the better comic strips appearing in the March issue is the violent, satirical 'Lamar: Killer of Fools' by P. Setbon and P. Poirier.

 

Book Review: Future City

Book Review: 'Future City' edited by Roger Elwood

4 / 5 Stars

‘Future City’ was originally published in 1973; in the US, a paperback edition was published in June, 1974, by Pocket Books, with a cover illustration by Michael Gross. The UK paperback edition (236 pp) was released in 1976 by Sphere Books, with a luminous cover illustration by Angus McKie.

Roger Elwood gained some degree of notoriety as a dedicated assembler and editor of large numbers of shoddy anthologies in the 70s, clearing a path for the late Martin Greenberg to launch his own career as Mega-Editor of more than 1200 anthologies.

But ‘Future City’ is reasonably good, particularly as an example of the Eco-catastrophe and Population Bomb themes prevalent in early 70s sf.

Clifford Simak and Frederik Pohl provide the Foreward and Afterward essays, respectively.

There are a few poems included in ‘Future City’: ‘In Praise of New York’ by Thomas Disch, ‘As A Drop’ by D. M. Price, and ‘Abendlandes’ by Virginia Kidd. None of them are particularly noteworthy.

My capsule summaries of the short-story contents:

‘The Sightseer’ by Ben Bova: short-short story of modern suburbanites visiting a domed New York City for illicit thrills. Bova expanded this story into his 1976 novel ‘City of Darkness’, which in turn was the spiritual precursor to the entire ‘Escape From New York’ genre of sf.

‘Meanwhile, We Eliminate’ by Andrew J. Offutt: Offutt uses capital letters in his surname in association with this tale, a sure sign that he was not employing Speculative Fiction Pretentiousness. A good story about Future City traffic run amok.

‘Thine Alabaster Cities Gleam’ by Laurence M. Janifer: an office tower’s HVAC system develops problems.

‘Culture Lock’ by Barry M. Malzburg: A rare, coherently plotted entry from Malzburg, who usually was besotted with the figurative prose of the New Wave movement. A very effective story of a Future City in which homosexual behavior – and participation in gay orgies (!) – is mandatory. Disturbing at the time of its publication, and still disturbing today.

‘The World As Will and Wallpaper’ by R. A. Lafferty: contrived entry, featuring prose designed to mimic that of the Speculative Fiction movement’s major inspiration, Thomas Pynchon. A young man searches Future City for clues to the Meaning of Life.

‘Violation’ by William F. Nolan: moving violations on Future City’s streets.

‘City Lights, City Nights’ by K. M. O’Donnell: underwhelming tale of an arrogant young director whose low-budget film production recruits city residents.

‘The Undercity’ by Dean R. Koontz: clever tale of Wiseguys operating in Future City.

‘Apartment Hunting’ by Harvey and Audrey Bilker: nicely written tale in which a couple make a harried application for living space in the overpopulated Future City.

‘The Weariest River’ by Thomas N. Scortia: immortality loses its appeal when you live in a dystopian Future City. Not the most accessible story, but one with a gritty, proto-Cyberpunk sensibility to it.

‘Death of A City’ by Frank Herbert: two city planners have a metaphysical debate. The worst entry in the anthology.

‘Assassins of Air’ by George Zebrowski: Horatio Alger meets a polluted metropolis.

‘Getting Across’ by Robert Silverberg: reasonably entertaining novelette about a man confronting the breakdown of his section of the global mega-city. As always with Silverberg’s fiction of this period, essentially a story about Relationships, rather than a hardcore sf tale per se.

‘In Dark Places’ by Joe L. Hensley: gritty, grim tale of racial warfare in a decrepit Future City. Another of the best stories in the anthology, also exhibiting an offbeat, proto-Cyberpunk sensibility.

‘Revolution’ by Robin Schaeffer: confused allegory of robots and their human charges.

‘Chicago’ by Thomas F. Monteleone: the future metropolis is completely automated; a robot questions why.

‘The Most Primitive’ by Ray Russell: short-short tale, cleverly assembled.

‘Hindsight: 480 Seconds’ by Harlan Ellison: obligatory entry from Ellison. The last days of future city, with added pathos. Pedestrian.

‘5,000,000 AD’ by Miriam Allen deFord: mordant tale of man’s last days.

In summary, 'Future City' is one of the better Elwood anthologies, and a good snapshot of where the genre stood in in 1973 in terms of depicting future dystopias. Worth searching out.

'The Egg' (el huevo) by Marco
from Metal Hurlant No. 18 (Spanish language edition)

the awakening of the jungle

surprise....

 curiosity....

 interest....

 expectation......

horror ! it's man !

Essential Warlock
Marvel Essentials, 2012

'Essential Warlock' (576 pp.), published by Marvel in August, 2012, is a black and white compilation of the character's comic book appearances throughout the 1970s.

Warlock first appeared as a character called ‘Him’ in Fantastic Four, issues 66 – 67 (1967), and then two years later in The Mighty Thor, issues 165 – 166.

In April, 1972, Warlock appeared as a lead character in his own right, in the first issue of Marvel Premiere, Stan Lee's designated book for launching new characters.

Illustrated by Gil Kane, with scripting by Roy Thomas, Warlock was a conventional superhero whose adventures took place on 'Counter-Earth', a planet which orbited the Sun exactly opposite the Earth proper.

Counter-Earth was devoid of superheroes, save for Warlock, a plot device which gave the series’ writers some degree of scripting freedom not available in other Marvel titles.

The character drew enough reader response to result in the appearance of a dedicated series, The Power of Warlock, eight issues of which ran from August 1972 to October 1973. As well, some issues of The Incredible Hulk, from June through August 1974, took place on Counter-Earth, and involved the Warlock character.

Most of the plots for the character depicted him as an overwrought, tormented, Messianic figure who traveled in the company of bell-bottom jean-wearing teenagers who were fleeing the hypocrisy and negative karma of adult society. This was 1972, after all, and the ‘Generation Gap’ was well in place as a pop culture phenomenon.

I remember in 1972 / 1973 picking up some of these early issues of Marvel Premiere / Power of Warlock and finding them interesting, but not earth-shattering.

The last issue of Power of Warlock showed our hero departing Counter-Earth, consoling his distraught followers with a segment of Christ-like oratory. 

In February, 1975, the character was rebooted in Strange Tales No. 178, written and illustrated by Marvel’s signal new talent, Jim Starlin, who had been doing the scripts and art work on Captain Marvel.

Reader response again catalyzed a decision to produce a separate title, and Warlock No. 9 debuted in October 1975 (somewhat confusingly, it continuing the numbering system of the discontinued Power of Warlock) and ran for seven issues.

Starlin made Warlock into a ‘paranoid schizophrenic’ space traveler, beset with self-doubt and emotional angst, an approach which (perhaps deliberately) often verged on parody. 

The ‘cosmic’ scope of these adventures involved characters from Starlin’s work on Captain Marvel, including Thanos.

Starlin’s contributions to Warlock, however short-lived, remain among the best graphic work ever done in comic books. 

Starlin adopted some of the artistic stylings used in the better – quality underground comic books, such as intricate op-art background patterns, complicated shadings, and minutely detailed cross-hatchings. All of these devices were used in the underground books to make the most of the visual possibilities inherent in being printed in graytone / black and white, as opposed to relying on color.

Starlin also regularly split pages into multiple vertical panels, each crammed with detail, pieces of art that must have taken days to complete. He frequently used black and white shadowing to lend extra drama to panels, an approach widely employed by artists for the Warren magazines and underground comix, but comparatively rare and under-utilized in contemporary Marvel and DC products. 

[In a rather sly aside to the influence of the underground comix, Starlin inserts a sidekick for Warlock: a randy, scheming troll named 'Pip', who could well be The Checkered Demon's younger brother.]

Printed in this Marvel 'Essentials' volume in black and white, the detail of Starlin’s penciling is no longer obscured by the low-budget color printing processes used in comic books in the 70s. The episodes in which Starlin pays homage to the artwork of Steve Ditko, in particular, really shine.

The volume closes with some of the guest appearances of Warlock, Thanos, and Captain Marvel in titles such as Marvel Team – Up and Marvel Two-In One Annual, from the mid- to late- 70s.

The verdict ?

Even though his Warlock contributions occupy only the second half of this particular volume, fans of Jim Starlin’s work in the 70s, as well as those who appreciate great graphic art, will want to get their copy of Essential Warlock. 

Book Review: Redworld

Book Review: 'Redworld' by Charles L. Harness

  3 / 5 Stars

‘Redworld’ (229 pp.) is DAW Book No. 670; it was published in April, 1986, and features cover artwork by Angus McKie.

On the planet Redworld, the atmosphere and the astronomy combine to give only two primary colors: red, and black. Everything is a shade of those two colors. The humanoid residents of Redworld have two lungs and six fingers, and use a 12-digit-based system of numbering and calculation.

Following a destructive war generations ago, there is a strained truce in place between the two coalitions ruling Redworld: the Scientists and the Clergy. As a consequence of the truce, scientific inquiry is stymied, and horsepower is the primary mode of energy.

Pol Randal is a young man from a formerly well-off family; now, he and his mother scratch out a living in a tiny, two-room apartment above a stable, in the main city of Damaskis. When Pol secures a job at a paper mill on Vys Street, it’s cause for rejoicing.

En route to his first day of work, Pol espies a stunning young woman standing on the steps of a brothel known as the Tower. She soon becomes a fixture of his dreams and fantasies, and he learns that her name is Josi.

The more Pol discovers about Josi, the more mysterious and alluring she becomes. For Josi lives in an apartment adjacent to the Tower, a structure made of metal unlike any in Damaskis. She seems to be thirty years old, even though her former paramours state she was that age when the old wars between scientist and cleric raged in the city streets decades ago. And Josi wears gloves all the time, gloves that have what seems to be a false sixth finger embedded in the fabric.

In due course, Pol’s fascination with Josi becomes a genuine romantic affair. And this romance has its dangers, for Josi and the Tower are a thorn in the side of Dean Gard, leader of the faction of the clerics.

By the time Pol learn the truth about Josi’s origins, and why she represents a danger to the established order, it may be too late…..for Dean Gard intends to quash any hopes for a revival of science, and a path to enlightenment. The future of Redworld suddenly rests on the intertwined fates of Pol and Josi.

Charles L. Harness (1915 – 2005) wrote a number of well-received sf novels and short stories. He wrote ‘Redworld’ when he was 71. Perhaps as a consequence, the novel is more of a coming-of-age story, and a nostalgic, perhaps self-referential look at Young Love, than a sf novel per se.

The intrigue between the vying factions of Redworld society serves as a backdrop for the progression of Pol’s dalliances with the luminous Josi, starting from adoration from afar, to love scenes with something of a softcore porn content. 

The action / adventure elements of the novel are muted, and in its final chapters, the plot takes a metaphysical turn, and its revelations come encrusted with a bit of artifice.

‘Redworld’ is a well-written novel, but one best reserved for those who are willing to embrace a character-driven narrative, with much content devoted to the emotional interactions of the principal players.

'Heavy Metal' magazine, March 1979

March, 1979, and on the radio, Bobby Caldwell's 'What you won't do for love' is getting substantial airplay. Released in 1978 on the album 'Bobby Caldwell', the song made it to No. 9 on Billboard's Hot 100 in 1979.

In the latest issue of Heavy Metal, Angus McKie provides the front cover, 'S*M*A*S*H', and Robert Morello the back cover, 'Stargazer'.

There are - alas - no stories by stalwarts Caza, Nicollet, Kirchner, and Suydam, leaving the reader to make do with ongoing installments of 'Sinbad', 'So Beautiful and So Dangerous', 'Starcrown', and 'Exterminator 17'.

There's an illustrated short story from Harlan Ellison titled 'Flopsweat', and a lengthy excerpt of the forthcoming illustrated novel 'Alfred Bester's The Stars My Destination' by Preiss and Chaykin.

The advertising is as quirky as ever.....indie comic publisher Star Reach offers its sf and fantasy books:

While 'Club Collection' rolling papers, and the Diddle Art company (marketing a 'Diddle It' poster) offer products of special interest to the stoners making up much of the HM readership.....

There are some good, shorter b & w pieces in the March issue, such as the pen-and-ink strip, 'A Mass for the Dead' by Pertuze, which evokes the penmanship of 19th-century illustrative art:

 Chantal Montellier provides another subtle, but effective, episode of '1996' :

 

Book Review: 'Animal' by K'Wan
celebrating Black History Month 2013

4 / 5 Stars

Here at the PorPor Books Blog, we celebrate Black History Month by reading a book, fiction or nonfiction, about the Black Experience.

For Black History Month 2013, the book so selected is the novel 'Animal', by K'Wan (Foye).

'Animal' is a trade paperback released in October 2012 by publisher Cash Money Content / Cash Money Books.

K'Wan Foye has become one of the best-selling authors of 'urban' or 'street' literature, an emerging genre aimed at a black readership, but, like rap music, also eliciting crossover appeal with white readers as well.

'Animal' is the sequel to K'Wan's novel 'Eviction Notice', and in turn, the sixth book in the 'Hood Rat' series, which is set in New York City and features a recurring cast of characters.

Accordingly, the newcomer may be rather bewildered at the various subplots and myriad personalities occupying the narrative. 

Indeed, Animal (the street name of Foye's character Tayshawn) is only sporadically present in most of the narrative. But he does have a set of custom, chrome-plated Glocks; a 14 kt, solid gold necklace upon which dangles a replica of the Muppet character that is his namesake; and a bulletproof vest that he wears underneath his hoodie.

'Animal' is basically a revenge tale. After learning that his girlfriend Gucci has been shot and is hospitalized in intensive care, Animal seeks bloody retribution on Shai Clark, the Harlem drug dealer responsible for the attempt on Gucci's life.

I won't disclose any spoilers, save to say that 'Animal' is a quick and engaging read, despite its large cast and numerous subplots. K'Wan never tips his hand as to whether Animal's scheme for revenge will come to fruition, or leave him and Gucci in even worse straits.

The book is violent; in its first 20 pages, mutilated corpses make an appearance. These are followed by the graphic account of the death of a snitch; it's clear that Animal isn't the only ghetto star who is willing to use excessive force to get his way. As the narrative rolls on, more bodies pile up.....

K'Wan has 'ghetto' idioms and expressions down pat. His dialogue is realistic, and an accurate reflection of the way young, black urbanites speak to one another:

Dena wiped her hands on her apron and retrieved two Coronas from the cooler. She cracked one for herself and handed the other to Frankie. "Vashaun got her stamps so we was just gonna throw a li'l something -something together, but you know how niggaz is when they smell barbecue", she nodded to the dudes at the table. 'Everybody kicked in a little something so we gonna do it how we do it until all the food is gone."

Readers looking for a novel that faithfully depicts the life of a hustler, on Harlem's mean streets, will want to give 'Animal' a try.

'Hunter II: Goblin Thrust' from Eerie magazine issue No. 70 (November 1975)

In this, the second installment of the 'Hunter II' franchise, our hero teams up with another series character in Eerie, the robot Exterminator-1.

As always, outstanding artwork by Paul Neary.