Pulp Appeal: Penny Dreadful

Penny Dreadful main cast advertising image. From left to right, Josh Hartnett, Billie Piper, Harry Treadaway, Eva Green, Reeve Carney, Timothy Dalton, Danny Sapani
Cover ad for an original penny dreadful from the late 1800s for "Spring Heeled Jack."

Penny dreadfuls of the late 19th Century were the direct ancestors of pulp fiction rags of the early 20th Century. The name is definitely British in origin, and the publications themselves were most popular in Victorian England, though they were sometimes brought in to America by travelers. The closest neighbor native to the US were the dime novels, though as the name suggests they cost a dime rather than a penny and were often full novels in length, whereas the penny dreadfuls were more like comic books in length, each one roughly a chapter of a larger piece, costing one British penny each. Like the dime novels and later pulps, penny dreadfuls were printed on the cheapest of the cheap wood pulp material. Sadly that means they don’t hold up much over time, and the ones that still exist need to be handled relatively carefully.

Eva Green as Vanessa Ives

Penny Dreadful is the Showtime/Sky series that attempted to bring to world audiences the same aesthetic of the classic penny dreadfuls of old. The main focus of the story arc traces Vanessa Ives, played by the lovely and talented Eva Green,[1] a woman cursed by the Devil for her lust as she fights against the forces of darkness gathering around her, ultimately led by spoilers–Dracula. Although she is the main focal character in the sense that the plot essentially revolves around her, the show is an ensemble that includes Sir Malcolm Murray (the father of Mina Murray from the Dracula novel) played by Timothy Dalton, Ethan Chandler (spoilers–a werewolf who was born Ethan Lawrence Talbot[2]) played by Josh Hartnett, Victor Frankenstein (yep, that one) played by Harry Treadaway and his Creature played by Rory Kinnear. That’s the main cast, but there are other major characters in Dorian Gray (Reeve Carney) from Oscar Wilde’s novel, Lily Frankenstein (Billie Piper) the Bride of Frankenstein, and Sembene (Danny Sapani), as well as recurring side characters including Dracula, Renfield, and Henry Jekyll.

If that sounds like a smorgasbord of great characters from the progenitors of horror and science fiction, that’s because it is. Penny dreadfuls of the day would have had similar types of characters, since many of them were reprints of famous Gothic and Victorian novels, and printed in such a way that there’d have been some serious lawsuits over intellectual property if they’d been published today with modern characters. As it is, the series characters are all in the public domain, so we can do what we want to them now.

This is essentially a superhero team of occult characters from historical fiction investigating and fighting back against evil forces amassing power in the back alleys and underground areas of Victorian era England. If that sounds at all familiar, it’s likely because you’ve come across Alan Moore’s League of Extraordinary Gentlemen. Hopefully that means you read the comic rather than seeing the movie[3], but in any case I certainly don’t think there’s any way this series’ creators were blind to Moore’s original comic series.

In Moore’s original he used Mina Harker (nee Murray) the original target of Dracula’s desires from the novel, Sir Allan Quatermain, Henry Jekyll, Captain Nemo, and the Invisible Man. Other characters from the pulps move about the comics series as well, including AJ Raffles and Thomas Carnacki, and the whole thing is overseen by James Bond’s ancestor Campion Bond, a sort of M for British Intelligence, with James Moriarty from Sherlock Holmes as the main villain.

The League of Extraordinary Gentlemen from the comic series

So Penny Dreadful is essentially the League of Extraordinary Gentlemen with the serial numbers filed off. That’s not as big a problem as it may seem, since the characters are all public domain and the basic plots are different even while the surface characterizations may be similar. Vanessa Ives fills in for Mina Murray, Malcolm Murray fills the Quatermain role, and Sembene is a stand-in for Quatermain’s companion Umslopogaas. The rest of the cast round out the squad filling in similar roles (The Wolf Man instead of the Invisible Man, Frankenstein and Dorian Gray instead of The Invisible Man and Captain Nemo, etc). The first time I saw the series I felt a little dirty, like the producers owed Moore more than just some writing or inspiration credit, but upon a repeat viewing I see that the differences are stark enough that they have legal (if not moral) leeway to tell their stories. It is still a little suspect, but I guess that’s okay since no one really owns those characters anymore.

(And, well, it’s not like Moore was the first to have this idea of linking old pulp heroes together. Philip Jose Farmer had the idea before that with his Wold Newton Universe, as I’ve talked about in our article on PJ Farmer, and even he wasn’t necessarily the first as the pulps themselves linked characters through crossovers and other references.)

The Penny Dreadful series may seem dry if you only watch the first few episodes, and the very Britishness of it may be off-putting for people who don’t go in for the kind of drama that comes out of Empire fiction, but I’d say that most fans of Doctor Who and anyone who’s read and loved the original novels the characters are based on would rally to the show. Sadly, Showtime is harder to watch on streaming services than some of the other premium channels (and has fewer subscribers in general), but if you have Netflix in the US you’re in luck now as the entire three-season series is there, but who knows for how long. The streaming industry is in for some massive shakeups later this year when Disney launches Disney Plus.

Be warned the series is not for children. Maybe older teens could watch it with supervision (it is TV-MA, after all), but that is really up to parents and their comfort with graphic nudity, lots of on-screen violence (including sexual violence), illicit drug usage, and all things occult. I probably wouldn’t let my teenage daughter watch it just yet, but maybe in a couple more years.

There is a sequel/spin-off in production now, shifting the setting from the original London to Los Angeles, which is set to debut probably sometime in 2020.

Side note: if you, like me, are a fan of tarot cards and their designs, the ones used in this series are simply gorgeous. They are sadly out of stock everywhere I looked, and I’m kicking myself for not purchasing a set five years ago.

Penny Dreadful Tarot Cards

[1] Eva Green first came to my attention (and probably most of America) with Casino Royale, the first Bond film starring Daniel Craig, but as good as she is as Vesper Lynd there, she’s even better here.

[2] Fans of Universal Pictures 1941 movie The Wolf Man will no doubt recognize this name. Lon Chaney’s version of the titular werewolf is named Lawrence Talbot.

[3] The movie is almost singlehandedly the reason behind Sean Connery’s retirement from the film industry. While there are aspects of the movie I like still (the casting is pretty good, some of the set designs and costuming are brilliant), the schlocky plot looks like the cheap shitty imitation that it is. You can be forgiven If you saw the film and mistakenly thought you were watching one of the mockbusters from The Asylum (Transmorphers, 2-Headed Shark Attack, etc, though I have to admit I like far more of the mockbusters than anyone should, and think many of them are more entertaining than LXG *shudder*)

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Pulp Appeal: Storyhack #3

Design wise, Storyhack continues to set a high bar. Full illustrations grace every story, with additional small cartoons interspersed within the stories. The full-sized layout of the magazine is a good choice, as is the double columns, leaving room for the designer to call out specific passages. I’m perfectly willing to admit that I wish the crime-based stories had a bit more edge to them, but then I’ve been spoiled by the likes of SWITCHBLADE and PULP MODERN. There is definitely more than enough here for a reader to sink their teeth into, and yeah, you might get a bit of pulp stuck between your teeth.

Claws of the Puma by Paul R. McNamee – A jungle adventure where an American journalist is investigating the struggle of local rubber famers against ruthless loggers in Brazil. The wild card in this case is the Puma, local wilderness hero. The Puma is heavily implied to be of European descent, though the how and why he decided to drop off the grid and hide out in the jungle is never fully explored. The biggest fantasy element is probably that there are still media outlets in the USA that would pay for a reporter to actually engage in investigative journalism… on her own. While the story was engaging, there were more than a few moments where I wondered how much more effective it would be from the point of view of the Puma, as opposed to the waifish blonde reporter.

Shoot First by Jay Barnson – A fine bit of urban fantasy involving a magical artifact and a double-cross. Barnson does a great job of developing the details of his setting without infodumping. The details with the magical bracelet is well done, as well as the twist as to how its side effects work. I feel there was a bit of a spoiler in the description where a fairly big part of the twist of the story is divulged. That said, the story was a fine bit of urban fantasy though more in line with the style of Charlie Stross’ THE LAUNDRY series as opposed to Jim Butcher’s DRESDEN FILES.

Inside the Demon’s Eye by JD Cowan- a fantasy story about a man on a quest, though he cannot fully remember the details. In my opinion, the story decides to lean a bit too heavily on the NOTCatholic elements and would have been a better story if the writer had decided instead to make it an explicitly Catholic fantasy or had done more to make the religious aspects distinctly not Catholic. By trying to straddle the line between the two pieces, it ends up reading like a watered down version of both. Also, a chunk of the action happens off screen and it would have added to the narrative tension if there had been a shift in perspective to the secondary character.

Get to the River by Luke Foster – A park ranger is convinced there is drug smuggling going on in her park, but fails to convince her partner. Foster does a good job building the tension in this piece by alternating the current action with the events that led up to the current events of the story. As well, the twist of the story didn’t exactly come out of nowhere, though the red herring was implemented well. There was a sense of real danger in the piece, and there was an excellent sense of place with the nature park acting as much as an antagonist as any of the human characters.

Scourges, Spells and Serenades by Joanna Maciejewska – Easily my favorite story in this collection, it follows an archanist (one who derives magic through a pact with a demon) who teams up with a high mage to take down a local cult. To add to the drama, the archanist’s cousin is involved with the cult. The action in this is well done with the stakes suitably high. This is a setting I would love to see more of and expanded on, where even the side characters feel suitably deep and not mere cardboard stock trotted out to give the main characters someone to talk to. The setting also avoided the trap of seeming derivative, a common problem in fantasy stories.

Showdown at Stone Ridge by Jason McCuiston – A Weird Western tale incorporating both magic and steampunk elements. A veteran soldier slated to be hung for desertion is offered a pardon if he’ll investigate what’s going on at local mining town. Instead of being given a regular complement of soldiers, however it’s a contingent of captured enemy soldiers he’s forced to work with. Oh, and there’s the matter of the explosive device that’s been implanted in their heads to ensure compliance. Again the action is well done in the piece, but there’s a real sense that the only good people here are the ones without any real power, the ones that are being moved around a board by people far beyond their reach. This is another story I wouldn’t mind seeing further developed given where McCuiston leaves his characters at the end.

Master of Thieves by Aaron Zimmerman –  Two thieves in a fantasy setting are challenged by a woman to see who is the best thief between the two of them. The two characters are different kinds of thieves, and Zimmerman does an excellent job highlighting both their approaches to the larceny as well as developing intriguing puzzles for them to solve. There is an excellent sort of rivalry and the overall story is reminiscent of Fritz Lieber’s Lankhmar stories, albeit lighter in tone than those.

The Dealer’s Tale by Jon Mollison – A woman is a blackjack dealer at an underground club. Her lover is the federal agent trying to bring down the organized crime ring that’s running the racket. The basic premise seemed a little off to me given that the agent is willing to put his lover (a civilian) in harm’s way. Her motivation also struck me as a bit too selfless, but there was a decent amount of tension building (will the plot be discovered, will her boss realize what’s she’s up to, will the local vamp throw a monkey wrench into the whole plan), to keep the reader engaged.

Full disclosure: Storyhack has previously published editor Matthew X. Gomez before in its second issue. You can find it here.

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Pulp Consumption: Transmetropolitan

The hot property of the moment in the nerdosphere is The Boys, because of Amazon’s adaptation currently streaming on Prime. I’m going to sit on it for a bit simply because I’m trying to adhere to the old principle of “If you don’t have something nice to say, don’t say anything at all.” I will revisit that property in a couple of weeks, when I can try to be a bit more objective.

[While you wait for that, my short take is you should read the comics series.]

So, instead I’ll tackle an older comics property, but one that was also a satirical takedown of contemporary society: Transmetropolitan.

Cover of Transmetropolitan's first trade paperback. Spider Jerusalem, a bald man in a black blazer with no shirt wears mismatched sunglasses and holds a smoking cigarette while standing on a decrepit city sidewalk.

Warren Ellis, one of DC Comics hottest properties during the Vertigo era (and no slouch as a writer today), is no stranger to discussion between Matt and I, and has been mentioned in other articles, most recently in the discussion on the Castlevania franchise. Well, he’s back featuring for us again, as he was the creator and writer of Transmetropolitan. I can’t really sing his praises enough to justify more than a simple “Read Warren Ellis,” so that’s all I’m going to say about him. Read Warren Ellis.

Transmetropolitan is the story of Spider Jerusalem, a gonzo journalist in a future US where gene splicing leads to humans taking on alien characteristics, where the future of news seems like yesterday’s history to us, where a heroic independent journalist tries to sink the censored narrative of a corrupt populist President whose goals are self-aggrandizement and personal gain. Spider Jerusalem is a Hunter S. Thompson analogue, immersing himself in the stories he writes about. He knows many of the main players in his stories personally. Some are old friends who’ve lost their way, but others have always been scummy lowlifes. Not that scummy lowlifes are necessarily antithetical to Spider’s personal friends list, as he certainly moves about the underclass with personal connections, but his tastes are decidedly more upscale, and the fees he charges for his writing elevate his economic status well above the average citizen.

If you read the Wikipedia page, the first sentence describes the series as being “cyberpunk transhumanist,” two buzzwords that still get bandied about today in popular culture. It seems like every day we move a little closer in the direction of the future described by Ellis and wonderfully illustrated by Darick Robertson.[1]

Picture of Spider Jerusalem shaggy-haired and bearded, stuffing a statue of a sumo wrestler into the trunk of a taxi.

The first collected trade paperback of Transmetropolitan seems like a string of one-off stories as Spider comes back into the world of journalism after a five year break from modern life. The first issue has him with long shaggy hair living a hermetic life in an isolated hut in the mountains, but a mishap with a shower leaves him completely hairless. That’s notsomuch a character trait that says much about him, as the rest of his existence is pretty well unclean, including drugs, alcohol, womanizing, prostitution, and general lifestyle habits that a prudish person might consider degenerate. If he wasn’t right about the politically corrupt machinations of the ruling class, you’d likely consider him to be an enemy of the state, which works to the advantage of those in power, leaving Spider on the margins.

That’s about where I’ll leave off story bites because it’s worth picking up the TPBs and reading on your own.

While the series is clearly an inheritor of pulp from a literal standpoint (comics following on from pulp magazines), the visual thematics are more akin to someone like William Gibson or Neal Stephenson. That’s not to say the pulp connection ends at the printed medium, because the cataloging of the underclass as it deals with corruption, particularly by those in uniform, has clear antecedents in the hard-boiled detective works of the 1930s and 40s. Realistically, if you strip out the cyberpunk aesthetics, Transmetropolitan has more in common with Chandler, Hammett, or Gardner[2] than anything Bruce Sterling or Cory Doctorow have produced.


[1] Keep Darick Robertson in mind, because when I do finally write the article about The Boys, he’ll pop up again.

[2] Gardner is mentioned in William S. Burroughs’ Naked Lunch, and has been mentioned by us in the past.

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Pulp Appeal: Blood Standard by Laird Barron (Guest post by Anthony Perconti)

(Editor’s Note: Anthony Perconti lives and works in the hinterlands of New Jersey with his wife and kids. He enjoys well-crafted and engaging stories across a variety of genres and mediums.  His articles have appeared in several online venues and can be found on Twitter at @AnthonyPerconti.  If you’d like to submit an article, send us a pitch. Payment is one digital copy of your choice of any issue of Broadswords and Blasters. )

Blood Standard is Laird Barron’s first official foray into the hardboiled crime fiction genre. I first encountered the author’s works several years ago, when I picked up an e-book copy of his Imago Sequence and Other Stories. Soon after, I polished off a longer work, The Croning, followed up by some of his novellas. Up to this point in his career, Barron’s preferred medium of expression has been within the confines of the horror and weird fiction genres. To pigeonhole Barron as merely a horror writer is to do the man a disservice. In addition to being a master craftsman in the discipline of the slow burn sense of dread within his tales, Barron has wide ranging literary influences that he distills into all of his works. To that point, there are several examples of what would be considered hard boiled protagonists within his body of weird fiction. Check out “Bulldozer”, “Black Woods Baby”, “The Men from Porlock” ”, “Frontier Death Song”[1], or especially Man With No Name to see how Barron blends these two genres seamlessly. With Blood Standard, the author stays within a single lane and presents readers with a modern work that could proudly sport a Vintage Crime/Black Lizard logo on it. With one small caveat; the numinous does creep into this novel, but it is relegated to the periphery. This tale works simultaneously as the protagonist’s redemption arc and an origin story; it is also a meditation on the capacity for humans to fundamentally change their natures, as explored through a fallen individual, with a vast propensity for violence.  

Isaiah Coleridge is a mixed race (Maori and Caucasian) mob enforcer for the Chicago Outfit stationed in Anchorage, Alaska. When his boss asks him to relocate temporally to Nome, to keep an eye on things during a working holiday, he runs afoul of the local mob satrap, Vitale Night. In an almost subconscious act, Coleridge does some bodily damage to Night when the man systematically slaughters a herd of walrus for their ivory while on a hunting expedition.  As can be expected, Night’s subordinates give Coleridge some payback, beating and torturing him upon the verge of death. At the last minute, his hide is saved when his capo (and unofficial uncle) Lucius Apollo calls off Night’s goons. During his hospitalization, Coleridge is given an ultimatum by Apollo; he is persona non grata in Alaska. He takes Apollo’s offer and is permanently exiled to one of the don’s holdings, a horse farm located in upstate New York; a fate slightly better than a slow, torturous death. Hawk Mountain Farm is run by the elderly African American couple of Virgil and Jade Walker, along with their troubled granddaughter, Reba.  Coleridge is hired on as a farmhand and is provided basic room and board. What drives the plot forward, the central mystery of the book lies with the disappearance of Reba. Being a teenager of color who has exhibited these bouts of disappearance before, the local police quickly lose interest in the case. This is the fulcrum that Coleridge is provided with, in order to make an attempt at changing his fate.

Barron’s portrayal of the character of Isaiah Coleridge is suffused with nuance. While not the most visually imposing of specimens, nevertheless, this man contains within him deep stores when it comes to taking and dishing out vast amounts of physical abuse. His strength seems to be hovering at the upper limit of human capacity, at least so in small bursts. When he first settles in at the farm, he is able to move an engine block for a short distance. According to one of his eventual friends and co-workers, Lionel Robard, he estimates that the piece of machinery weighs between six and seven hundred pounds. Another interesting facet of Coleridge’s personality that separates him from your typical garden variety thug is the fact that he is a lifelong student of world mythologies, a thinking man; “I have a fondness for the heroic dudes. Hercules, Thor, Beowulf, Gilgamesh, John Henry. That crowd.”(p.99) Blood Standard is chock full of allusions to humanity’s ancient myths; from an ornery old horse named Bacchus to a reference concerning the deepest, darkest cave, the Maori Cave of the Ancestors. These myth cycles inform Coleridge in such a way, that Barron is making the insinuation that this repentant criminal is bound for a greater (albeit violent), fate. While on a date with Meg (short for Megara), a local librarian and part time acrobat, she states that she dreamed about Coleridge in relation to Odysseus. “You put in at several islands. Upon each island, you paid homage to its king. Horrible, vile men who reposed on a throne of bones and whose sandals were caked in the blood of their victims…The palaces, the forests, the grass in the fields, everything around you blazed with fire. You left the islands floating amidst the black like burning jewels and sailed into outer darkness.”(p. 219) This dream (or perhaps, oracle) certainly seems like something pulled from a Greek myth. Mervin Coleridge, retired Air Force officer, current government spook and Isaiah’s estranged father reiterates as much as well. “Someone’s in a bind and you’ve got to save the day. Even at your worst, there was always a glimmer of nobility down deep, under all that shit you’ve covered yourself in.”(p.135)

Although Barron peppers this novel with a myriad of references to our mythic past, that is not to say that this book is a crash course in World Mythology, far from it. Like any good piece of hardboiled fiction, the antagonists, and there are several, make it tough going for our morally compromised hero. In his various attempts to locate the missing Reba, Coleridge runs afoul of several upstate underworld organizations including the white supremacist gang, The Sons of the Iron Knife, Teddy Valens and his group of mercenary contractors in the employ Black Dog and the big bads of the piece, The White Manitou, a Native American tribal gang who utilize extreme terror and torture tactics against anyone dumb enough to cross them. Not to mention local police who are on the take, FBI agents who to put it mildly, distrust Coleridge’s claim of having turned over a new leaf and at the books finale, a Sergio Leone like showdown against the revenge seeking gunfighter Mafioso, Vitale Night.

Like many a hardboiled hero, Isaiah Coleridge has some competent allies in his corner when it comes ferreting out the whereabouts of the missing teen. Mervin Coleridge is able to (begrudgingly) provide some snippets of intelligence using his shadowy government connections. Lionel Robard is an alcoholic Marine suffering from PTSD, from time served in Fallujah and Helmand. Robard is a scrapper through and through who has no qualms about bringing the fight to the bad guys. Rounding out his crew is Calvin Knox, an African American Pulitzer Prize winning photojournalist and surveillance specialist. “Three men connected tenuously by loose affiliation and camaraderie were headed directly into the belly of the beast on behalf of a young woman none of them called blood. I bore witness to a strange and wondrous event that felt suspiciously like a miracle.” (p.244) Throw in Meg into the mix as Coleridge’s budding romantic interest and you have an eclectic bunch of outsider supporting characters that to me, are reminiscent of Burke’s ‘family of choice’ from the long running series by Andrew Vachss.

Blood Standard grapples with the central question of can a person, who has a natural affinity for and lived within, a subculture of violence for several decades, fundamentally change? In many ways Isaiah Coleridge has much in common with the James Ellroy character of Pete Bondurant, from the Underworld USA Trilogy. Both are seasoned killers who are capable of dispensing vast amounts of bodily harm upon others when pushed over the edge. And yet, with Barron’s character, once he gets sent away from the mob lifestyle in Alaska, he starts exhibiting individual agency. Coleridge starts making decisions on his own behalf; he becomes the sole arbiter of when to dole out punishment, to what degree and when to abstain. And the most telling action of all, Coleridge makes the conscious decision at an attempt to become a more righteous version of himself, as an act of contrition. Not change his fundamental nature mind you, because like Bondurant, Coleridge is very, very good at bloodletting. “As ever, blood was the currency of my existence. Blood was the standard. It would always be this way. Men with guns, men with knives, men with evil intentions. My world, my tribe. My calling.”(p.263)

Laird Barron is a highly talented storyteller who has created a compelling character in Isaiah Coleridge.  Blood Standard is an excellent opening salvo in what I hope becomes a long running, financially successful crime series[2]. Pick up this novel and join Coleridge as he takes his first tentative steps on the violent, bloody and perilous road towards becoming a better man. And if it’s not exactly a hero’s path that he walks on, it’s close enough. Or as Virgil Walker states so succinctly; “Nobody ever truly changes. Not even the heroes in the epics.”(p.269)



[1]An audio version of “Frontier Death Song” is available gratis through the Tales to Terrify podcast (number 40). This is a perfect way to sample Barron’s work, without committing to an entire collection. But I guarantee once you’ve listened to this, you’ll track down and purchase more of his stuff. Wonderfully narrated by David Robison, this road story tells the tale of a man and his dog on the run from the Wild Hunt. This story displays many of Barron’s touchstones as a writer and is as good a place as any to get a feel for his type of short fiction. The stalwart protagonist, the inimical natural landscape (of Alaska) in conflict with humanity and the intrusion of the alien are all accounted for.

[2] The second book in the Isaiah Coleridge sequence, Black Mountain, was released in May of 2019 and has been added to my ever expanding To Be Read pile.

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Issue 10 is Live!

Alive. Alive. ALIVE! Issue 10 is ALIVE!

(Well, Kindle anyway. Print version should be up later this week.)

One of the biggest problems with taking submissions for multiple issues all at once is simply forgetting how awesome the stories we accept truly are. While the long term burden is lessened because of a robust and productive submissions period, we read so many stories in such a short time, that by the time an issue is being prepped six months down the road we have to refresh ourselves on what exactly we are publishing. The upside is that we fall in love with the stories all over again. We are truly blessed to have so many great submissions from so many talented writers, and this issue is packed full of them, including one returning author, and the rest of whom are gracing our pages for the first time, though you’ve likely seen some of their names in the other indie fiction magazines being published.

First up is Eddie Generous with his tale of a “Sunday Speed Trap,” the ensuing police chase, and maybe some ritual sacrifice to ancient Old Ones. E.F. Sweetman says “Hello from Garbage Island,” with her tale of ecological horror on the high seas. In Joanna Maciejewska’s “Yet Another Vessel” we encounter terrifying en-chanted artifacts and the kinds of psychopathic individuals who seek them out. In “Armageddon and the Way Out West,” Brian McNett introduces us to Doctor Thaddeus Armageddon and his helmsman Delrick Borograve and their exploits in the Wild West aboard the skyskip Devastation. We’re always game for a tale of artificial intelligence, mecha, and romance, which is exactly what Paul Alex Gray delivers in “Battle Borne Dreams Never Die.” Julie Rea takes us to the flooded future of 2202, where scavengers “Lela and Bat” comb through the remains of Philadelphia. Joshua Grasso’s “Barbarians in the Boudoir” sees the magician Hildigrim, previously imprisoned for black magic, paroled but only so he can help the Archduke avert a war with barbarians from a far distant land. Paul Starkey’s “Below Noon” is a tale of existential horror in the Wild West as a man comes to grips with the reality of Hell. Finally, we end with returning author Patrick S. Baker and the further adventures of the warrior hero Kauahoa as he takes on “The Cannibals in the Mist.”

If you’ve got fiction that you think shouts out for publication, don’t rest just yet. Get to polishing until they shine like the nine fine tales showcased in this issue. If you have ideas but not the words, then get to writing. No page writes itself (at least not competently—yet). If you just need a kick in the pants that a deadline will give you, then here you go: We open back up for submissions in October 2019. Don’t send us anything yet, but get ready because time flies when you’re having as much fun as we are putting out this fine bit of pulp fiction with modern sensibilities.

If this isn’t your first time with us, thanks for sticking around. It means the world to us. If it is, then we’ve got a back catalog of fiction we know you’ll love, so head back through the previous nine issues and catch up!

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Pulp Appeal: The Beastmaster (Guest Post by R.A. Goli)

(Editor’s Note: R.A. Goli is an Australian writer of horror, fantasy, and speculative short stories. In addition to writing, her interests include reading, gaming, the occasional walk, and annoying her dog, two cats, and husband.Check out her numerous publications including her fantasy novella, The Eighth Dwarf, and her collection of short stories, Unfettered at https://ragoliauthor.wordpress.com/ or stalk her on facebook https://www.facebook.com/RAGoliAuthor/. Her stories have appeared in issues 1 and 9 of Broadsword and Blasters).

Image result for the beastmaster

The Beastmaster is a classic sword and sorcery tale, loosely based on the novel of the same name by Andre Norton, released in 1959. The movie, released in 1982, stars Marc Singer as Dar (Dallas, 1986), Tanya Roberts as Kiri (Charlies Angels, 1981), Rip Torn as Maax (30 Rock, 2007-2009), and John Amos as Seth (Good Times, 1974-1976).

The movie begins with three dark-robed priests entering a temple where a trio of witches’ chant as they scry into a cauldron. The witches prophesize the death of the high priest/cult leader, Maax (pronounced, Mayax), at the hands of King Zed’s unborn son. Upon learning of Maax’ scheme to sacrifice his child to the god, Ar, King Zed banishes Maax and his priests. Maax sends one of the witches to deal with the problem. She casts a spell and transfers the baby from the mother’s womb into a cow’s womb, then slices it from the bovine’s stomach. She brands the baby with the mark of Ar, but before she is able to sacrifice him, a passer by intervenes, killing the witch and taking the baby to raise as his own, because that is what you did in those days.

The man trains his adoptive son, Dar, to fight and during a sparring session, a bear mauls another villager. Dar’s special ability becomes apparent when he telepathically communicates with the bear and sends it on its way. His father warns him that power such as his must be kept secret.

Years later and now a grown man, Dar’s peaceful life is shattered when Maax sends an army, known as Jun, to attack the village. Dar is spared and wakes up with ‘eagle sight’. Dar remembers a conversation he had with his adoptive father; should anything happen to him, his sword and caber (throwing weapon), would be Dar’s ‘trusted companions’, and that he must search for his enemies and seek his destiny. With everyone dear to him now dead, he sets off on his quest for revenge, with the eagle; Sharak in tow.

Along the way, Dar befriends two thieving ferrets, (Kodo and Podo), and a black tiger (Ruh). Now Dar has the eyes of the eagle (though later he realizes he can also see through the tiger’s eyes), the cunning of the ferrets, and the strength of the black tiger. By chance he meets a beautiful slave, Kiri, and decides to follow her to save her from her enslavement, but loses his way and comes across a tribe of half-man, half-bird creatures who consume the flesh of men by trapping them within their large bat-like wings. The bird-men worship eagles so when they see Sharak, they allow Dar to pass unharmed. One of the creature’s gifts Dar with a medallion depicting an eagle, which he will later use to call on their aid during the final battle.

There’s a lot of rescuing in this film. First Dar is joined by Seth and Tal (the King’s other son), and they save Kiri from being sacrificed, then save the king from Maax. King Zed’s thirst for revenge is too great and against Dar’s advice, he sends Dar away, then attacks the priests, thus Kiri, Seth, Tal and Zed are captured once again. Dar arrives to save the day again and finally kills Maax and the rest of the priests, only to have to fight the large Jun army. He sends Sharak off with the medallion and the bird-men join the battle.

The Beastmaster has our classic, well-muscled, loin-cloth wearing, sword-wielding hero, magic in the form of witches casting spells, and an enchanted seeing-eye ring, and the classic sacrificing people to a god. It’s an epic quest for revenge.

I loved this movie as a kid. My favorite parts were watching the antics of Kodo and Podo; who wouldn’t want a couple of ferret travelling companions to do their bidding? I’d not watched The Beastmaster for many years, I feared I’d be disappointed, having remembered the film through child-eyes, but I thoroughly enjoyed it. While almost two hours long, it didn’t drag, was full of adventure, had a dash of humor, a few sad moments, and also, Dar in a loin cloth.

The filming locations were breathtaking, especially the huge red sandstone formations of Valley of Fire State Park, Nevada. Other locations included Las Vegas, Simi Valley, and Lake Pyramid, California. Director Don Coscarelli (Phantasm, 1979), considered filming in Spain and Mexico, however both locations would have been too costly.

Coscarelli revealed a few fun facts during the director’s commentary. Dar’s sword was made especially for the film and was stolen post-production. Despite the many slayings, viewers will notice a lack of blood on Dar’s sword. Paul Pepperman (co-writer) explains that they wanted a PG family rating for the movie. I guess they were less concerned showing bare-breasted women on screen.

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Approximately twenty ferrets were used to act as Kodo and Podo, and Pepperman, kept two of them. In the scene where the witch transfers the unborn child into the cow, she pours a magical blue liquid over the king and queen’s necks, rendering them unable to move. The blue liquid used was from emergency lights, similar to glow sticks. The original script had a black leopard as Ruh, but animal trainers insisted tigers were easier to work with and so dyed some tigers black. I personally think it’s cooler to have a black tiger.

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Apparently Pepperman didn’t think the movie would be a hit or have longevity, and he was right in one respect as it only grossed around $14 million at the box office, but it has also enjoyed many late-night re-runs on various cable networks and like all great 80’s movies, has become a cult classic. If you love sword and sorcery, but haven’t seen The Beastmaster yet, do yourself a favor and watch it. If only for the ferrets.

I still miss you, Kodo.

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Pulp Consumption: He, She, and It by Marge Piercy (Guest Post by Julie Rea)

Editors’ Note: Julie Rea’s work has appeared in several places, including The Intima: A Journal of Narrative MedicineNude Bruce ReviewBLYNKT, and Halfway Down the Stairs. She lives in the Philadelphia area, where she teaches and writes about life in a wheelchair and other fascinating subjects. You can follow her on Twitter @phillylitgrl. Her story “Lela and Bat” will be appearing in issue 10 of Broadswords and Blasters. If you’d like to submit an article, send us a pitch. Payment is one digital copy of your choice of any issue of Broadswords and Blasters.

He, She, and It by the amazingly prolific Marge Piercy (a poet and memoirist in addition to being a novelist), is a cyberpunk novel set in the near-future. It was originally published in 1991 and won the 1993 Arthur C. Clarke prize for the Best Science Fiction novel.

The book explores ethical issues related to artificial intelligence, anticipating ethical issues related to the rights of sentient machines raised in the 2004 reboot of Battlestar Galactica and the current television series Humans. Woven through He, She, and It is the tale of a creation of a golem to protect a persecuted Jewish community hundreds of years ago. The golem’s position parallels that of Yod, a cyborg designed to protect a twenty-first-century community threatened by one of the multi-national corporations that controls most of the wealth in the future. Yod is more than a protector; he is also a romantic interest to the protagonist, Shira, and the two have an intensely sexual relationship. Yod acts as a father figure to Shira’s child, but his instincts are maternal in nature. Yod’s relationship with Shira provides much of the drama of the book.

Yod’s internal conflict is quite fascinating: his sentience and his maternal and erotic instincts are at war with his other programming, which is to be a weapon to protect the community. Ultimately, Yod concludes it is morally wrong to strip free will from a sentient being. Something with consciousness should be able to object to labors asked of it on moral grounds. This point, of course, goes beyond the arena of AI.

This book rocks some feminist themes pretty hard. Almost all the characters in the novel are women. The few biological male characters play minor roles. And all of these women characters have extraordinary characteristics. Shira and her maternal grandmother are sophisticated computer programmers. Shira’s mother and her mother’s companion are pretty much bad-ass ninjas intent on overturning the massive wealth inequality that leaves most of the people on the planet suffering.

It is also notable that Piercy clearly had climate change on her mind when she wrote this book; the environmental horrors described are mostly due to the depletion of the ozone layer and nuclear radiation, as opposed to consequences of carbon emissions. Nevertheless, Piercy thirty years ago in this novel anticipated human society greatly adversely affected by climate change and considered how those who are less well-off suffer more in such circumstances.

As is maybe obvious by the above, the book is rich in themes. Piercy doesn’t skip on detail either. Perhaps as a consequence, the book is not a quick read. There’s plenty of action in the book, but the action scenes come and go rather quickly; what seems to linger are questions about what loving a cyborg means and other ethical issues. Definitely worth a read.

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