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It's a sort of horror-western-fantasy mashup. Damn, you'd
have to have been King to get this published in 1982. |
With the movie
The Dark Tower coming out soon, I thought I'd have another crack at the original, with Stephen King's
The Dark Tower I: The Gunslinger(1). Full disclosure, I'm not a fan of King's writing in general, although the first two volumes of the series have been the exception so far, in that I got off the first page and, indeed, through the first two (or maybe three) books before the library failed me. Maybe it was the contemporary setting in the other books - I wasn't much into modern day until I was... well, ever really; even my crime reading tends to be old noir - but the western/post-apocalyptic/horror/fantasy mashup of
The Gunslinger really hooked me. Or perhaps it was the opening.
“The man in Black fled across the Desert, and the Gunslinger followed.”
(2)The Gunslinger kicks off in media res, with the titular pistoleer-paladin in pursuit of the Man in Black, a wizard and corruptor seemingly set on bringing ruin to what is left of a blasted, dying world, having already overthrown the Gunslingers' kingdom of Gilead
(3). Death follows in the Man in Black's wake, wrought by him and delivered by the Gunslinger, with a young boy from modern(ish; the book is old) day Manhattan the latest in the crosshairs. The Gunslinger is the hunter, but the Man in Black has all the power, at least at this point in their cat and mouse. It's an intriguing opener, much stronger on set-up than on payoff, but there it goes; it is the start of a seven book plus two novella series, so you wouldn't expect it to wrap everything up neatly.
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Oddly, the Red Riding Hood persona is only
mooted in this volume. |
Next on my list was
The Rules of Supervillainy, a semi-parody set in one of those worlds where superpowers are fairly commonplace. Gary Karpowsky is a happily married white collar worker who receives the magical Reaper's Cloak after its previous 'partner', superhero the Nightwalker, dies. Gary sets out on a career of crime as Merciless, the Supervillain without Mercy
(4), but his idea of supervillainy is more that of a kind of anti-establishment heroic outlaw than an actual villain (or as he puts it, he's a villain, not a jerk.) This outlook brings him into conflict with actual villains - most of whom have a serious hard-on for murder, rather than wanting to buck the system that keeps the little guy down - as well as superheroes and 'antiheroes'; that subset of vigilante murderers whose targeting of villains seems to excuse their monstrous, murderous behaviour, but whose methods are a large part of Gary's motivation for eschewing straightforward heroism.
Superhero parody is ten a penny, but
The Rules of Supervillainy kicks off a series with a certain something. Gary is an appealing protagonist, combining well-meaning family man with his dedication to an almost non-existent code of noble supervillainy. The superpowered action is perhaps a little lacking, with Phipps seeming more assured with the comedic and dramatic aspects of the story, but those other aspects are deftly handled and Gary's tragedy - the loss of his ex-supervillain brother, and the collapse of his previous relationship with a superheroine - complements his comedy well.
Winter Tide is a Lovecraftian novel with a twist. Growing out of the short story
'The Litany of Earth', it takes as its premise the idea that the Deep Ones of Innsmouth were a persecuted minority, rounded up by the government thanks to lies like those in 'The Shadow Over Innsmouth'. Aphra Marsh and her brother Caleb are the last surviving land-bound children of Innsmouth. Aphra lives with a Japanese family who were interned with them during WWII, works informally with an FBI agent seeking to foster greater ties with the Aeonist
(5) community, and has begun teaching magic to the owner of the bookshop where she works. Caleb, meanwhile, has been trying to recover a vast wealth of books from Innsmouth that have been claimed by Miskatonic University. Agent Spector offers a means to access MU's 'Innsmouth Collection', if the Marshes can help him to track the possibility of a Russian spy using body-switching magic as a tool of espionage.
Devoted, yet fully woke Lovecraft fan Ruthanna Emrys brings a sincere affection to the mythos, even as she deconstructs its underlying assumptions and horrors. Through Aphra's eyes, the time-travelling, body-snatching Great Race of Yith are the sole legacy of a world whose destruction is preordained, and the one certainty that someone takes note of human
(6) affairs in this uncaring universe. Innsmouth was a town of pagan fish-people minding their own business, and Miskatonic University is a bastion of elitist, intellectual snobbery. Ancient religions respect the balance of natural and unnatural forces, while the federal forces I shall call Schmelta Green are a bunch of dangerously amateur hacks
(7).
Winter Tide is a melancholic novel of the search for a world long lost, as well as a threat new established. It blends Cold War uncertainty with Lovecraft's Yog-sothery to almost
(8) entirely reinterpret the latter. Most of its horror, such as it is, comes from the human world, and the unchecked power of the government in dealing with 'the other', and notably most of Aphra's allies are in some sense 'other', be they Deep Ones, cripples, Jews, gays, blacks, Japanese or descendants of other human strains.
Finally, and in a similar vein to
The Gunslinger,
The City of Shifting Waters is the source material for a forthcoming movie, specifically the first in the
Valerian and Laureline series of scifi comics, which are the basis of the forthcoming Luc Besson extravaganza
Valerian and the City of a Thousand Planets(9). Spacio-temporal Agents Valerian and Laureline are sent to the 1980s, the start of an historical dark age from which no records remain until the formation of the great, world-spanning civilisation that will arise from its ashes. Valerian is in pursuit of an old nemesis, Xombul, across a flooded New York. Teaming up with smuggler Sun Rae and scientist Schroeder, Valerian and Laureline must prevent Xombul establishing control of history and forever altering the timeline in his own favour.
The City of Shifting Waters suffers somewhat from a slightly haphazard Kindle conversion, but in many ways the narrative itself is ahead of its time
(10). Laureline is a slinky red-head, but seldom sexualised, and Valerian admits that his problem with allowing women in the service is that they outshine old hands like him. It might be nice to assume that in the 28th century the inclusion of women in a space-time agency wouldn't raise an eyebrow, but it was written almost fifty years ago. The story is reminiscent of some of
Strontium Dog's time travel stories, and it's hard to keep in mind that in fact this predated those by decades. It's impossible to see any of this in the trailers for the movie, mind you, which looks to be all about the spacio and not the temporal.
