Friday, June 26, 2015

From Now on, Let's Just Call it Marriage

On this day in 2013, the US Supreme Court ruled that the Defense of Marriage Act was unconstitutional, and effectively struck down the federal ban on same-sex marriage. Two years ago, I was crying.

And I'm crying today. We are finally, finally living in a country that recognizes same-sex marriage as nothing special. It's just marriage. It's strange to think about it that way, I guess. We were fighting to be like everyone else, for the things we do to just be something. Not gay marriage, not a lesbian wedding. A marriage. A wedding.

I've been crying on and off since a friend posted it on my timeline this morning. And when I heard, and it finally sank in that this was done and that this was real, not just in my state, but no matter what part of the country I was in, I heard a voice in my head. A familiar voice. One I remember from my childhood.



Well, Mr. Kermit the Frog: we finally fucking found it. The Supreme Court of the United States has made it illegal for a state to ban same-sex marriage. I don't think we're done fighting, but for now, I want to put everything else aside.

Some day we'll find it
The Rainbow Connection
The lovers, the dreamers, and me...

Voss

Saturday, June 13, 2015

Subgenre Saturday: Military Fantasy

I am a big ol’ subgenre slut. That’s pretty much why I do this column or series or feature or whatever you want to call it. I enjoy looking into the different subgenres of speculative fiction, especially the weird ones and the obscure ones. Which is what we have this week.

Now, military science fiction is actually pretty popular with a lot of SF readers. I’ll get into it more next week. This week is to the sister that kind of sits in the corner waiting to be noticed – military fantasy. It doesn’t happen that often, I don’t know for sure why. I do, however, have a theory (When do I not?). I think the issue comes in with the fact that it is fantasy. It seems simple on the surface, but putting in that magical element can really throw a wrench into the works for a lot of authors when it comes to military strategy and inner-workings and such. It’s just such a foreign thing to work with. Depending on how powerful the magic is that’s available, you could be looking at two sides of a conflict bringing nukes onto the battlefield. I think it’s daunting to have the threat in the war amped up so high, and it subconsciously turns people away from it.

The fact that it’s uncommon is part of what makes me want to read it. Military fantasy has to fill in some very strange gaps, and it can be very well-done. Or it can fail pretty spectacularly.


There are some pretty big names playing in the military fantasy pool, too. Jim Butcher with the Codex Alera series is possibly one of the most popular, right along with Brandon Sanderson’s Stormlight Archives (The Way of Kings).

But to me, the most interesting is sort of a subgenre that falls underneath this subgenre, and it’s small enough that I won’t be doing a separate post on it: gunpowder fantasy. Magic and wizards and elves… and rifles and railroads and lots of warfare. It’s a genre that’s pretty much dominated entirely by two authors: Django Wexler (The Shadow Campaigns) and Brian McClellan (The Powder Mage), with a smattering of others in their for good measure (Lindsay Buroker’s Emperor’s Edge books come to mind). I put gunpowder fantasy under here because, for the most part, it deals with war, and is set in worlds that, if not Earth in the past, is fairly recognizable as equating to the 17th-19th century, which was an incredibly war-torn era to be on our big blue marble.

When it comes to other media, military fantasy tends to be either totally nonexistent or, if you’re an optimist, just skirted around. If things had gone differently in Hellboy II, we would have had military fantasy. War is a part of a lot of fantasy books and movies (and movies based on books), but it’s not the focus, which keeps it from being the focus.

If you find yourself longing for military fantasy and can’t find it, just know that you’re not alone. The struggle is real, and there are a lot of people who wish they could find something more. Alas, publishing is a business, which makes it harder to make a sale of something with a fringe audience. So if any of you know any military fantasy that you feel should absolutely be on this list that I’ve forgotten, let me know in the comments. And as always, if you want more Subgenre Saturdays, make sure to subscribe.

Voss

Saturday, June 6, 2015

Subgenre Saturday: Splatterpunk

So, we’re back again. If you’ve been around Subgenre Saturdays with me, or just around this blog, you’ve probably figured out that I’ll take just about anything if you slap the word punk on the end. I know this about myself, I accept it, I’m good with it. So yeah, a lot of the subgenres here are going to be X-punk or punkpunk or whatever your preferred catch-all is.

Write along with this (I realize that was a typo. I did catch it, but it seemed too good not to leave in.) is something that isn’t quite the same as most of our other punkpunk genres. See, most of them fall under the big category of ‘retrofuturism,’ which is a fancy way of saying ‘tech/science that just doesn’t belong.’ High speed zeppelins and complex difference engines and machine guns that run on kerosene.

The key there is that they somehow subvert their given time period. Steampunk balks at Victoriana, dieselpunk at the ‘greatest generation,’ and cyberpunk at the distant world of the 80s. All punk genres are subversive, I think. That’s the binding theme, and today’s entry is no exception to that rule.



Ladies and not-ladies, I give you splatterpunk. Right around the dawn of cyberpunk, there was something else going on in the horror community. If you read horror, you’ll probably notice that it’s mostly about the psychological side of things and the suspense and tension. Which is amazing. I don’t do well with horror because of those things. However, there were several authors who, all independent of one another, decided that horror was too clean and distant. So they decided to muck it up and bring in intense gore and violence (hence the splatter) and, yes, a little bit of weird sexuality, too. It was very in line with the general ‘edgy’ vibe a lot of people were going for in the 80s, but splatterpunk was cranked all the way past eleven. While it’s something of a flash in the pan, as far as duration is concerned, it does still exist out there and, more importantly, it shook up the world of horror and brought back the gore.

Probably the most famous splatterpunk author (and director, screenwriter, artist, etc) is Clive Barker. Yeah, that Clive Barker. Candyman and Hellraiser and Books of Blood Clive Barker. They were dark and bloody in a way that wasn’t really seen at the time. This was the era of books like Misery and
Red Dragon. Clive Barker wasn’t the first splatterpunk, necessarily, but he more or less codified a lot of the things about this subgenre. He was to 80s horror what Lovecraft was to 20s horror. Both of them still have ripples flowing out into the world, influencing what people create to this very day.

Other well-known splatterpunk authors: Poppy Z. Brite, Jack Ketchum, Matt Shaw.

But it’s not just books (is anything ever just books?). If you want splatterpunk, look no further than the Saw franchise, or any of the horror movies directed by Rob Zombie. Hell, for that matter, just go watch some Clive Barker movies and really cut out the middle man. Hostel would fall into splatterpunk as well, and there’s a large movement in Japanese filmmaking involving splatterpunk as well. I can’t come close to naming them all, but Tokyo Gore Police comes to mind.

A lot of people will notice a similarity between splatterpunk and bizarro fiction… and they’d be right. I describe bizarro as ‘magical realism meats splatterpunk’ (Another good typo I just had to leave in.), and I think that about captures it. So if you’re not quite ready for the intense gore and sex and violence in splatterpunk, I would point you at any number of bizarro books. If you are ready? Have at it.

Saturday, May 30, 2015

Subgenre Saturday: Science Fantasy

It’s Saturday once again, which means a new subgenre for us to look at. Last week, I went into one of my favorite underappreciated (and unfortunately underpopulated) subgenres: new weird fiction. Now, I was planning something else for this week. Something a little more strictly sci-fi, like dystopian fiction or space opera. But last week really got my juices flowing, and I got inspired by my own little bit at the end, going off into a cousin of new weird. If new weird is the kid who likes to break the rules, then science fantasy is the kid who sits in back and dresses funky, but still pulls a 4.0. Or some metaphor that makes much more sense.

Science fantasy is essentially just what it sounds like: a combination of science fiction and fantasy elements, styles, and tropes. Things like McCaffrey’s Pern books (Dragons and telepathy and supercomputers?), Colfer’s Artemis Fowl (Yeah, leprechauns and elves… but also high tech computer things and mathematics.), and even The Giver (A genetically perfect society set somewhere after a great conflict, the world turned flat and perfected, and also the inexplicable ability to transfer memory through physical contact.).

On the film front, you don’t need to look any deeper than Star Wars (George Lucas even said the movies were space fantasy.). Set in another galaxy with FTL travel and aliens and lasers, but also more classic fantasy tropes than you can count. The chosen one, the wise old mentor who dies, the questing party, the princess, the evil overlord with a mysterious connection to our hero. Plus, no matter what anyone says, the Force is magic. Magic magic magic.

Unlike some of the other subgenres I’ve looked at recently, there are plenty of works that are absolutely science fantasy, all across different media. I touched on Gunnerkrigg Court last week, which is too blatant to ignore (Seriously. Go check it out.). Most of the Final Fantasy franchise of video games falls into this subgenre, and I would posit that you’re more likely to see science fantasy in video games than almost anywhere else. You also see it in cartoons (Gargoyles, The Legend of Korra), live action TV (Power Rangers comes to mind. All of them.), and anime and manga (Yu-Gi-Oh!, Dragon Ball Z).

What are some of the big ones I missed (I’m sure I missed something blatantly obvious.)? Let me know in the comments below, and subscribe to stay caught up on Subgenre Saturdays.


Voss

Saturday, May 23, 2015

Subgenre Saturday: New Weird

And now for something completely different. Well, maybe not completely, but we’re looking at a subgenre that sits in my wheelhouse, but it kind of clings to ceiling and drips stuff down on everybody else’s head. See, starting in the late 1800s and bleeding into the early 20th century, you had a genre that’s known simply as ‘weird.’ It came before horror and fantasy and their ilk were really being categorized as such. These were the writings of people like H.P. Lovecraft and Franz Kafka. They didn’t fit into what was being written at the time. Mainstream/literary fiction, science romances, that kind of thing. They were different. Subversive. They were just plain weird.

You saw the same thing in the sixties and seventies, only this time it was new wave, not weird. Fantasy and horror were now well-established genres, and they, along with science fiction, had their own tropes, their own vibe, and their own expectations. New wave was just as subversive as weird fiction, but it had much more to subvert. And it did. Writers like Roger Zelazny and everybody’s favorite curmudgeon, Harlan Ellison (Who, to take this whole subversion thing to the max, refused to even call his work sci-fi or fantasy. He insisted on the umbrella term ‘speculative fiction.’).

As with everything in the publishing world, things come in cycles (Doubt me? Compare the popular romances of the 80s with the popular romances of today.). These subversive tendencies cycled right on back through into the movement I’m finally getting to: new weird. A somewhat inelegant title for what I consider to be an incredibly elegant subgenre of sci-fi and fantasy.

New weird is a strange beast. It’s not mocking SF/F as much as it is mocking literary fiction. For years and years, there’s been a struggle between the lit-fic community and the spec-fic community. As SF/F writers, we’re very often pushed into the ‘science fiction ghetto,’ because it can’t possibly be worthy fiction if there are jetpacks or aliens. Then, when there is something that the literary crowd likes that manages to claw out of the ghetto, they steal it and take that glory away.

New weird protested, and did it by writing brilliant fiction. Yes, it’s speculative fiction through and through, but it’s too completely genius for anyone to brush off, no matter the content. It’s full of sweeping ideas and it plays against the tropes standard in sci-fi and fantasy (or at least the tropes standard at the time it was written). Often, it blurs the line between the genres to a point where you can’t even tell which side of the line it falls on.

The one name that comes to the top of almost every new weird list, and for very good reason, is China Mieville. Essentially, it’s what he writes, and if you pick up his work, you’ll see exactly what new weird is. My favorite from him is Railsea, a story that could possibly be sci-fi, but could just as easily be fantasy, but maybe it really doesn’t matter. A world where the oceans are gone, replaced by railroad tracks lid in an ultimate war. It mixes religion with science, and you just can’t place it. Pure brilliance.

A few other perennials of the subgenre are His Dark Materials by Phillip Pullman, and Mervyn Peake’s brilliantly atmospheric Gormenghast books (Titus Groan, Gormenghast, Titus Alone). New weird even has its own magazine, for fans of this type of fiction (Tales of the Talisman). There’s also the SCP Foundation, of which I’m a huge fan. A huge intersection between all crossroads of speculative fiction, and all very much bound in a well-woven format.

There aren’t a lot of TV shows and movies like this, unfortunately, or I would recommend them. It’s a little more common in anime and manga, where genre lines as we know them blur as it is. Things like Durarara. I feel like an argument could also be laid out for Gunnerkrigg Court as new weird, but it would perhaps be better-suited as a straight up science fantasy. More on that one next week.

If you liked this, make sure to subscribe so you can stay up to date on all future Subgenre Saturdays.


Voss

Saturday, May 16, 2015

Subgenre Saturday: Sword and Sorcery

So last week, when I was talking low fantasy, I made lots of promises that I would go through and clarify the differences between low fantasy and sword and sorcery. Well, today is the day.

Now, the main confusion comes from the fact that, yes, sword and sorcery absolutely fits all the criteria for low fantasy. The main thing that makes sword and sorcery so different is the scope. Take everything that makes low fantasy what it is (cynicism and questionable morality and rare-to-nonexistent magic), but amp up the conflict. Like majorly. Normally, whatever your hero is up against will have magic, while he or she has nothing but a sword and determination. And the antagonists can get pretty far up there on the scale of terrifying and world destroying, including Lovecraftian horrors (Conan of Cimmeria, for example, existed right alongside HP Lovecraft’s world of elder gods.).

Sword and sorcery is also identified by the hero or heroine. Physically powerful, able to wield some kind of physical weapons, doesn’t fit in with the rest of society, or is a final remnant of their culture/kingdom/village/what-have-you. It’s not a glamorous, pretty genre. It’s about fighting and killing and glory and sex. The dirty parts of life that normally get swept under the rug.

Obviously, the most famous of all sword and sorcery works are the Conan books by Robert E. Howard. Kull the Conqueror is right up there in fame as is Red Sonja, inspired by a character in one of Howard’s stories, but taken much further than that. You also have Michael Moorcock’s Elric Saga in the mix.

When it comes to TV, there are approximately two sword and sorcery shows worth watching: Hercules and Xena. Hercules came first and Xena was a spinoff… and much better, in my opinion. Both have wandering warriors of great fame, and both have to deal with enemies far more powerful than themselves. I would personally say that Xena fits the genre better, only because she’s a much darker gray on the morality scale than Hercules (she was a warlord, after all).

With movies, I’ll bypass the Conan flicks (although you really should watch them) and go for The Scorpion King. It’s perhaps a bit heavy on the magic, compared to other works in the genre, but if you’re looking for a quick intro to sword and sorcery and can’t bring yourself to watch Conan the Barbarian/Conan the Destroyer, The Scorpion King will give you some idea of what you’re working with.

If you’re looking for something a little bit more diluted, then ignore what the reviews say and take a chance watching John Carter (based on Edgar Rice Burroughs’ A Princes of Mars). Yes, it’s on Mars, which technically makes it scifi. However, the main character is big and muscular and has a physical strength him (the long jump). The enemy has a strange power (in this case, highly-advanced technology), and in spite of that, the main conflict is on a fairly small scale (all John Carter really wants is to get back to Earth). And obviously, he doesn’t fit in where he is, being a human and all.

So, what are your favorite sword and sorcery works? Let me know in the comments, and don’t forget to subscribe, if you want more Subgenre Saturdays.

Voss

Saturday, May 9, 2015

Subgenre Saturday: Low Fantasy

So, most everyone knows what high fantasy is, I would assume. Tolkien and Dragonlance and Shannara and The Wheel of Time. Huge world that isn’t earth, lots of magic everywhere, and normally massively important consequences (though not always). I don’t even feel like I need to go into it too much. It’s pretty much what comes to most people’s minds when they hear about fantasy fiction.

It’s also not what I write. I’ve tried my hand at a traditional high fantasy once or twice (or more that I’m just not remembering), and it never turns out well. I love reading them, when they’re done well, but mine are never really done well (although I still have aspirations of one day writing my high-fantasy epic… just haven’t found the time for it between everything else). What I do write (when I’m not doing urban fantasy or sci-fi) is something I never had a name for. I described it as ‘high fantasy, but without the magic.’ Or with very little magic, or magic that just wasn’t overt. So, as I was scrolling through lists, trying to decide which subgenre to do this week, I ran across ‘low fantasy.’ I was intrigued because they had ‘urban fantasy’ as a separate entry on that list, and I’d always been told that urban and contemporary fantasy was low fantasy. So of course I clicked.

Turns out, I’ve been writing low fantasy for years, at least by that definition. It’s one of those that people can’t seem to decide on. Some people still say that urban fantasy is low fantasy. To me, that just seems redundant, so I’m sticking with this. Low fantasy is an alternate world, just like high fantasy, but you don’t have wizards running about throwing fireballs at dragons to save the Holy Chalice of House McGuffin from Larinth the Dreameater. Magic is rare in low fantasy, when it’s present at all. If there’s magic, it’s often gone missing or isn’t widely accessible. It may exist only in artifact form, or require the will of the gods, or belong to a single nearly-dead bloodline. Whatever the case, it’s not normally a viable problem-solving option in low fantasy.

Now, I’ve never read A Song of Ice and Fire (it’s on my to-read list, I promise), but I’ve talked to people who have. From what they describe, at the beginning, those books are low fantasy. Magic is uncommon and the major conflict to start with is this battle over the throne (all what I’ve heard, so I may be wrong. If so, I apologize). As magic comes more and more into play, it becomes sort of high fantasy, but it’s the most popular example I could think of.

(There’s also apparently a lot of crossover with sword and sorcery, when it comes to the great wintery world of Westeros. There’s also a lot of crossover between low fantasy and sword and sorcery. I’ll get into that particular subgenre next week.)

There are a handful of other things that set low fantasy apart from high fantasy and, at least for me, make it more enjoyable to read. It hits a lot of the things I like to see in my fiction. It’s a much smaller plot, which I prefer. Instead of saving the world, you’re trying to save your sister or your house or maybe your village.

It also hits one of the big character things I love: gray morality. In high fantasy, you often have a very cut and dry, black and white morality, including villains and heroes that get color-coded for your convenience (The evil forces all wear black armor, and the good forces are shiny and sparkly). In low fantasy, while it’s not ubiquitous (there’s very little in any genre or subgenre that would be considered ubiquitous), the characters often have gray morality. You don’t often get into anything as light as white and gray morality (a clearly good side, and a sort of ambiguous side, or evil that is sort of kind and really just needs a hug), but I’m sure it’s out there somewhere. You’re much more likely to see both sides with gray morality (neither side is necessarily all that evil, but they’re not going to bring you cookies and milk, either). Their conflict isn’t necessarily based around one side being bad and the other being good, but just around them being opposed. And then, at the dark end of our morality scale, you have black and gray morality. Basically, neither character is wonderful, but one of them is just downright evil, so a lesser evil has to be brought in to solve it (like summoning a demon to fight the Devil).

Now, as I said, none of these things have to happen to make it low fantasy. Take Scott Lynch’s Gentleman Bastard books. There’s very clearly some real magic going on, but it doesn’t factor into the plot, and it’s not something the characters can turn to in order to solve their problems. At least not reliably. They have to go with cleverness and quick-thinking and more mundane skills.

On the movie and TV side of things, you norm

ally don’t come close to low fantasy. When they go for it in a medium like that, they normally really go for it. The closest would be something like Conan the Barbarian, but that’s sword and sorcery to the core (again, next week, I promise).

Unfortunately (at least for me), low fantasy has never really taken off on its own. It can be used to describe a lot of different genres and subgenres, but very few people produce it. So, if you know any really good low fantasy that I should be reading, let me know. I’m on the lookout for these kinds of books, and now I know what to look for.

As always, subscribe if you want to keep getting Subgenre Saturdays.


Voss