Masters-of-the-Universe-Piece Theatre: “Playing for Dinner”

I’m off to Metropol Con in Berlin tomorrow morning, but while I’m gone, enjoy this Masters-of-the-Universe-Piece Theatre photo story. The name “Masters-of-the-Universe-Piece Theatre” was coined by Kevin Beckett at the Whetstone Discord server.

A few days ago, I got the new Masters of the Universe Masterverse Man-e-Faces, who has an extra set of faces in addition to the three faces – man, monster and robot – that we already know. So I put him on a stage – Man-e-Faces is an actor, when he’s not defending Eternia from the evil forces of Skeletor – and paired him up with Orko, who is an entertainer as well, when he’s not defending Eternia from the evil forces of Skeletor.

In Masters of the Universe Revelation, the defenders of Eternia fall apart after He-Man dies (don’t worry, he gets better). We see what happened to a few of them: Teela storms off and becomes a mercenary. Duncan is stripped off his rank and banished from the palace and moves to a little cottage in the middle of nowhere with Roboto. Cringer moves to Castle Grayskull (probably not quite voluntarily, since King Randor seems to have decided to honour his son’s memory by throwing all of the people Adam cared about out of the palace) to protect the Sorceress and the Castle. Stratos and Buzz-Off are implied to return to their respective homelands. Clamp-Champ and Fisto of all people remain at the palace to guard the King and Queen.

Orko is also kicked out of the palace and is ill and being cared for by Duncan the next time we see him. As for Man-e-Faces, he never appears in Revelation at all, so we have no idea what happened to him. Though I suspect he didn’t stay at the palace, because I doubt the grieving King Randor and Queen Marlena had much need for an entertainer.

So enjoy this story of Orko and Man-e-Faces, the two entertainers at the royal palace, teaming up and taking their show on the road.

On the market place of the city of Sarnscepter:

Man-e-Faces in his human face is on stage with Orko announcing him.“Come, good people of Eternia and see straight from King Randor’s court: Eternia’s greatest actor Man-e-Faces and Eternia’s second greatest, no third greatest – I mean, there’s the Sorceress, obviously, and Evil-Lyn and Skeletor, only that he’s gone now, and the Faceless One and Shokoti… brrr… and Mallek and…”

“Orko, come to the point already.”

“Anyway, Eternia’s greatest actor Man-e-Faces and court magician – former court magician Orko bring to you, The Tragedy of Keldor, Prince of Eternia a.k.a. the play King Randor does not want you to see. So give a big hand for Man-e-Faces… and me, of course.”

APPLAUSE!

Man-e-Faces on stage with his Skeletor face, while Orko announces him.“Thank you, good people of Eternia.”

WHIRR!

“You all know Skeletor, self-styled Lord of Destruction and Overlord of Evil…”

BOO! HISS!

“Yes, that’s exactly the right response to Skeletor. Though to be perfectly honest, he’s very much a failure, though I’m only saying that out loud, because he’s no longer around to curse me like he did the last time I mocked him.”

BOO! HISS!

Man-e-Faces is on stage with his Keldor face, while Orko looks on.“But did you know, good people of Eternia, that the fearsome and terrifying Skeletor was once the handsome Prince Keldor, half-brother of King Randor himself?”

“I didn’t know that.”

“Of course not, Orko. All that happened long before you came to Eternia. And King Randor is understandably reluctant to talk about his wayward brother…”

“Well, I’d say that the King is reluctant to talk period.”

“You may be right, Orko. But let’s get back to Keldor. For you see, Keldor was extremely privileged. He was handsome, rich, he was a Prince of Eternia, a talented alchemist and master swordsman. However, there was one thing Keldor wanted that he couldn’t have. For though he was a Prince, he’d never ever be King. And that irked him more than anything else. So Keldor decided that if the Elders and the laws of Eternia would not make him King, he’d make himself King…”

“And how did he plan to do that?”

“Simple. Keldor made a pact with Hordak, a terrifying demon from beyond, to increase his magical powers. Then he gathered others around him, beings as ambitious and ruthless as himself. And then he started waging war on the throne and the Council of Elders. The royal guard under Captain Randor, as he was then, and the defenders of Eternia met them in battle and a terrible clash of arms ensued. The horrible war we call… the Great Unrest!”

“Oh, I’ve heard about that.”

“And so you should, Orko, for the Great Unrest plunged all Eternia into war, as Keldor and his allies devastated the land. And it all culminated in… the Battle at the Hall of Wisdom.”

“Oh, that sounds dramatic.”

“The two brothers Randor and Keldor met in battle with clashing swords and singing blades. Keldor was one of Eternia’s best swordsmen, but Randor still bested him. But treacherous Keldor still had an ace up his sleeve. A vial of acid that Hordak had given him to vanquish his brother. Keldor hurled that vial at Randor, but….”

Man-e-Faces wears the Keldor face covered in acid, while Orko looks on.“…Captain Randor raised his shield and repelled the attack. The acid backfired and hit Keldor right in his handsome face…”

“Eww, that’s got to hurt.”

“Indeed, it did, Orko. Keldor only survived his injuries due to the dark magic of Hordak. Alas, the acid ate away the skin and the flesh of his face, leaving only…”

Man-e-Faces wears the skull face covered with acid, while Orko looks on.“…the bare bones beneath. And that is how handsome Prince Keldor became hideous Skeletor, Lord of Destruction. Shortly thereafter, Man-at-Arms and the Sorceress of Grayskull erected the Mystic Wall…”

“And that’s not all they did together.”

“Orko, there are children present. Anyway, they erected the Mystic Wall, locking away Skeletor and his minions in the Dark Hemisphere for the next sixteen years. King Randor, as he was by now, never spoke of his brother again and over time Prince Keldor was forgotten. Until he breached the Mystic Wall and reappeared as Skeletor, Overlord of Evil.”

BOO! HISS!

Man-e-Faces on stage with his Skeletor face, while Orko announces him.“Wow, that’s quite a story, Man-e-Faces.”

“It’s not a story, but the whole and unvarnished truth. I swear by all my faces.”

Man-e-Faces is wearing his monster face and holds Skeletor's skull, while Orko looks on.“Alas, poor Keldor! I knew him, Orko, a fellow of infinite jest, of most excellent fancy: he has borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rims at it.”

Man-e-Faces wears his robot face and holds Skeletor's skull, while Orko looks on.“”Here hung those lips that I have kissed I know not how oft. Where be your gibes now, your gambols, your songs, your flashes of merriment that were wont to set the table a roar? No one now, to mock your own grinning? Quite chap-fallen? Now get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour she must come. Make her laugh at that.”

APPLAUSE!

Man-e-Faces wears his human face and holds Skeletor's skull, while Orko looks on.

“And thus ends the tragic tale of Keldor, Prince of Eternia.”

APPLAUSE!

“Thank you, good people of Eternia, and don’t forget to put a coin in the hat for these poor impoverished ex-royal entertainers.”

Later:

Man-e-Faces and Orko walk through the streets of Sarnscepter.“So, how much did we make today?”

“…ten, twelve, thirteen gold coins.”

“Enough to buy us a room at the inn, a good dinner and a mug of ale for me and a mug of hot chocolate for you, then.”

“Sigh. It’s sure hard to have to perform on the market places of random towns for a living.”

“I know, Orko. But would you rather have stayed at the royal palace, with the sobbing Queen Marlena and King Randor’s random outbursts of anger?”

“No. First of all, because I got kicked out of the palace. And besides, everything there reminds me of Adam. Sniff, I miss him so much.”

“I know, Orko, I miss him, too.”

***

The story of how Keldor became Skeletor can also be seen in this episode of the 2002 He-Man cartoon.  Meanwhile, Man-e-Faces has borrowed the gravedigger monologue from Act V, scene 1 of Hamlet by William Shakespeare.

That’s it for today, folks. I hope you enjoyed this Masters-of-the-Universe-Piece Theatre Toy Photo Story, because there will be more, when I’m back from Berlin.

Disclaimer: I don’t own any of these characters, I just bought some toys, took photos of them and wrote little scenes to go with those photos. All characters are copyright and trademark their respective owners.

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Some Thoughts on the 2022 Nebula Award Winners

The winners of the 2022 Nebula Awards were announced last night at 5 AM my time, which is why the commentary post is somewhat later than usual. It’s also a bit shorter than usual, because I’m off to Metropol Con in Berlin on Wednesday morning. The full list of winners may be seen here. For my comments on the finalists, see here.

So let’s take a look at the 2022 Nebula winners:

The 2022 Nebula Award for Best Novel goes to Babel by R.F. Kuang. This is not a huge surprise, since Babel got a lot of buzz and showed up on various “best books of 2022” lists. I have to admit that I haven’t read it yet, because R.F. Kuang’s Poppy War trilogy did not work for me at all. That said, I’m always happy to see a work of linguistic SFF gain attention and awards.

The winner of the 2022 Nebula Award for Best Novella is Even Though I Knew the End by C.L. Polk. This is one win I’m fully aboard with, because Even Though I Knew the End mixes a lot of elements I like – urban fantasy with a retro noir setting, a hardboiled detective story and a wonderful love story. It’s agreat novella and I hope to see it on the Hugo ballot this year.

The 2022 Nebula Award for Best Novelette goes to “If You Find Yourself Speaking to God, Address God with the Informal You” by John Chu. This is another win I’m really, really happy, because I enjoyed the story – a sweet gay romance between two guys who meet at the gym, only that one of them may be a superhero – a whole lot. This story was also on my personal Hugo ballot.

The winner of the 2022 Nebula Award for Best Short Story is “Rabbit Test” by Samantha Mills. I’m afraid this story completely passed me by, though I’m looking forward to reading it.

The 2022 Andre Norton Nebula Award for Middle Grade and YA Fiction goes to Ruby Finley vs. the Interstellar Invasion by K. Tempest Bradford. This is another winner I’m unfamiliar with, largely because I’m not the target audience for a middle grade novel about a little girl dealing with an alien invasion. That said, I have always enjoyed K. Tempest Bradford’s insightful commentary on racism and SFF.

The winner of the 2022 Ray Bradbury Nebula Award for Outstanding Dramatic Presentation is Everything Everywhere All At Once. If there is such a thing as a surefire winner, it is Everything Everywhere All At Once, which has already (deservedly) won all the awards everywhere in the multiverse. Now Daniel Kwan and Daniel Scheinert can add a Nebula to their collection. It may not be as prestigious as an Oscar, but it’s prettier.

The 2022 Nebula Award for Game Writing goes to Hidetaka Miyazaki and George R.R. Martin for Elden Ring. This is another unsurprising winner. As I’ve repeatedly said, I’m not a gamer and often can’t really say anything about the game category, but even I have heard of Elden Ring.

Several special and lifetime achievement awards were awarded along with the Nebulas as well.

The recipient of the 2023 Damon Knight Memorial Grand Master Award is Robin McKinley.  This is a very good choice, since Robin McKinley has had a lengthy and well regarded career. Plus, she was doing fairy tale retellings before it was popular – at least in the US.

The brand-new Infinity Award, basically a posthumous Grand Master Award for authors who did not receive a Grand Master during their lifetimes, was awarded for the first time this year. Initially, there were some concerns that the Infinity Award would be yet another honour bestowed on dead white men, who already have accolades enough (and a lot of the obvious choices actually did receive the Grand Master Award in the past). So SFWA decided to preempt these concers and award the inaugural Infinity Award to a dead black woman, namely Octavia E. Butler. It’s an excellent choice, for while Octavia E. Butler was hardly obscure during her lifetime, her recognition has only grown since her untimely death. I’m certain that Octavia E. Butler would have eventually received a Grand Master Award, had she not died too early. The Infinity Award rectifies this.

As for future possibilities, one person I would love to see receiving an Infinity Award is C.L. Moore, because she was supposed to receive the Grand Master Award in 1985 as only the second woman ever (the first was Andre Norton). However, her second husband declined on her behalf, because by that time C.L. Moore was suffering from Alzheimer’s disease and her husband feared that the ceremony would upset and confuse her. C.l. Moore’s second husband gets a lot of flak for that decision, though I believe it was made with the best of intentions. Nonetheless, the Infinity Award would be a perfect way to rectify this.

The winners of the 2023 Kate Wilhelm Solstice Award are Cerece Rennie Murphy and (posthumously) Greg Bear. The 2023 Kevin O’Donnel Jr. Service to SFWA Award goes to Mishell Baker. All strike me as very good choices.

Those who worry that men are no longer winning the major SFF awards will be happy that we have one male winner (John Chu) in a fiction category and four more (Daniel Kwan, Daniel Scheinert, Hidetaka Miyasaki and George R.R. Martin) in the media categories (plus Greg Bear for the Solstice Award). Of course, the usual suspects will probably complain anyway that those are not the right sort of male writers.

One thing that struck me is that a lot of authors of colour won last night. Of the thirteen winners altogether (including the special awards), eight are writers of colour. This is excellent, especially considering how very white SFF still is in many parts.

All in all, this is a very good set of Nebula winners.

 

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Cora goes to Metropol Con in Berlin

MetropolCon graphic

This week, from Thursday May 18 to Saturday May 20, I will be at Metropol Con, a new multimedia SFF con in Berlin.

The venue is the silent green Kulturquartier in the Wedding neighbourhood in Berlin. The silent green Kulturquartier is a former crematorium (built in 1910) turned cultural center and events venue.

This is actually the first in person con I’m attending since 2019, though I have attended several virtual cons since then. But great as virtual conventions are, in person cons are a different matter altogether and I’m really looking forward to the experience.

If you happen to be at Metropol Con, you can see me on the following panels:

Translation: What gets lost and what is gained

Friday, May 19, 2023, 9:30 AM in Atelier 1

Participants: CD Covington, Julie Nováková, Cora Buhlert, Moderator: Claudia Rapp

SFFH around the globe: developments, themes, trends

Friday, May 19, 2023, 12:30 PM in the Kuppelhalle

Participants: Mary Robinette Kowal, Peter J. Maurits, Cora Buhlert, Moderator: Sabrina Železný

I’ll also be hanging out at the con and attending programming, so if you see me, say hello.

Once I’m back, there will of course be photos and a con report.

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Masters-of-the-Universe-Piece Theatre: “Adam’s Day Out”

It’s time for another Masters-of-the-Universe-Piece Theatre photo story. The name “Masters-of-the-Universe-Piece Theatre” was coined by Kevin Beckett at the Whetstone Discord server.

Now that spring is here and the weather is nicer, it was also the perfect time to take my Masters of the Universe figures out into the garden to pose for some photos. And while I was taking pictures, I made a little story, too.

On the plains of Eternia:

Adam rides the Road Ripper through a field of little pink flowers

Yes, I know the vehicle is supposed to be called “Ground Ripper” now for trademark reasons, but it will always be the Road Ripper to me.

“I just love getting out of the palace and enjoying the peace and quiet of the Eternian wilderness in springtime. And the Road Ripper really packs a punch. Too bad it’s only a one-seater, so I can’t take Cringer along. Or Teela…”

Adam is riding the Road Ripper, while a Raptor appears in the grass.“Still, nothing beats racing across the plains of Eternia. No Prince Adam, no royal duties, no He-Man, just me and the unspoiled wilderness and… – Oh, raptor crossing!”

SCREECH!

“Sigh! Thank Zoar that the brakes on this thing are as good as the engine.”

Adam waits, while the raptor crosses the road.

The raptor is a Schleich dinosaur.

“Have no fear, my little friend. I love all creatures of the wild and brake for raptors. And of course for…”

Teela blocks Adam's way.“…Teela?!”

“Adam, where have you been? I’ve been looking for you all over.”

“Let me guess, I missed a training session?”

“You did. As usual. And instead of reporting for combat training, you go cruising with the Road Ripper. You’re impossible and irresponsible. As usual.”

Teela talks to Adam on the Road Ripper.

“Listen, Teela, I’m sorry, okay? But your Dad asked me to take the Road Ripper for a spin to test the new gear coupling.”

“Liar. He asked Meckaneck.”

“Yes, but Meckaneck’s son has a flute recital today, so I offered to do it instead.”

“So you could shirk combat training? Of course.”

“Look around you, Teela. It’s a beautiful spring day. Much too nice to stay indoors. So why don’t we head back to the palace, grab some cinnamon rolls and a bottle of wine and have a picnic? We can even have a sparring session later. And maybe take a nap in the grass.”

“But only after you’ve finished your combat training.”

“Sigh. As you wish, my lady.”

***

Later:

Adam and Teela have a picnic in the wilderness.

“You were right, Adam. Just getting away from it all to have a picnic was a wonderful idea.”

“I only have good ideas.”

“Well, I have an even better idea. Let’s have a round of combat training.”

“Let’s not, okay? Unless it’s very close quarters combat, if you know what I mean?”

“Trust me, Adam. I will wear you out either way.”

“I can’t wait.”

***

Nearby:

Webstor is hanging in a tree. “What a beautiful day to hang out! Sunshine, green leaves, tasty flies. Yes, Snake Mountain and the Dark Hemisphere may be my home now, but sometimes I still miss the woods and the plains of the Light Hemisphere. But wait! What do I spy with my little eyes?”

Adam and Teela are having a picnic and making out.“That was nice, Adam. Kiss me again.”

“As you wish, my lady.”

SMOOCH!

Webstor is hanging in a birch tree.“Well, if that isn’t Prince Adam! And he’s making out with Captain Teela… again. If I capture them, Skeletor will be so pleased and then he’ll promote me. The cowardly Prince won’t be much of a challenge, but that Captain Teela is another matter. She’s a handful. And if I fail, Skeletor will punish me. So maybe I should call for reinforcements. Especially since it looks as if those two will be busy for a while.”

***

Will Adam and Teela’s picnic be rudely interrupted by Skeletor and his Evil Warriors? Will Adam be able to say the magic words and transform into He-Man in time?

You’ll have to wait for another installment for the answer, because a bunch of ants decided to interrupt my photo shooting, apparently mistaking my Masters of the Universe toys for something edible.

In the meantime, here is another outdoors Masters of the Universe photo.  I took my figures into the garden to recreate Errol McCarthy’s cardback artwork for the original 1982 release of He-Man.

Here’s the original:

Errol McCarthy's He-Man cardback artworkAnd here is my version:

He-Man, Duncan and Teela look out across the plains of Eternia.“Now that Skeletor is vanquished – for now – what shall we do next?”

“Return to the palace and prepare for his next attack. Because the evil forces of Skeletor never rest.”

“Talking of the palace, does anybody where Adam is? One moment he was here and then he was gone. What if he’s in trouble and needs our help?”

“I’m sure Adam is fine, Teela. He’ll turn up again. Meanwhile, I’ll have to take my leave. But rest assured that He-Man will always be there when he’s needed.”

***

That’s it for today, folks. I hope you enjoyed this Masters-of-the-Universe-Piece Theatre Toy Photo Story, because there will be more.

Disclaimer: I don’t own any of these characters, I just bought some toys, took photos of them and wrote little scenes to go with those photos. All characters are copyright and trademark their respective owners.

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Non-Fiction Spotlight: Hither Came Conan, edited by Bob Byrne, Bill Ward, Howard Andrew Jones and Jason M. Waltz

Nominations for the 2023 Hugo Awards closed April 30 and the finalists are expected to be announced later this month.

However, after the Hugos is before the next Hugos, so I’m continuing my Non-Fiction Spotlight project, where I interview the authors/editors of SFF-related non-fiction books that come out in 2023 and are eligible for the 2024 Hugo Awards. For more about the Non-Fiction Spotlight project, go here. To check out the spotlights I already posted, go here.

For more recommendations for SFF-related non-fiction, also check out this Facebook group set up by the always excellent Farah Mendlesohn, who is a champion (and author) of SFF-related non-fiction.

Today’s non-fiction spotlight is a collection of essays focussed on one of the most recognisable and influential characters of our genre, namely Robert E. Howard’s Conan. Have you ever found yourself arguing which Conan story is best or wondered whether someone else out there also loves that lesser known Conan story you love? Then Hither Came Conan, edited by Bob Byrne, Bill Ward, Howard Andrew Jones and Jason M. Waltz, is the book for you.

Therefore, I am thrilled to welcome Jason M. Waltz, one of the editors of Hither Came Conan, to my blog today:

Hither Came Conan, edited by Bob Byrne, Bill Ward, Jason M. Waltz and Howard Andrew Jones

Tell us about your book.

HITHER CAME CONAN is a compilation of two successful examinations of all of Robert E. Howard’s original Conan the Cimmerian stories (and one story fragment) with about 15 additional essays included. It is also the single most-inclusive repository of REH Conan story data to date. This alone makes this title invaluable; coupled with the almost 60 essays it makes this THE BOOK to shelve alongside your Wandering Star/DelRey Conan trilogy. The majority of essays (and opinions!) come from the Bob Byrne led ‘Hither Came Conan’ series hosted by Black Gate Magazine and the ‘Conan Re-Read’ of Bill Ward and Howard Andrew Jones in conversation on Howard’s blog. Data compiled for each story by Dierk Günther includes tidbits such as the probable age of both Conan and Howard, the location, the major characters, the word count, date and source of first publication, and the first recorded public reaction to be found. HITHER CAME CONAN is a wealth of all the information any reader of Conan could desire.

Tell us a little bit about yourself.

I am a proponent of heroic literature: I read, write, edit, publish, collect, speak, and preserve it. I’m also just a fellow who happened to lend a hand one day back in 2005 when a few small press people solicited help. Things led to other things, and in 2008 I was suddenly the micro publisher Rogue Blades Entertainment, publisher of all that is heroic, specifically heroic fantasy. Several well-regarded (though never as many as intended) anthologies–such as RETURN OF THE SWORD, RAGE OF THE BEHEMOTH, CROSSBONES & CROSSES, REACH FOR THE SKY–and the popular non-fiction how-to WRITING FANTASY HEROES later, Rogue Blades Foundation was established specifically to take on larger scale projects and titles, such as the award-winning REH CHANGED MY LIFE you featured in 2022.

What prompted you to write/edit this book?

HITHER CAME CONAN was a natural fit for the mission of Rogue Blades Foundation: Exploring Heroics! As a not-for-profit literary publisher of heroics, RBF puts explorations of the heroic into your hands and hearts through books that are well-read and not just on your shelves. We put heroes into print. With the almost-always on-going conversation of what truly is Sword & Sorcery and its foundations, Robert E. Howard and Conan naturally come to the center of attention. Bob Byrne had led a series at BLACK GATE MAGAZINE online in 2019 wherein he had Howard Conan scholarly types (somehow I made the cut!) randomly defend each original Conan story as the ‘Best’ of the lot. That initiated a long, on-and-off again conversation about putting the series into print between he, I, and John O’Neill (of BLACK GATE). When Bob won a REH Foundation award for the series, conversations heated and we came up with the idea of including the Howard Andrew Jones and Bill Ward re-read discussion Howard had hosted on his blog back in 2015 during which they closely examined each Howard Conan tale. Once Howard and Bill agreed, the train had a head of steam and was already powering down the tracks. I am a gent who enjoys adding special features to my books and as this book as it currently stood consisted of all previously released material, I worked out ways to add more value for the reader. I hit the jackpot when Dierk agreed to helm the research into each story and find those first public reactions. This then became the largest tome I have ever published and in addition, I believe it is beyond reasonable to claim it is THE Conan of Cimmeria reference title.

Why should SFF fans in general and Hugo voters in particular read this book?

HITHER CAME CONAN  covers ALL 21 Robert E. Howard original tales plus 1 story fragment with at least 2 essays of examination, many extra essays as further examinations of stories or additional aspects of the Conan Saga, and the single most inclusive story database of information such as important characters, age of Conan and Howard, setting and synopsis, word count, and first publication and reaction, and comes wrapped in a gorgeous Didier Normand cover that embraces and conveys the spirit of homage. THIS is the book you shelve alongside your Wandering Star/Del Rey Conan trilogy!

Do you have any cool facts or tidbits that you unearthed during your research, but that did not make it into the final book?

Ha, no! That’s why it’s so huge and heavy! Seriously, I added just about everything. Dierk’s work on tracking down the first recorded public reaction to each story was phenomenal and super exhilirating. When I followed his lead and started reading all the letters in Weird Tales’ ‘The Eyrie’ I was hard pressed not to keep adding reactions. So that is about all that didn’t make it into the final version: EVERY public reaction we could find. I don’t think we could have lifted HCC if I had added them all. I did choose to add a closing Memorium section though, wherein I gathered all the public responses to Howard’s suicide and the then-end of Conan’s story.

SFF-related non-fiction is somewhat sidelined by the big genre awards, since the Nebulas have no non-fiction category and the Best Related Work Hugo category has become something of a grab bag of anything that doesn’t fit elsewhere. So why do you think SFF-related non-fiction is important?

Oh, we can learn so much through non-fiction examinations! HITHER CAME CONAN holds far more value than just talking about the character of Conan. This is actually a very good exploration of the writing of one of American’s most influential fantastical creators of all time! In-depth dicussions of writing styles, purposes, plots, world-building, character creation, market writing…other than perhaps writing habits, there really is no aspect of speculative, heroic writing left unturned. Anyone dreaming of, trying to write, anything action-packed could definitely improve their chances of delivering popular heroic adventure readers want by picking up this book. I will close by repeating what I said before: the analysis of creativity, of motivation, and of legacy should be a regular genre consideration.

Are there any other great SFF-related non-fiction works or indeed anything else (books, stories, essays, writers, magazines, films, TV shows, etc…) you’d like to recommend?

There is lots of work going on in the pulp and heroic fantastical non-fiction arena. Will Oliver is working on his own Robert E. Howard biography; there is a recent Clark Ashton Smith documentary worth viewing; Jason Ray Carney is the force behind numerous non-fiction and fiction projects, including his recent TED Talk on Sword & Sorcery; the Glenn Lord Symposium at the annual Howard Days in Cross Plains, Texas, always has scholarly presentations and readings. There is a lot to find out there if people are interested in seeking it out.

Where can people buy your book?

HITHER CAME CONAN is available on Amazon at dp/B0BZFJ4CHN – the US link https://www.amazon.com/dp/B0BZFJ4CHN and German https://www.amazon.de/dp/B0BZFJ4CHN

Where can people find you?

Rogue Blades is found at https://rogue-blades.com/ and https://www.facebook.com/RogueBladesFoundation

Thank you, Jason, for stopping by and answering my questions. Check out Hither Came Conan, if you’re at all interested in Conan of the Cimmeria, Robert E. Howard and the history of sword and sorcery. And if you haven’t picked them up already, get those Del Rey Conan collections, too, because they are currently the best and most affordable way to experience Conan.

About Hither Came Conan:

HITHER CAME CONAN is a collection of essays examining each of the 21 original Conan stories plus 1 of the story fragments from the Father of Sword & Sorcery, Robert E. Howard!

This title collects Bob Byrne’s Award-winning series ‘Hither Came Conan’ hosted by John O’Neill at www.blackgate.com alongside the famous Bill Ward and Howard Andrew Jones ‘Conan Re-read’ discussion hosted by Howard at www.howardandrewjones.com. Numerous extra essays appear as further examinations of stories or additional aspects of the Conan Saga. Also includes the GREATEST EVER compilation of story data such as important characters, age of Conan and Howard, setting and synopsis, word count, and first publication and reaction! ALL WRAPPED in a gorgeous Didier Normand cover that embraces and conveys the spirit of homage.

Contributors include: Fred Adams, Jr., John Bullard, Bob Byrne, Jason Ray Carney, Vincent Darlage, Bobby Derie, Woelf Dietrich, Jason Durall, Gabe Dybing, Mark Finn, Dierk Günther, David Hardy, Ryan Harvey, John C. Hocking, Morgan Holmes, Matthew John, Howard Andrew Jones, Patrice Louinet, James C. McGlothlin, Brian Murphy, Scott Oden, James Reasoner, Deuce Richardson, Jeffrey Shanks, Steven H Silver, David C. Smith, S.M. Stirling, Keith J. Taylor, G.W. Thomas, Fletcher A. Vredenburgh, Jason M Waltz, Bill Ward, Clint Werner, and Keith West.

THE book you shelve alongside your Wandering Star/Del Rey Conan trilogy!

About Jason M. Waltz:

Jason M Waltz is THE RogueBlade, owner/editor at Rogue Blades Entertainment, a high octane adventure publisher sharing heroic literature, and founder/publisher at Rogue Blades Foundation, a literary publisher exploring heroics. As such, he gets to produce the wonderful titles from RBE & RBF listed here. In addition, you’ll find a few adventures of his own, mostly within the speculative and grand adventure genres.

***

Are you publishing a work of SFF-related longform non-fiction in 2023 and want it featured? Contact me or leave a comment.

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First Monday Free Fiction: “The Tear of Chronos”

The Tear of Chronos by Richard Blakemore and Cora Buhlert

Welcome to the May 2023 edition of First Monday Free Fiction. Though it’s actually the second Monday of the month.

To recap, inspired by Kristine Kathryn Rusch who posts a free short story every week on her blog, I’ll post a free story on the first Monday of every month. At the end of the month, I’ll take the story down and post another.

Unless you’ve been living under a rock, you’ll probably know that the coronation of King Charles III took place on Saturday. Therefore, this month’s free story “The Tear of Chronos” is a story about a coronation, namely that of Kurval, King of Azakoria, who crowned himself after killing his villainous predecessor in true sword and sorcery fashion, but is still required to go through the motions and is about as thrilled about the entire ceremony as King Charles looked at times.

The lengthy coronation ceremony requires Kurval to consult the oracle of the goddess Ashvarya and gain a glimpse of the future by gazing into a magical jewel called the Tear of Chronos. However, he gets far more than he bargained, when he enters the inner sanctum only to find himself not just with a statue of the goddess, but with a woman of flesh and blood who is the spitting image of the goddess and wears the Tear of Chronos around her neck.

So follow Kurval, as he meets a woman who may or may not be a goddess, uncovers a conspiracy and gazes into…

The Tear of Chronos

“When King Kurval took the throne of Azakoria in the Year of the Forked Serpent, he consulted the oracle of Ashvarya, as is custom for the newly crowned kings of Azakoria. Just what precisely the oracle revealed to him is not known, though King Kurval would go on to have a long and glorious reign, bringing peace, justice and prosperity to Azakoria…”

From the Chronicles of Azakoria by Ragur, Count Falgune

I. The Coronation

It was the day of his coronation, but Kurval, King of Azakoria, wanted nothing more than to retire to the royal apartments with a jug of wine and a leg of lamb and be left alone. But instead, he had to spend the entire day either on his feet or in the saddle — and all in full armour, too.

As far as Kurval was concerned, the whole ceremony was superfluous anyway. He had won the crown fair and square — by chopping off the head of the previous King Orkol and placing the bloody crown on his own head. As long as no one challenged him — and no one dared — he was king, ceremony or no ceremony.

However, his vizier Izgomir, whom Kurval had inherited from Orkol along with the crown, had insisted that a formal coronation was absolutely necessary to keep up appearances and pacify the nobles, the people, the priests and the gods. And since Kurval did not actually know a lot about being king, he’d gone along with it.

And so he had gotten up at the crack of dawn and dressed in his rich, but impractical royal robes. He had dropped to his knees in the temple of Odulf, God of the Sun and Lord of all lesser Gods, to receive the crown — the very crown he himself had taken from Orkol’s severed head not quite two weeks before — from the hands of the high priest.

Next, he had overseen a seemingly endless military parade, as every single regiment in the Azakorian forces plus various mercenary companies marched past Kurval to salute him.

First came the elite Blood Guards in their splendid red armour, led by the young Lord Vangenard. Vangenard had been involved in the uprising against Orkol for reasons of his own and had been the first to cry out “All hail King Kurval,” once Kurval had placed the bloody crown on his own head. In return, Kurval had given him command of the Blood Guards after Vangenard had slain his predecessor Vitericus.

Izgomir did not trust Vangenard. He said that a man who had turned first against Orkol and then against his employers would eventually turn against Kurval as well. And who knew, maybe he was right? However, Kurval liked the young Lord and for now Vangenard seemed to be on his side.

Once the Blood Guards had ridden past, came the not quite so elite Silver Sentinels in their shimmering silver armour. Their commander was one Baron Kelgurd. Kurval did not know the man well. However, both Izgomir and Vangenard had recommended him as a dependable man who was no friend of Orkol’s. And since those two almost never agreed on anything, Kurval figured he should heed their advice the one time they did.

Next came the Ruthless Swords, the mercenary company that Kurval had commanded before the crown of Azakoria had landed at his feet. He smiled and waved, this time with genuine enthusiasm. These were his people, after all, and he knew every single man and woman marching past him in the plain, functional armour of the professional mercenary. He might not be certain about the loyalties of Izgomir or Vangenard or Kelgurd, but he was certain about the Ruthless Swords.

Tsabo, commander of the Ruthless Swords, rode ahead, splendid in his gilded armour that gleamed against his dark skin. Tsabo was probably the only true friend Kurval had in the world. The armour had been a gift, together with the offer to become general of the Azakorian army. Kurval had hoped for an enthusiastic acceptance, but so far all that Tsabo had said was that he needed to discuss the matter with his wife.

Kurval decided to take the fact that Tsabo had chosen to wear the splendid plate gilded armour rather than his ordinary plain chainmail as a positive sign. Because he did not want to deal with the intricacies of kinghood, not to mention a palace full of backstabbing nobles who despised him, without his best friend by his side.

More soldiers marched past. Archers, pikemen and the alchemists with their deadly but cumbersome flash powder cannons. Soldier after soldier, a seemingly endless stream of them. All the while, Kurval was in full armour and seated upon his faithful stallion Shadowmane. The day was unpleasantly hot day and he found himself desperately needing to pee, but found that he could not move from his post until after the last infantryman had filed past.

Even after the parade, Kurval barely had time to relieve himself, before he had to sit on the obsidian throne to receive the oaths of fealty of the various nobles, most of whom hated him and half of whom wanted to kill him and sit on the throne themselves. To make matters even worse, the obsidian thrones was infernally uncomfortable and so his back and arse were sore, when he could finally rise.

And still there was no rest for Kurval. For now it was time to ride through the streets of the capital and gracefully receive the cheers and homages of the people of Azakoria who cheered and threw rose petals onto his path, which struck him as very wasteful, though at least Shadowmane appreciated having some petals to nibble on. Though at least the cheers of the people were genuine — unlike the smiles and bows of the nobles — though they were cheering less for Kurval than for the demise of his hated predecessor Orkol.

Once Kurval and his retinue had reached the temple district, there followed a tour of every single temple in Amalgonda to pay his respects to Gods that were not his in rituals that were meaningless to him.

“What am I even doing here?” Kurval asked himself, not for the first time.

Many years ago, in his homeland Temirzhan across the Great Sea, the Dark Gods that dwell on the Plains of Shadow had prophesied that one day, Kurval would be King on the far side of the great sea. So Kurval had travelled across those endless waves, not so much to chase a glorious destiny, but mostly because there was no place in his homeland anymore for a captain of the Royal Guard who had gotten his king killed.

Kurval had spent many years wandering the lands on the far side of the sea, selling his brawn and his sword to whoever needed his services. He’d started out as a lone sellsword and eventually rose to commander of a mercenary company in the employ of the King of Azakoria, the glorious destiny that the Dark Gods had prophesied long forgotten. Most likely, the Dark Gods had lied anyway, cause that’s what they did.

When some of the Azakorian nobles approached Kurval to enlist him and the Ruthless Swords in their uprising against King Orkol, Kurval had accepted without hesitation. After all, Orkol was perpetually late in paying, so Kurval felt he owed him no loyalty. Not to mention that the plotting nobles promised to pay Kurval and his people better than Orkol ever had.

Finally, Kurval had seen what Orkol did to the people of Azakoria, how he abused those he was responsible for. He’d seen how Orkol bled a once wealthy country dry. He’d seen protests and uprisings brutally squashed, citizens randomly arrested, imprisoned, tortured, executed. He’d seen men slaughtered and women ravished, all in Orkol’s name. Worse, Kurval and his people had even been ordered to take part in Orkol’s atrocities.

Unbidden, an image rose in his mind. Bodies swaying in the wind outside the walls of the rebellious city of Fredegond. Young women in plain white gowns with nooses round their necks, gently crying into their execution hoods, bound hands clutched in prayer, as they were led to the gallows.

That had been the last straw. Kurval had walked away in disgust and thrown in his lot with the plotting nobles. After all, Count Walbordo, leader of the plotters, could hardly be a worse king then Orkol. At the very least, he paid better.

He’d had no illusions why Walbordo and the other plotting nobles wanted his support. Their own troops weren’t sufficient to take on Orkol’s, so they needed Kurval and his men. The mercenaries were to be used as shock troops, to break down resistance, to fight and bleed and die, so Walbordo’s own men would be spared.

Kurval knew fully well that he and his people were expected to die fighting Orkol’s troops, that they were never expected to collect the generous payment they’d been promised. He also knew that they were better than that, better fighters, better trained. He knew they would prevail. And they did.

Once Kurval and his people fought their way to the throne room, he’d finally found himself face to face with Orkol himself. Kurval had treated the swine better than he deserved and gave Orkol the chance to draw his sword. But Orkol was not much of a fighter and so Kurval chopped his head off. The crown, still sticky with Orkol’s blood, rolled across the marble floor and landed in front of Kurval’s feet. And suddenly he heard the voice of the Dark Gods in his mind again, heard their prophecy, their mocking words. And he bent down to pick up the crown and put it on his own head.

And now that he was king, now that he had finally fulfilled the glorious destiny that he’d been foretold all those years ago, Kurval realised that he had no idea what came next. The Dark Gods had certainly never said anything about that and Kurval himself knew nothing about being a king.

***

This story was available for free on this blog for one month only, but you can still read it in The Tear of Chronos. And if you click on the First Monday Free Fiction tag, you can read this month’s free story.

 

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The Mandalorian and Baby Grogu Celebrate “The Return”

Welcome to the somewhta belated final instalment of my episode by episode reviews of season three of The Mandalorian. Previous installments may be found here.

Warning! Spoilers behind the cut! Continue reading

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An Open Letter to the 2023 Hugo Finalists, Whoever They May Be

This is an updated repost of this post from 2021 and this one from last year, which a lot of people found helpful.

ETA: This post is now also available in Chinese on Weibo, thanks to MrOctopus233.

Nominations for the 2023 Hugo Awards closed yesterday and the finalists are expected to be announced sometime in May.

Right now, no one except for possibly the Hugo administrators knows who those finalists will be. And yes, I deliberately posted this so shortly after the Hugo nominations closed that the e-mails won’t have gone out yet and no one knows who the finalists are.

However, sometime in the next two weeks or so, some of you will receive an e-mail from the Chengdu Worldcon, informing you that you are a finalist for the 2023 Hugo Award and asking you whether you want to accept the nomination. Some of you will have received such e-mails before, for others it will be the first time.

But whether it’s your first or your twentieth nomination, congratulations! That’s awesome.

As a first time recipient of such an e-mail in 2020 as well as a Hugo finalist in 2021 and Hugo winner in 2022, here are a few things I’ve learned:

  1. The e-mail may not look like you think it will. When I got the e-mail from CoNZealand in 2020, the subject line was “CoNZealand Hugo Awards Confidential”. I was exhausted that day and waiting for two important e-mails, so I scanned right past that subject line, because I assumed it was the convention newsletter. I only opened the mail, because none of the two important e-mails had come yet, so I thought I might as well check out the CoNZealand e-mail while I was waiting. Good thing that I did.
  2. If you receive an e-mail from the Chengdu Worldcon, please reply as soon as you can whether you accept the nomination or not. If there are questions with regard to eligibility, answer them as soon as possible. The Hugo administrator and their team work very hard, so don’t make their job any harder than it has to be.
  3. The Chengdu team will also ask you to keep quiet about your nomination until the official announcement. Please don’t violate this, because you don’t want to steal Chengdu’s thunder!
  4. The period between the time when the finalists are notified and when the Hugo finalists are officially announced can be weird, because while you know that you’re a finalist, almost nobody else does. I blogged a bit about my experiences in 2020 here. Basically, I kept having the niggling fear that there had been some terrible mistake and that I wasn’t a finalist after all or that I only was a finalist because all twenty people who would have been ahead of me had withdrawn. From talking to other first time finalists, I learned that I wasn’t alone in this. And while I can’t guarantee that terrible mistakes won’t happen, the chance that the wrong person is notified about being a Hugo finalist is extremely small. So relax. You really are a Hugo finalist, even if nobody else knows it yet.
  5. Do something nice for yourself to celebrate. Have an ice cream, a nice box of chocolates, a glass of champagne, a good beer, a bubble bath, whatever it is that makes you happy. You’re a Hugo finalist, so you damn well deserve to celebrate in private.
  6. You can tell a few people you trust about your nomination as long as you know they won’t blab it all over the internet. Before the official announcement, a handful of people knew I was a Hugo finalist. These include my parents (whose reaction was, “That’s nice,” before turning back to watch a rerun of Midsomer Murders), some folks from Galactic Journey and others in the SFF community, who knew not to say anything before the official announcement, as well as my accountant (because I asked her if buying an evening gown for the Hugo ceremony was tax-deductible – it’s not BTW) and the guy who repaired my patio, because he just happened to be there, when I got the e-mail. Neither the accountant nor the patio guy are SFF fans, so chances of a leak were zero. They both also probably thought I was quite mad.
  7. If you are nominated in a fiction category – i.e. short story, novelette, novella, novel, Series, Lodestar or Astounding – or nominated for a non-fiction book or essay in Best Related Work, you should let your editor and/or publisher know that you’re a finalist. They work in the industry and therefore know not to say anything and they may want to prepare some kind of congratulatory tweet, post or other promotion effort. Finally, editors are also thrilled when one of their authors is nominated.
  8. One thing I did not do is tell people about my nomination who might be up in the same category. Because I didn’t know who else was nominated (you don’t before the official announcement) and didn’t want anybody to feel disappointed, because I was a finalist and they were not.
  9. Even if you can’t publicly talk about your Hugo nomination just yet, there are still a few things you can do in the meantime. For example, you can update your bio to mention that you’re a Hugo finalist or write a bio, if you don’t have one yet. Important: Don’t upload your updated bio anywhere until the official announcement has been made! In fact, I spent a chunk of the evening after the Hugo finalists had been announced updating my bio everywhere it appears.
  10. In fact – and this is important – don’t upload anything that mentions your Hugo nomination anywhere on the internet, until the official announcement has been made. Even if you set a Tweet or blogpost to go live after the announcement has been made, don’t upload it yet. Because mistakes happen, you accidentally hit “publish” rather than “schedule” or a post goes live too early. I had my celebratory blogpost ready to go in Word, but I only uploaded it with links and a few comments added once the announcement had been made.
  11. Another thing you can do in the meantime is prepare a media kit, if you haven’t got one already. You can see mine here and there are also plenty of pages around the web that tell you what a media kit is supposed to contain. Important: Get permission to use any photos that you did not take yourself.
  12. Another thing you can do is write a press release about your Hugo nomination. It doesn’t matter which category you’re nominated in, whether it’s Best Novel or a fan category. Write a press release anyway. There are plenty of places around the web which tell you how to write a press release. It varies from country to country, so make sure you get the correct format for your country. My press releases from 2020, 2o21 and 2022 (in German) are here. Then make a list of the contact info for the relevant newspapers, radio stations and other media outlets in your region or country. Once the nominations have been announced, send your press release as well as the link to your media kit to those media outlets. The press release linked above netted me two in-depth profiles and a bonus article in two different newspapers in 2020 and two more in-depth profiles in 2021 as well as an article and an interview in 2022, which is much more than I’d hoped for.
  13. Consider whether you want to attend Worldcon and the ceremony. And yes, I know it’s difficult, because of covid  and because conditions and restrictions are very different in different parts of the world. For Chengdu, high travel costs and difficulties getting a visa may also be a problem for many. Nonetheless, get a Worldcon membership, if you haven’t got one already. Like most recent Worldcons, Chengdu offers a reduced rate for people attending their first ever Worldcon. You can also start looking for flights, hotels, etc…. If you need to apply for a visa, do so now. If money is an issue, as it’s for many of us, think about crowdfunding your Worldcon trip, as several finalists have done in recent years. However, don’t start your crowdfunding campaign, until after the finalists have been announced.
  14. If you want to participate in programming, contact Chengdu, since I can’t find a program participation form on their website. Do this as early as possible, so the programming team doesn’t have to find suitable programming for you at the last minute.
  15. Finally, start thinking about the Hugo voter packet. If you need to get permission to include certain texts or images, contact the relevant people.

Finally, here are a few observations regarding what happens after the Hugo finalists are announced:

  1. A lot of people will congratulate you. These will be people you expect – friends, peers, etc… – but also people you don’t expect. After the newspaper articles mentioned above came out, I suddenly got congratulations from translation customers, various relatives, neighbours, former classmates, my plumber and my Dad’s diabetes doctor among others. Enjoy the experience, thank everybody and don’t forget to congratulate your fellow finalists.
  2. Some people will also not congratulate you and again, some of these will be people you don’t expect. There are several reasons why someone might not congratulate you and most of them are not malicious. For example, some people might simply not have seen the news yet. Or they may not understand the significance, since not everybody is plugged into the SFF community and knows how important the Hugos are. Of course, there will also be a few people who think that you don’t deserve your nomination. Ignore them!
  3. Your fellow Hugo finalists are not your rivals, they are your peers. You’ll probably know some of them already and if not, you’ll quickly get to know them. And yes, only one of you will get to take home the rocket in the end, but all six of you are amazing and in a way, you’re all winners. This also applies across categories. I met a lot of great people in the SFF community and even made new friends, just because we were on the Hugo ballot in the same year.
  4. In general, there is a sense of community to siblinghood among Hugo finalists. Whether you’re a bestselling author or a first-time finalist in a fan category, you’re all in this together. There is usually a private group for Hugo finalists to chat, ask questions, share gripes, post photos of Hugo gowns, tiaras and pets, etc…
  5. If you’re not part of the Worldcon SFF community and don’t know anybody else on the ballot, don’t worry! You’ll get to know the others soon enough and pretty much everybody in this community is lovely and very welcoming. If you’re a repeat finalist, reach out to the first-timers to make them welcome. This year, we will likely see at least some Chinese finalists, so please try to reach out to them as well.
  6. As a Hugo finalist, you will get plenty of e-mails from Chengdu about anything from the Hugo voter packet via the program book to the ceremony itself. Pay attention to those e-mails, send any information requested in time and check your spam folder. You don’t accidentally want to miss something important.
  7. Once the Hugo finalists have been announced, there will be people who have opinions about the ballot. Most will be positive or at least fair – I always try to be fair in my own Hugo and Nebula finalist commentaries, even if I don’t care for some of the finalists – but some will be not. There are always people who think that your category or the entire ballot is too male, not male enough, too white, not white enough, too queer, not queer enough, too American, not American enough, too bestselling, not bestselling enough – you get the idea. There will be people who complain that only people no one knows got nominated or that only the usual suspects got nominated – and multiple bestsellers and Hugo winners can be “people no one knows”, while first or second time finalists can be “the usual suspects”. Some of these people won’t even wait 24 hours after the Hugo finalists have been announced to air their opinions – at least they didn’t in 2021. Some will even tag you, just to make sure you don’t miss their very important opinions. The best thing to do is ignore those people.
  8. A handful of people seem to have made it their life’s mission to mock and harass Hugo finalists. Ignore them and block them on social media and don’t let them get you down. Most of them are just jealous.
  9. There will be drama. So far, I’ve never seen a Worldcon that did not have at least some degree of drama and I have been a Worldcon member since 2014. Often, this drama affects the Hugo finalists in some way. Sometimes, the Hugo finalists even band together and try to resolve this drama. How you engages with whatever this year’s drama will be is up to you. However, don’t let it get you down. Drama is normal. At this point, I would be more surprised at a Worldcon without drama than at one which has some degree of drama. And usually, everybody winds up having a great time anyway.

So what happens, if you win?

  1. Basically more of the same. Lots of people will congratulate you, most of them with genuine enthusiasm, a few very grudgingly (one in my case, not a fellow finalist) and some not at all.
  2. Make sure to have your acceptance speech ready before the ceremony with the names of all the people you want to thank. Check with people how their names are pronounced, if you aren’t sure. Always have a printed paper copy of your speech, because phones can and do break down, run out of juice, fail to have reception or get overloaded with messages at the crucial moment.
  3. After you win a Hugo, you should prepare another press release and send it to all the local, regional and national media you can think of. I actually wrote mine at six AM in the morning after the winners had been announced.
  4. Don’t forget to update your bio wherever it appears. That includes anthologies or magazines where you’ve been accepted, but which aren’t out yet.
  5. Your “market value” (for lack of a better word) does go up with your first nomination, goes up even further with your second and even more, if you win. For example, I got a story acceptance in the mail literally the day after I won. Of course, the story might have been accepted anyway, but the timing was still interesting. I also gained a bunch of new Twitter followers with every nomination and winning a Hugo pushed me over the 3000 follower mark for the first time. You’ll also notice that your name will start to show up on covers of anthologies or magazines, sometimes with “Hugo winner” attached. However, you’ll still get rejections as well, because even Hugo winners get rejected and that’s perfectly normal.
  6. You’ll also find that you have acquired more clout in the SFF community, something which also happens once you get nominated. Use what influence you have in the SFF community for good, to uplift and support others.
  7. One thing I noticed is that I would sometimes find myself thinking, “Wait a minute, I have a Hugo and [insert name of vastly more important genre person here] doesn’t? How on Earth did that happen?”
  8. That said, certain people will still call you a nobody who barely sells any books or a fake fan or whatever. This literally happened to me approx. a month after I won the Hugo, when I got into an argument about a TV show with the adherents of one of those “We hate everything” outrage clickbait YouTube channels. I pointed out that I really enjoyed the object of their rage du jour and so did many others and was called “not a real fan” in response. When I said, “Dude, I’m the 2022 Hugo winner for Best Fan Writer”, I was told that awards didn’t matter, that I was clearly not a real fan, because I didn’t hate the thing. Best just ignore those people and privately think, “Guess who has a shiny rocket? Hint, it’s not you.”

Finally – and this is the most important point – enjoy your experience! You’re a Hugo finalist, i.e. your peers consider you and your work one of the six best in your respective category. That’s amazing, so celebrate!

If anybody wants to translate this into Chinese for the benefit of Chinese Hugo finalists, please feel free to do so.

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Masters-of-the-Universe-Piece Theatre: “The Story of Keldor (In His Own Words)”

It’s time for another Masters-of-the-Universe-Piece Theatre photo story. The name “Masters-of-the-Universe-Piece Theatre” was coined by Kevin Beckett at the Whetstone Discord server.

This story was inspired by getting a new toy in the mail, namely the Masters of the Universe Origins He-Skeletor figure. So who is He-Skeletor? Well, best let him tell his story himself.

Keldor stand in front of Castle Grayskull

This is not actually the Keldor who becomes He-Skeletor, but the evil Keldor from the 2002 cartoon. However, Keldor figures are rather rare, so he will have to do.

“I am Keldor, Prince of Eternia and defender of the secrets of Castle Grayskull…”

Keldor and Panthor in front of Castle Grayskull

“…and this is Panthor, my fearless friend.”

“Meow.”

“And yes, I know you think you know how this story goes, but trust me, you don’t.”

Keldor holds the power sword aloft

“Fabulous secret powers were revealed to me the day I held aloft my magic sword and said…”

Keldor is transforming

“By the Power of Grayskull…”

Keldor has transformed into He-Skeletor

“…I can have the Power.”

He-Skeletor on Panthor in front of Castle Grayskull

Panthor is on loan from regular Skeletor, but I will eventually get a second one for Keldor.

“Panthor became the mighty Battle Panther…”

ROAR!

He-Skeletor in front of Castle Grayskull“…and I became He-Skeletor, the most powerful Keldor in the Multiverse.”

Lyn and Red Beast in front of Castle Grayskull“Only two others share the secret. Our friends Lyn and Red Beast.”

King Randor is on his throne, flanked by two guards

Yup, King Randor is Keldor’s half-brother, though they both prefer not to talk about that.

“You didn’t think I’d tell my shitty brother, did you?”

King Randor berates Keldor, who walks away with Lyn and Red Beast.

“Don’t think that I don’t know that it was you who sprayed ‘King Randork is a poopy head’ on the palace wall, Keldor. You’re a disappointment and a disgrace to the throne. And now get out of my sight and take that mangy Beast-Man and that useless sorceress Lyn along!”

“See what I mean? That’s my brother Randy – pardon, King Randor. He’s an idiot in every universe I visited – and I visited a lot of them. Still, he’s my brother and I love him.”

Anti-Eternia He-Man in front of Castle Grayskull

In the audio dramas and comics, Anti-Eternia He-Man has all of his usual companions – in the same black and red colour scheme and also very evil. However, Mattel only ever made Anti-Eternia He-Man, so you have to imagine his evil forces.

“Together we defend the Multiverse from the Evil Forces of Anti-Eternia He-Man. Otherwise known as my nephew, Prince Adam.”

He-Skeletor fights Anti-Eternia He-Man in front of Castle Grayskull

“Surrender or die, Uncle Keldor. All the Power in the Multiverse shall be mine.”

“That’s He-Skeletor to you, Adam.”

“That’s a terrible name.”

“Says the guy who calls himself Anti-Eternia He-Man.”

Skeletor in front of Castle Grayskull

“Oh yes, and my friends and I also defend Castle Grayskull from this guy. Who’s me, sort of, but from a different universe and evil. Oh yes, and he got his face burned off, because he tried to throw acid at our brother Randor and it backfired on himself. So yeah, he’s an arsehole and an idiot.”

He-Skeletor fights Skeletor in front of Castle Grayskull

“Arsehole? Idiot? Watch your mouth, boy. It’s you who’s a disgrace to our name, weakling.”

“I may be a weakling, Skeletor, but you’re the disgrace. All of you. Or do you think I like having to apologise for what YOU did to every single He-Man I meet.”

“You should be helping me to conquer the Multiverse and Grayskull. But instead, you… you cavort about with Lyn and paint pictures and rescue He-Men. Honestly, I have no idea what’s wrong with you.”

“Like I said, he’s an arsehole. They’re all arseholes, every other Keldor in the Multiverse.”

He-Skeletor surrounded by various other Skeletors.

A gathering of Skeletors from around the Multiverse, from left to right: Keldor, He-Skeletor, Skelegod from Masters of the Universe Revelation, regular Skeletor on Panthor, 200X Skeletor and Snake Armour Skeletor. Yes, I guess I have a Skeletor problem.

“The name is Skeletor, you blistering boob! And you are a loser, a weakling, a shame, a disgrace.”

“We should just kill him, comrades.”

“Yes, let’s kill the weakling.”

GRRR!

“See what I mean? I’ve always been my own worst enemy.”

He-Skeletor stands in front of Castle Grayskull, surrounded by six different versions of He-Man.

From left to right, we have Snake Armour He-Man, Flying Fists He-Man, He-Skeletor, Savage He-Man, regular He-Man on Battle Cat, the 200X He-Man, Pince Adam and Anti-Eternia He-Man sneaking up on them all from behind. Yes, I think I might have a He-Man problem as well.

“Finally, I’m also sworn to protect all the other He-Men in the Multiverse from my wayward nephew – and to persuade them to marry that Teela girl they’re all in love with. Sometimes, I think I’m truly cursed.”

He-Skeletor in front of Castle Grayskull

“So that’s who I am. Keldor, Prince, weakling, loser, disgrace and the last best hope that the Multiverse has to be saved from the rampage of Anti-Eternia He-Man. Which means we’re all doomed, I guess.”

***

So in short, He-Skeletor is Prince Keldor from another universe, where He-Man is evil and Keldor is not. The idea of an evil mirror universe version of He-Man is actually quite old and Anti-Eternia He-Man debuted in 1985 in episode 11 of the West German Masters of the Universe audio-drama series.

In the 1970s and 1980s, audio dramas aimed at children and teenagers and sold as cassette tapes were extremely popular in West Germany. These were very well made full cast audio dramas, complete with sound effects and some of Germany’s best voice actors (e.g. He-Man shared a voice – voice actor Norbert Langer – with Thomas Magnum and Inspector Barnaby from Midsumer Murders, which could be quite distracting). As a kid, I never really paid any attention to these audio dramas on cassette – they were just something that was there, something you popped into the tape recorder and played before bedtime or during long car trips. I also had no idea that other countries didn’t really have audio dramas aimed at kids the way (West) Germany did.

There was a huge variety of audio drama series, ranging from explicit kiddie fare featuring friendly elephants, bees, ghosts and witches via realistic tales about girls riding horses, boys playing football to kids solving mysteries all the way to science fiction, fantasy and horror. Some of them were based on licensed properties, e.g. I distinctly remember Star Wars audio dramas. There also were more than thirty Masters of the Universe audio dramas as well as a She-Ra spin-off series.

Legend has it that the head of the children’s audio drama department of the Europa production company took a stroll across the Nuremberg Toy Fair in 1982 or 1983 and saw the first run of Masters of the Universe figures on display at the Mattel booth. Intrigued, she went up to a Mattel representative and asked them about the figures, whether there was any tie-in media and whether they were interested in licensing the characters for audio dramas. Mattel said yes and so the (West) German Masters of the Universe audio dramas were born. The first few audio dramas deviated quite heavily from what passes for Masters of the Universe canon, because that canon hadn’t really been nailed down yet. After a few episodes, Mattel supplied Europa with their series bible and licensor kit and the audio dramas became more in line with the continuity of the Filmation cartoon, even though almost no one in Germany had seen those cartoons at the time. That said, the audio dramas were usually darker than the Filmation episodes.

As for Anti-Eternia He-Man, he debuted in episode 11, penned by science fiction and horror veteran author H.G. Francis and entitled simply “Anti-Eternia”. The episode is actually online and you can listen to it here. The plot is quite simple. Skeletor devises a new plan to conquer Eternia and opens a dimensional gate that brings Anti-Eternia He-Man, Man-at-Arms and (I think) Orko to Eternia to help Skeletor conquer Castle Grayskull. However, Anti-Eternia He-Man has other ideas and kicks Skeletor out of Snake Mountain and proceeds to conquer Eternia for himself, before our heroes stop him. It’s one of the more popular episodes of the series and probably introduced a lot of kids to the concept of parallel universes.

Since it was an audio drama, there were no visuals and no images of Anti-Eternia He-Man – just a description that his skin was jet black and that he had blood red eyes and blood red hair. He showed up in fan art and customs and eventually Mattel officially adopted him and turned him into a figure in various toylines, probably because Anti-Eternia He-Man is easy and cheap to make, since he’s basically He-Man in a different colour.

The original “Anti-Eternia” audio drama only featured the evil counterparts of He-Man, Man-at-Arms and Orko and never mentioned Skeletor and the Evil Warriors and what they were like in Anti-Eternia. Were they even more evil than the already very evil Anti-Eternia He-Man? Or were they actually the good guys?

That question would remain unanswered for more than thirty years, until the He-Man and the Masters of the Multiverse comic mini-series by Tim Seeley and Dan Fraga. That series brought all the different incarnations of He-Man from various media together by stating that the minicomics, the Filmation cartoon, the New Adventures of He-Man cartoon, the 2002 cartoon, the 1987 Masters of the Universe movie, the 2012 DC Comics run, the West German audio dramas of the 1980s, a He-Man videogame, etc… all take place in different universes, which is why they’re all slightly different from each other.

The series is kicked off by Anti-Eternia He-Man going on a rampage through the Multiverse to murder other versions of He-Man and steal their power swords, so he can rule supreme over the Multiverse. Eventually two surviving He-Men, the He-Man from the 1987 movie and a videogame He-Man use the cosmic key (a time, space and dimension hopping gadget from the 1987 movie) to enlist the help of the one person who might be able to stop Anti-Eternia He-Man, namely that universe’s version of Skeletor.

Movie Skeletor and He-Man fight.

Yes, I have the Skeletor and He-Man from the 1987 movie, though these are the larger Masterverse figures and not in scale with the others. The cosmic key gadget is standing next to Skeletor.

There’s only one problem. Anti-Eternia Keldor is no Skeletor. He’s something of a goofball, crap at magic and not a very good fighter – unlike the versions of Keldor we’ve seen in the 2002 cartoon and the recent CGI cartoon, who are already skilled swordsmen and sorcerers well before they become Skeletor. He also has a massive case of imposter syndrome and is terrified of falling to the dark side, especially once he meets his other evil selves.

The comic miniseries is delightful, though also very dark, because a lot of He-Men, Skeletors and other beloved characters die over the course of six issues. The series does a great job of bringing together the many different Masters of the Universe continuities. Keldor is an incredibly likeable protagonist, from the way he differentiates between the various He-Men he meets (e.g. movie He-Man is “looking down He-Man”, because he’s very tall and rather aloof, while Filmation He-Man is “annoyingly chipper He-Man”) to the moment he employs a bit of Skeletor-like ruthlessness on a He-Man who wants nothing to do with his quest by using the one weakness all He-Men share, the fact that they all have a soft spot for Teela, against him. And once Keldor realises what his role is in this story and that it’s not the part of the villain, once he holds aloft the sword and says the magic words, it’s a true “Hell, yeah!” moment.

Mattel made a Masters of the Universe Origins He-Skeletor figure as an online exclusive – probably because he’s fairly easy and cheap to make, since he’s basically He-Man in a different colour scheme. Though I hope they eventually make an untransformed good guy Keldor as well, because he looks quite different from the 200X bad guy Keldor they already made.

When my He-Skeletor toy was delivered and I wanted to take some photos of him, I thought, “Why don’t I do a version of the classic Filmation intro, only starring Keldor?” And that’s how this story came about.

That’s it for today, folks. I hope you enjoyed this Masters-of-the-Universe-Piece Theatre Toy Photo Story, because there will be more.

Keldor, He-Skeletor and Panthor raid a cookie platter

Bonus: Two Keldors and one Pathor raid the cookie platter.

Disclaimer: I don’t own any of these characters, I just bought some toys, took photos of them and wrote little scenes to go with those photos. All characters are copyright and trademark their respective owners.

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Non-Fiction Spotlight: Fight, Magic, Items: The History of Final Fantasy, Dragon Quest, and the Rise of Japanese RPGs in the West by Aidan Moher

Hugo season is upon us and nominations for the 2023 Hugo Awards will close on Sunday, so it’s time for another Non-Fiction Spotlight. For more about the Non-Fiction Spotlight project, go here. To check out the spotlights I already posted, go here.

For more recommendations for SFF-related non-fiction, also check out this Facebook group set up by the always excellent Farah Mendlesohn, who is a champion (and author) of SFF-related non-fiction.

Today’s Non-Fiction Spotlight is a book about video games, particularly SFF-related RPGs from Japan.

Therefore, I am thrilled to welcome Aidan Moher, author of Fight, Magic, Items: The History of Final Fantasy, Dragon Quest, and the Rise of Japanese RPGs in the West to my blog today.

Fight, Magic, Items by Aidan Moher

Tell us about your book.

Fight, Magic, Items: The History of Final Fantasy, Dragon Quest, and the Rise of Japanese RPGs in the West is a book about the history of Final Fantasy, Dragon Quest, and the rise of Japanese RPGs in the west.

Uh, I mean, the title tells you exactly what you’re gonna get inside. Haha. “Fight, Magic, Items” explores the early days of RPGs like Ultima and Wizardry, and how they inspired young Japanese creators like Hironobu Sakaguchi, Yuji Horii, and Rieko Kodama to create their own spin on the RPG genre with an emphasis on living room play on low-powered gaming consoles. It follows the genre through its niche popularity in the West during the 16-bit era, and its meteoric rise to superstardom thanks to Final Fantasy VII’s immense global success, and beyond to current day and the rise of indie JRPGs and the cultural exchange between Western and Japanese creators that’s lead to games like Final Fantasy XVI. It’s the story of Japanese RPGs, the people who made them, and the people who played them.

What the title doesn’t tell you is that it’s also a personal story about growing up during the genre’s golden age. Through the lens of my experiences, I examine the cultural and creative impact these games had on generations of young Canadians and Americans, and try to show the reader just how magical this time was for the people living through it.

With video games becoming more and more entwined with SFF culture—and specifically the Hugo Awards themselves, with the new “Best Video Game” category—it’s essential that we broaden our search for the stories that shed light on our genre, communities, histories, and creators from all angles. We live in an age where Hugo-nominated books and stories are as likely to be influenced by Hironobu Sakaguchi and Rieko Kodama as they are J.R.R. Tolkien and Ursula K. Le Guin, and a book like “Fight, Magic, Items” celebrates the broad, global idea of how creators across the world inspire each other constantly and across mediums.

Tell us a little bit about yourself.

I’ve been kicking the tires in the SFF fan community for over 15 years, since starting my blog A Dribble of Ink, which ended up winning a Hugo in 2014 for “Best Fanzine.” Since I closed it in 2015, I’ve shifted over to freelance writing for places like WIRED, Washington Post, Tor.com, Uncanny Magazine, Game Informer, and many other places. I love to tell stories about creative communities, and the people who give back to the fandoms and creations that inspire them. In the past, I’ve written about the surging popularity of video game “book clubs,” the ethos of pixel art, how Hayao Miyazaki uses magic to examine the loss of childhood innocence, and what it was like to localize Japanese RPGs in the late 90s.

What prompted you to write/edit this book?

I grew up in a house packed full of books, a voracious reader like both my parents, with a particular love for science fiction, and, eventually, fantasy. One day, my babysitter came over to look after me and my brothers for the evening. He’d usually bring a game with him—for us to play after my younger brothers were asleep—but instead of DOOM deathmatch, this time he pulled out a cart for my Super NES: Final Fantasy III. From that day, I fell head over heels for Japanese RPGs. They were like epic fantasy books I could play, and they started to influence me and my writing in the same way as the novels I devouring. From that point forward, my two loves were JRPGs and books, and… that just never changed. Fast forward a few decades, and I’d started to carve out a niche as a games journalist with this Kotaku feature on how there’s a whole generation of SFF writers like me who were shaped by Final Fantasy, Phantasy Star, and similar games. Recognizing that this crossover between audiences not only existed, but was basically a given for many young SFF writers, I started writing more about the genre, including a piece about Trials of Mana for Uncanny Magazine (a traditionally book-focused SFF semi-prozine that’s won about a million Hugos), and exploring the intersection between SFF fandom and JRPGs/gaming.

Then, one day, my agent Eric Smith—also a writer, also a big JRPG nerd—emailed me and said, “Hey, dude, when are you gonna do a JRPG book?” I rolled with it, we started pitching the book, and eventually it found a home with the amazing Running Press team. It started life as an essay collection—a mixture of reprints and new stuff—but eventually I realized there was more than enough there for a full-fledged book about about creative drive, cultural exchange, and the history of JRPGs.

Why should SFF fans in general and Hugo voters in particular read this book?

We’re at a point now where video games are decades old, and, no matter what anyone says or thinks, they’re not only here to stay, but they’re becoming an intrinsic part of our culture—just like books, just like film, just like music, art, sport, and so on. The Hugo Awards are doing their part to recognize this by creating the new “Best Video Game” category, which I think is wonderful because it helps illustrate that “SFF” isn’t just books. It’s every sort of creative medium that explores speculative storytelling, and JRPGs are full of that. These games trace a clear lineage back to Michael Moorcock and J.R.R. Tolkien, Dungeons & Dragons, and so forth—they’re a branch of the same tree already celebrated broadly by the SFF community and the Hugo Awards—and they’re inspiring new creators (of books, film, etc.) in turn. They’re deeply entwined with what we create and consume as a community, and “Fight, Magic, Items” tells a vital part of the story.

Do you have any cool facts or tidbits that you unearthed during your research, but that did not make it into the final book?

One of the book’s narrative pillars is the concept of cultural exchange—that JRPGs were initially inspired by western RPGs and TTRPGs, and eventually ended up inspiring future Western creators, in turn, to the point now where Western creators are creating RPGs in the style of Final Fantasy, and Final Fantasy’s Japanese creators are creating massively popular Western-style MMORPGs. What I didn’t realize before I set out to write the book—but which I explore with great enthusiasm within its pages—is how you can go back to the genre’s very origins to find the first examples of this cultural exchange.

For example, the first Final Fantasy game was programmed by a legendary Iranian American programmer named Nasir Gebelli. His work was so impressive, he got hired on to do Final Fantasy II and Final Fantasy III—but he had trouble extending his Japanese work visa. So, instead of hiring a new programmer based in Japane, the Square team moved development to Gebelli’s home of Sacramento, California, and finished the games there. From its very beginning, the Final Fantasy series has always been an exchange of Japanese and Western ideas, experiences, and philosophies.

SFF-related non-fiction is somewhat sidelined by the big genre awards, since the Nebulas have no non-fiction category and the Best Related Work Hugo category has become something of a grab bag of anything that doesn’t fit elsewhere. So why do you think SFF-related non-fiction is important?

As a non-fiction writer and reporter, I think it’s vital to seek out the compelling and inspiring stories of the people who create the things we love. The number one thing I wanted for “Fight, Magic, Items” was to tell a story about people—those who create games, and those who play them. Every piece of non-fiction is, at its heart, about people and what drives them. Why do we create what we create? Why do we love what we love? What does that tell us about the time we’re living in? How can stories of the past help us understand the present and the future? Without non-fiction, we lose sight of who we are as creators, fans, and communities.

Are there any other great SFF-related non-fiction works or indeed anything else (books, stories, essays, writers, magazines, films, TV shows, etc…) you’d like to recommend?

My friends Daniel Dockery and Mary Kenney wrote wonderful gaming books last year, also from Running Press. Dockery’s “Monster Kids” is a lot like “Fight, Magic, Items,” except instead of broadly looking at JRPG history, it focuses on the creation, success, and subsequent legacy of the Pokemon series. Kenney’s “Gamer Girls” looks at the role of women in game development through examinations of 20+ influential creators—it’s a joy to read.

Outside of books, I highly recommend various newsletters, like Matthew Claxton’s Unsettling Futures, Alasdair Stuart and Marguerite Kenner’s The Full Lid, Wendy Browne and Nola Pfau’s Women Write About Comics, and Jason Sanford’s Genre Grapevine. I’d also love to see Andrew Liptak’s Cosplay, Levar Burton Reads, and “Too Dystopian For Whom? A Continental Nigerian Writer’s Perspective” by Oghenechovwe Donald Ekpeki recognized with nominations. Any and all of these creators would look lovely on the “Best Fan Writer” ballot.

Where can people buy your book?

Anywhere you can buy books! Your favourite local bookstore, online at your vendor of choice, anywhere! For more information about “Fight, Magic, Items,” including excerpts, review blurbs, interviews, and more, you can also check out its official website.

Where can people find you?

Sigh. Twitter.

I also run a newsletter called Astrolabe (eligible for “Best Fanzine”!) where folks can sign up for free issues brimming with every geeky thing you can imagine: book reviews, gaming, writing, movies, etc. You name it, I write about it.

My award eligibility details (“Best Related Work” for “Fight, Magic, Items,” “Best Fanzine” for Astrolabe, and “Best Fan Writer” for me) and selected pieces for each category—along with more recommendations—can also be found on Astrolabe.

Thank you, Aidan, for stopping and answering my questions. Check out Fight, Magic, Items: The History of Final Fantasy, Dragon Quest, and the Rise of Japanese RPGs in the West, if you’ve ever played Final Fantasy, Dragon Quest, Pokémon or any other Japanese RPGs or are interested in the history of video games in general.

About Fight, Magic, Items: The History of Final Fantasy, Dragon Quest, and the Rise of Japanese RPGs in the West:

Press start and discover the fascinating history of JRPGs.

The Japanese roleplaying game is a special genre that includes some of the most creative, influential, and beloved video games and series of all time. In Fight, Magic, Items, Aidan Moher guides you through the origin and evolution of the genre, beginning with the two games that started it all: Final Fantasy and Dragon Quest. Moher weaves in firsthand interviews and behind-the-scenes tales into a unique and entertaining tribute to a genre and games that inspired an industry and continues to capture the imagination of generations of fans including:

  • Chrono Trigger
  • Phantasy Star
  • Earthbound
  • Pokémon
  • Kingdom Hearts
  • NieR
  • Fire Emblem
  • Persona
  • Tales of…
  • Suikoden
  • Lunar
  • and more.

About Aidan Moher:

Aidan Moher (he/him) is a Hugo award-winning writer and editor who has written about almost every niche facet of geek culture you can think of from Terry Brooks to Dungeons & Dragons. And whether he’s penning wildly read essays on Lunar: Silver Star Story, the undeniable lasting power of Chrono Trigger (the best RPG ever made), or the forgotten history of Magic: the Gathering, he manages to infuse deep, personal, endearing hooks into every story he tells. He’s written for outlets like Wired, Kotaku, Electronic Gaming Monthly, Uncanny Magazine, Fanbyte, Tor.com, and more.

***

Did you publish a work of SFF-related longform non-fiction in 2022 (and can answer my questions in three days) or are you publishing one in 2023 and want it featured? Contact me or leave a comment.

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