The Fall of the House of Strock

Back in April I covered the initial (original) books to come out from the Warhammer Horror line from the Black Library – a new imprint dedicated to the spoopier side of the various Warhammer settings – in the form of a short story collection and a triptych of novellas. (The early line was also filled out by a welcome reprint of Kim Newman/Jack Yeovil’s stories of the vampire Genevieve.)

Evidently, this initial experiment has had positive results. Not only have Black Library embarked on a somewhat more ambitious second wave of Warhammer Horror releases, but they’ve also announced Warhammer Crime – an imprint dedicated to stories set in the Warhammer 40,000 universe, which I guess would make a sensible home both for material inspired by the more sleuthing-based entries in the Eisenhorn or Ravenor series, or more police procedural-oriented material like the Enforcer trilogy. (Incidentally, if Warhammer Crime wanted to start with a bang, I’d say that a fourth Shira Calpurnia novel would be very welcome.)

The fact that they’re doing this suggests that not only do Black Library realise that there’s a substantial audience for Warhammer-related stories which do not focus on the full-blown warfare, combat action, and adventure fiction which makes up the backbone of the Black Library line, but they also realise that their range has now become sufficiently expansive that it’s become increasingly difficult for that audience to find what scratches their itch. If the proliferation of these imprints leads to an overall increase in the range of different types of stories offered by Black Library, that’s all to the good.

However, before Warhammer Crime debuts I’ve got some fresh new Warhammer Horror to enjoy, and in particular the first all-new full-length novel to be released in the line. This is The House of Night and Chain by David Annandale, who’s become something of a stalwart of the line, having contributed both to the Maledictions short story anthology and to the novella collection The Wicked and the Damned.

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Pickin’ Up Truth Vibrations, Part 4: The People’s Voice Howls At the Moon

In my previous looks at the work of David Icke, modern-day Gnostic heresiarch, I’ve covered his alarming transformation from a basically ordinary media figure into a New Age true believer in a melange of Theosophy and Gnosticism, his gear shift into conspiratorial thinking and flirtation with antisemitism, and his promulgation of his theory of Reptoid aliens secretly controlling the Earth, along with a deeper and more troubling embrace of antisemitism. (As well as promulgating conspiracy theories tending towards antisemitism, Icke also has total contempt for all sorts of traditional religious and cultural practices, and if you only tolerate Jewish people so long as they don’t actually practice any form of Judaism or Judaism-related cultural practices then that’s basically antisemitism.)

By 2005, Icke had come back to the mysticism he’d been espousing in 1990, with a more comprehensively Gnostic worldview. (I will refer to this as Ickean Gnosticism, to distinguish it from historical forms of Gnosticism.) He’d also had a nasty accident in the wallet region; Royal Adams, his agent in the USA, had scammed him out of a fat stack of royalties, and on top of that his marriage to his second wife, Pamela, was disintegrating on bad terms and a messy divorce battle was in the offing.

In February 2007, Icke set up the “Freedom Foundation” as a means for American supporters to channel money to him by making tax-deductible donations via the International Humanities Center. This raised eyebrows in some quarters, since such tax-deductible foundations had been fingered as being part of the New World Order conspiracy since the 1950s. Still, donations can only go so far: ultimately, Icke’s income comes from touring and books, and so new product was wanted. So began a new phase of Icke’s writing…

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GOGathon: Sierra Spreads Out

In my previous dive into the classic Sierra adventure games, I covered the first three King’s Quest games, over the course of which Sierra developed and refined their adventure design processes and principles. Come 1986, the time was ripe to apply these principles to genres beyond the fairy-tale fantasy of King’s Quest.

For this next exploration of the Sierra catalogue, I’m going to look at the first Space Quest game, which emerged in 1986 alongside King’s Quest III as Sierra’s first jaunt into another genre. I’m also going to cover their adventure game releases of 1987, a year in which they put out three games in extremely different genres – not one of them a King’s Quest release – and represented perhaps the apogee of what you could call their “AGI era” – the time period when they produced adventure games using the Adventure Game Interpreter system developed for the first King’s Quest.

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Pickin’ Up Truth Vibrations, Part 3: The Reptoids of Wonderland

The story so far: after embracing an overtly New Age, Theosophical and Gnostic-tinged worldview in an extremely public manner, David Icke finds himself the subject of widespread ridicule. In the mid-1990s he doubles down on this by blending his homebrewed cosmology (cobbled together as it was from other people’s ideas) with his very own Grand Unified Conspiracy Theory of everything (which he largely stole from The Gods of Eden and Behold a Pale Horse, and then sprinkled a heap of material from other conspiracy researchers on top of that mashup to obscure the seams).

Meanwhile, Icke’s personal life continued to take twists and turns which ordinarily I wouldn’t touch, except that they have a significant impact on his work. During his early New Age-focused phase, Icke would commence a polyamorous relationship in which he was still with his wife, Linda Atherton, but was also seeing Mari Shawsun, one of the psychics who was guiding him in the process of his spiritual development. Icke’s autobiography, In the Light of Experience, ends up giving the impression that the relationship wasn’t begun with Linda’s prior consent but was simply presented to Linda as a fait accompli.

After Shawsun was expelled from Icke’s circles, Linda and Icke remained married legally speaking. What’s perhaps more significant at this stage, though, is less their romantic partnership and more their business partnership, for Linda and Icke’s children by her would, to this day, be the main movers in Icke’s UK self-publishing company. The company – originally called Bridge of Love so as to leverage its way into the New Age market, then rebranded as David Icke Books, then rebranded as Ickonic for Icke’s latest book (The Trigger) – was a necessary platform for Icke after he was disowned by his previous publishers, the New Age press Gateway.

Gateway had good reasons to drop Icke; in his first major conspiracy theory tome, The Robots’ Rebellion, he’d claimed that the infamous Protocols of the Learned Elders of Zion was a real blueprint for world domination, following the lead of Bill Cooper and Stephen Knight in claiming that the secret society behind the global conspiracy had done a cheeky find-and-replace job on the Protocols to incriminate Jewish people.

Whereas Stephen Knight had broadly gotten away with this and Bill Cooper, whilst not exactly getting away with it, was lucky enough to have a publisher who simply didn’t care about denunciations of Behold a Pale Horse (particularly when Behold a Pale Horse was making them significantly more money than anything else on their catalogue), Icke was unfortunate in that Gateway operated at a very specific level of editorial sloppiness. Specifically, they were editorially lax enough to let the book come out citing the Protocols in the first place, but had enough concern for the impact on their bottom line to stop putting out Icke’s stuff after the inevitable backlash.

Icke’s income would now be based on two things: his books and his lecture tours. It was in the course of a lecture tour of the Caribbean that he would encounter Pamela Leigh Richards. Icke had shortly before had been primed by cold reading scam artist Derek Acorah to expect to meet a new woman in his life, and Icke and Richards were soon an item, with Icke divorcing Linda and marrying Pamela in 2001 (apparently amicably, or at least without sufficient rancour to persuade Linda to walk away from owning and operating Bridge of Love).

Through Richards, Icke met Royal Adams, a US-based businessman. By the end of the 1990s, Icke and Adams had reached an agreement: Adams would set up Bridge of Love US and take responsibility for distributing Icke’s books in the USA, and in return Adams would get a cut of the profits. Having someone in the US dedicating their time to cracking the market would be advantageous in any publishing field, but in addition the “paranoid style” has never quite gone out of style in American politics; the States was perhaps the hungriest market in the English-speaking world for the sort of conspiracy-peddling that Icke was engaged in, and cracking that market would be the next major step in promoting Icke’s ideas.

It’s quite fortuitous, then, that the beginning of Icke’s deal with Adams would coincide with a major new dimension entering into his writing. The first book distributed under the deal, The Biggest Secret, was in many ways Icke’s big break in the US, as well as his major claim to continued infamy; if you haven’t heard about David Icke from his infamous Wogan interview and earlier controversies, odds are you know him for some of the ideas he espoused in the book. The text managed to become a big hit in the conspiracy world through a simple technique: taking a major recent event, explaining it through a conspiratorial lens, and tying this in to an eye-catchingly bold claim. The recent event was the death of Princess Diana. And the bold claim?

Lizard people, dear reader.

Continue reading “Pickin’ Up Truth Vibrations, Part 3: The Reptoids of Wonderland”

3 Alternative Takes On Alternative 3

One of the more interesting categories of conspiracy theory that circulate these days is the set which deal with the concept of “Breakaway Civilisations” – the idea that the conspiratorial elite have access to a bunch of technologies and scientific knowledge which they haven’t shared with us proles, to an extent that our civilisation has essentially bifurcated, with the privileged few living a sci-fi life of leisure – often swanning about in outer space – whilst the less unfortunate don’t get any of the benefit of these technologies. (People who promote these theories seem prone to not noticing that this is actually more or less true of life on Earth, save for the space travel stuff.)

One of the things which is interesting about such theories, aside from the sheer sci-fi imagination involved with them (if you listen to them you could imagine that the action of Star Trek is already unfolding somewhere out in deep space, with crews of humans from Earth having adventures as part of the Illuminati’s space force), is the fact that they’re largely riffs on one iconic conspiracy theory, a shaggy dog story that’s some four decades old but which still manages to fool some credulous folk into thinking there’s something to it. Let’s jump in and explore the strange universe of Alternative 3…

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Reading Clark Ashton Smith For the First Time Again, Part 1

Sure, Clark Ashton Smith’s stories are readily available online, it’s still nice to have hard copies of his works. When I originally read them it was in the Panther reprints of his Arkham House collections, which retain some tampering and revisions and censoring by various hands. When William Burns tipped me off on my previous article that Night Shade Books’ Collected Fantasies of Clark Ashton Smith series had presented the definitive versions of his short stories, restored as closely as possible to his intended texts by Scott Connors and Ron Hilger, I decided to retire my Panther paperbacks – which by now are a bit tatty – and pick up the new line to reintroduce myself to Smith in a whole new way.

Connors and Hilger arrange the anthologies in as close to chronological order of composition of the stories as they can attain. This is a bit of a break from previous attempts to anthologise Smith, which have tended to collect the stories from his various fictional settings like Hyperborea and Zothique into little clumps, but it does mean that we get to see Smith’s writing evolve over the span of time presented.

It’s not exactly amateurish to begin with, mind. Connors and Hilger don’t include Smith’s juvenilia in the main run of the series – what was available at the time was collected in Miscellaneous Writings, a companion volume, and other early prose fiction from Smith has been rediscovered and reprinted by Hippocampus Press. Instead, volume one – The End of the Story, picks things up in 1925, when Smith – encouraged by his pen pal H.P. “Creepy Howie” Lovecraft – decided to try his hand at it.

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Blake’s 7: Second Insurrection

As you might remember from my thoughts on season 1 of the show, Blake’s 7 was the brainchild of Terry Nation and he ended up writing the entire first season all on his ownsome, establishing the series’ unusually dark tone for a 1970s space opera television series along with a beloved cast of core protagonists and recurring enemies. This was actually more than originally planned – the initial intention had been that he’d write the first seven episodes and a two-part finale for season 1, and the remaining four episodes would be written by other hands.

As a result of having to pen more episodes than expected, Nation had to rush it, turning in only a first draft of each script and giving script editor Chris Boucher a very free hand in script revisions, which explains why the first season is a bit shonky in places. (Apparently Bounty was especially badly affected, to the point where on set director Pennant Roberts had to improvise ways to pad out scenes to reach the target running time.)

Clearly, it was time for other hands to get involved, so on season 2 more writers ended up getting involved. In fact, Terry Nation only wrote three episodes for the season – each of which a significant tentpole episode setting up the action for the next third or so of the season – whilst Chris Boucher ended up turning in 4. (By this point Boucher, in his script editor role, had become so conversant with the series continuity that he actually wrote the terminology guide to assist other writers in churning out Blake’s 7-flavoured technobabble.) Let’s see if the additional hands boosted the quality of the series whilst retaining its consistency of tone – or whether they steered it right into a ditch.

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