The Behind the Mic with AudioFile Magazine podcast recently featured a conversation between host Jo Reed and producer, director, and writer Dirk Maggs. In a career spanning 30 years, Maggs has won many national and international awards. He first made a name for himself turning DC comics into audio productions, and when Douglas Adams heard those adaptations, he pulled Dirk in to bring his Hitchhikers’ Guide To The Galaxy series back to audio. Maggs has also had a longtime collaboration with Neil Gaiman, which most recently has resulted in an audio adaptation of The Sandman, Gaiman’s beloved classic comic book series.
Listen in as they discuss Maggs’ decades of work bringing audio dramas to life.
Jo Reed:I’m curious, when you go into the studio, for example, and let’s talk about SANDMAN specifically, do you have a sense of how the narration should sound to you? Are you hearing it already in your head? Do you know what you want from each actor? I guess that’s a long-winded way of saying—
Dirk Maggs: Do I prepare?
JR: No. No, I’m sure you do prepare, but how much do you leave open for the actor?
DM: That’s a good question, Jo. The challenge of making SANDMAN was, I knew exactly what I wanted to do with it, but I was also very aware that this is a much loved, much cherished piece of work. One of the biggest issues with THE SANDMAN is, it’s been in existence for over 30 years now. People know what they want to hear from it. And I realized quite early on that if I was going to be clever and try and reinvent the wheel, I would be in an “if it ain’t broke, don’t fix it” situation. But the thing about SANDMAN was, I don’t think audio, as a medium, need feel inferior to any other medium, because I believe that our medium works just like movies and TV do. The only difference is that the stimulation bypasses the optic nerve. It doesn’t go in through the front door. It sneaks in through the side doors and then it creates the image on your cerebral cortex. Between your ears is the single greatest imaging chip in the computer world, which is the human brain. Your brain will create visions from what you hear. Some people, there are conditions where people don’t have this, but most people have this, which is really what we rely upon in the audio business to tell our stories. You visualize from what you hear.
JR:OK, so let’s bring it back to SANDMAN.
DM: So I was ready to go with an adaptation of SANDMAN, and I knew this wouldn’t be so much an audio dramatization. It would be an audiobook sort of riding on a dramatization, because we would need to find a way to stick very close to the original. I felt that that was the plow to furrow, because then Neil, as exec. producer with me on this, we could then concentrate and make this as quintessentially SANDMAN as we could.
JR:Well that’s easier said than done. How did you go about making this happen?
DM: I immediately gave up any thought of updating it, making it present day, introducing cell phones or the internet or all of this. It had to stay set in the late ’80s, early ’90s. It had to be something with Neil’s authentic voice in it, and that was the real revelation, because I said to Neil, “The only way I can think of doing this is to see your original scripts, the scripts you wrote for the artists and Todd Klein, who was doing the lettering, and the inkers and the colorists. Those will have the descriptions of what you wanted to see, and if I blend those descriptions with what you actually see in the comics, we will end up with something which will be as quintessentially SANDMAN as you can get. Then if somebody wants to pick the comic book up and look at it alongside, there will be a fair degree of correlation.
So Neil dug out from these ancient hard drives, and I think the first one I got was episode three. I think one and two have disappeared into the ether. I was looking at it, and as soon as I opened this thing, I’m with Neil, I’m standing at his shoulder while he’s writing this in 1987, and he goes into what this episode’s going to be about and the general feel of it. And then he starts describing the panels. Then something wonderful happens: This stuff I’m reading, these descriptions of what he’s seeing in his mind’s eye, it’s poetry. It’s like Dylan Thomas. Suddenly, I can see exactly what this needs to be. This needs to be Neil. He’d already asked if he could narrate and I said, “Well, of course. Of course, my dear.” But when I saw this, I thought oh, this is it. This is the motherlode, and that was one of the best parts of the job for me.
JR:He’s a wonderful narrator. He has just such a beautiful voice and intonation. And he can lead you into some dark places, as he does in the book, without being threatening.
DM: Yes. Neil has a very particular way of reading. If you hear one of Neil’s books read by the author, he has a distinct style. He has a rhythm and he has a way of massaging a sentence which keeps you interested to the very end. Neil reading this stuff, and with the action playing underneath, with the wonderful cast we had and with, you know, I’ve brought every inch of sound designing experience I’ve had over the last 40 years into the sound design. And then James Hannigan’s music, which adds a whole new layer of magic to the thing. When it’s all mixed together, you’re transported, and you’re in this guy’s head. It was so wonderful. About 10pm one night, three or four months ago, while I was doing post-production, I emailed Neil and I said, “Do you know how good you were when you wrote this stuff?” I didn’t expect an answer, but almost immediately came back, Neil saying, “Yes, but I don’t remember doing it. I’m not the person who wrote this. He’s a different person to me.” And I thought, what an interesting answer, because this young man, who’s what? Neil wasn’t yet 30 when he started SANDMAN. He was a library brat. He brought himself up just devouring books, and all of it is in THE SANDMAN. He’s got the poetry. He’s got the knowledge. He’s got all this eclectic stuff that’s just gathered in his brain. It’s just falling out on the page. It’s magical, absolutely magical. It was magical to do it. Some jobs, you know, in the end it’s a job of work, and some jobs are hard work. You think, gosh, I really could have picked a less onerous duty here. But this was a joy, from start to finish.
AudioFile is an independent source of audiobook reviews and recommendations with a clear focus on the performance and listening experience. AudioFile Earphones Awards are given to exceptional audiobooks. Subscribe to Behind the Mic with AudioFile Magazine for daily audiobook recommendations from AudioFile editors and contributors, and for bonus interview episodes for a behind-the-scenes peek into the making of favorite audiobooks.
James McAvoy is stepping into a dream role. The actor will voice star as Dream in Audible’s adaptation of The Sandman, the classic DC/Vertigo comic book written by Neil Gaiman.
McAvoy, known for playing Prof. X in four X-Men films, will lead a cast that also includes Riz Ahmed, Justin Vivian Bond as Desire, Arthur Darvill, Kat Dennings as Death, Taron Egerton, William Hope, Josie Lawrence, Miriam Margolyes as Despair, Samantha Morton, Bebe Neuwirth, Andy Serkis and Michael Sheen as Lucifer.
(2) NO MIDWESTCON IN 2020. Joel Zakem, who has attended 52 straight Midwestcons, nevertheless considers this a wise decision:
After being held annually since 1950, Midwestcon 71, scheduled for June 25-28, 2020, in Cincinnati, OH., has unsurprisingly been cancelled. Everyone who has a hotel reservation should receive a cancellation notice with verification number from the hotel – no need to call them. Checks for pre-registrations (the only way to pre-reg fir Midwestcon) have not been cashed.
Young people who are “hooked” on watching fantasy or reading science fiction may be on to something. Contrary to a common misperception that reading this genre is an unworthy practice, reading science fiction and fantasy may help young people cope, especially with the stress and anxiety of living through the COVID-19 pandemic.
While many people may not consider science fiction, fantasy or speculative fiction to be “literary,” research shows that all fiction can generate critical thinking skills and emotional intelligence for young readers. Science fiction may have a power all its own….
(4) FROZEN AT HOME. The Walt Disney Animation Studios today released “I Am With You” — At Home With Olaf.
Wherever you may be, here’s a special message from Olaf’s home to yours. “I Am With You” Music and Lyrics Written at Home by Kristen Anderson-Lopez and Robert Lopez. Performed at Home by Josh Gad. Directed at Home by Dan Abraham.
(5) THE ROAD TO FURY. [Item by Olav Rokne.] Five years after the fourth Mad Max movie took audiences by storm, the New York Times film critic Kyle Buchanan (@kylebuchanan) interviewed dozens of crew members, producers, writers and stars to weave together a compelling picture of how Fury Road came to be. In “’Mad Max: Fury Road’: The Oral History of a Modern Action Classic”, he charts the course of its production through quotes from Tom Hardy, Charlize Theron, and writer/director George Miller.
…CHARLIZE THERON (Furiosa) I grew up on all the “Mad Max” movies — they’re very popular in South Africa. I remember being 12 and my dad letting me watch it with him. So I was like, “Oh yeah, I wanna be in a ‘Mad Max’ movie. Are you kidding me?”
…[GEORGE] MILLER When someone is directing a film, they’re thinking about it every waking hour, and even processing it in their dreams. The problem is, if you’re a studio executive, you tend to think about it for 10 minutes on a Wednesday.
…[GEORGE] MILLER When the ideas that you start off with are then comprehended by an audience at large out there, that’s ultimately what redeems the process for you. The Swahili storytellers have this quote: “The story has been told. If it was bad, it was my fault, because I am the storyteller. But if it was good, it belongs to everybody.” And that feeling of the story belonging to everybody is really the reward.
(6) FROM THE BATCAVE. Zach Baron, in “Robert Pattinson: A Dispatch From Isolation” in GQ, caught up with Pattinson last month as he stayed isolated in a London hotel room. Pattinson says he’s living on food supplied by The Batman production until shooting resumes but isn’t doing any exercise. He also says although he is in Christopher Nolan’s film Tenet, he can’t give anything away because he doesn’t understand the plot except that it doesn’t involve time travel.
…It’s possible that you couldn’t build a person more suited to this experience. Pattinson, who turned 34 in May, has spent his adult life separating himself from the rest of the world. He was 21 when he was cast in the first Twilight, as the lead vampire in what would become five increasingly popular movies about teen lust in the Pacific Northwest. The final installment of the franchise, which turned Pattinson and his costar, Kristen Stewart, into two of the more famous people in the world, came out in 2012 and grossed over $800 million worldwide. But by that time, he was already mostly gone.
Do you ever hold back in your criticism of other artistic endeavors (movies for instance) out of fear or apprehension that it will open your own work to hostile/non constructive criticism and exclude you from future opportunities?
We already know what the answer is, but that doesn’t mean it’s not interesting to see Scalzi work it out.
(8) CAFFEINATED CARTOON. [Item by Martin Morse Wooster, Designated Financial Times Reader.] In the May 8 Financial Times, behind a paywall, Neville Hawcock reviews Rick and Morty.
It could easily be so sweet, charming, whimsical. An eccentric old scientist zips around the galaxy in his home-made flying saucer, accompanied by his grandson sidekick. Each cartoon episode brings a new alien peril and a new chance to prevail through pluck and ingenuity, You could be forgiven for imagining a cross between a Werther’s Original commercial and Star Trek.
Rick and Morty, however is anything but…
…That doesn’t mean it’s weary; it is consistently energetic, inventive, and witty, both in script and animation. To borrow a phrase from the late sci-fi writer Gardner Dozois, each 30-minute episode has a high bit-rate. Whereas some bingeable TV is like the unlimited cups of coffee you get in American diners, and endless warm wash, an evening with Rick and Morty has the jolting quality of an espresso spree.
(9) DOCTOR WHO FACTOID. Martin Morse Wooster also found this data point in Horatio Clare’s essay-review in the May 9 Financial Times.
The National Trust reports that while 30 percent of eight-to-11 year olds could not identify a magpie, 90 percent could spot a Dalek.
(10) TODAY IN HISTORY.
May 13, 1994 — The Crow premiered. It was directed by Alex Proyas, written by David J. Schow and John Shirley. It was produced by Jeff Most, Edward R. Pressman and Grant Hill. It starred Brandon Lee in his final film appearance as he was killed in a tragic accident during filming. It’s based on James O’Barr’s The Crow comic book, and tells the story of Eric Draven (Lee), a rock musician who is revived to avenge the rape and murder of his fiancée, as well as his own death.
(11) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge and John Hertz.]
Born May 13, 1876 – Harold De Lay. Illustrated W.E.B. DuBois’ Quest of the Silver Fleece, pretty good since De Lay later did covers and interiors for Golden Fleece. Five interiors for Frank Baum’s early Daughters of Destiny. Four covers and thirty-eight interiors for Weird Tales, of Robert Bloch, Edmond Hamilton, Robert E. Howard, Henry Kuttner, Manly Wade Wellman, Jack Williamson; here’s one. Blue Bolt and The Human Torch for Marvel while it was under Funnies, Inc.; Treasure Island for Target Comics. (Died 1950) [JH]
Born May 13, 1937 — Roger Zelazny. Where do I start? The Amber Chronicles are a favorite as is the Isle of The Dead, To Die in Italbar, and well, there’s very little by him that I can’t pick him and enjoy for a night’s reading. To my knowledge there’s only one thing he recorded reading and that’s a book he said was one of his favorite works, A Night in the Lonesome October. I understand that John’s going to have a choice remembrance of him for us. (Died 1995.) [CE]
Born May 13, 1937 – Rudolf Zengerle. Pioneer of the Risszeichner (German, “crack markers”) for Perry Rhodan – illustrators who draw schematics of robots, ships, weapons. Zengerle did six dozen; here’s a Grand Battleship of the Blues. Speaking of series, PR has sold over two billion copies worldwide. (Died 2009) [JH]
Born May 13, 1941 – John Vermeulen. Flemish author; also sailor, diver, glider, horseman. First SF novel at age 15. Historical novels of Hieronymus Bosch, Peter Brueghel the Elder, Mercator, Nostradamus, da Vinci, translated into German, Japanese. A dozen SF novels, as many each of thrillers, plays, books for children & young adults, shorter stories. (Died 2009) [JH]
Born May 13, 1946 – Marv Wolfman. Comics, novelizations, animation, for Dark Horse, DC, Disney, Eclipse, Image, Marvel (Editor-in-Chief 1975-1976), many more. Pioneered writing credits when the Comics Code Authority said “No wolfmen; remove” (as was the rule at the time), DC said “But the writer’s name is Wolfman”, CCA said “Let’s see the name credit, then”, after which everybody got one. Inkpot Award, 1979; Jack Kirby Awards, 1985-1986 (for Crisis on Infinite Earths, with George Pérez); named in Fifty Who Made DC Great,1985; National Jewish Book Award, 2007 (for Homeland); Scribe Award, 2007 (for novel based on Superman Returns). Recently, see Man and Superman (2019, with Claudio Castellini). [JH]
Born May 13, 1949 — Zoë Wanamaker, 71. She’s been Elle in amazing Raggedy Rawney which was a far better fantasy than Harry Potter and the Philosopher’s Stone where she was Madame Hooch. And she was Cassandra in two Ninth Doctor stories,” The End of the World” and “New Earth”. [CE]
Born May 13, 1951 — Gregory Frost, 69. His retelling of The Tain is marvelous. Pair it with Ciaran Carson and China Miéville’s takes on the same existing legend and remaking it through modern fiction writing. Fitcher’s Brides, his Bluebeard and Fitcher’s Bird fairy tales, is a fantastic novel though quite horrific
As happens from time to time, I recently noticed an author being subjected to complaints that their fiction has an “agenda,” that there are “political elements” in their story, that it touches on society, class, race, culture, gender, and history. As it happens, the calumniated author is one of those younger authors, someone who’s probably never owned a slide-rule or an IBM Selectric. Probably never had ink-well holes in their school desks. Undoubtedly, they may be missing context that I, a person of somewhat more advanced years, can provide…
“To be honest, I’ve never watched that movie!” Pu Zhang, a mechanical engineering professor, said in a statement. (It’s safe to assume he also missed out on The Secret World of Alex Mack.)
The term “additive manufacturing” refers broadly to technology like 3D printing, where you add material in order to build an item. That contrasts with subtractive manufacturing, like using a lathe and removing metal or wood in order to sculpt a final shape. But in this case, the liquid metal is used in a more complex process where a “shell skeleton” is 3D printed from rubber and metal and then filled with liquid metal lattice….
Facebook will pay $52 million to thousands of current and former contract workers who viewed and removed graphic and disturbing posts on the social media platform for a living, and consequently suffered from post-traumatic stress disorder, according to a settlement agreement announced on Tuesday between the tech giant and lawyers for the moderators.
Under the terms of the deal, more than 10,000 content moderators who worked for Facebook from sites in four states will each be eligible for $1,000 in cash. In addition, those diagnosed with psychological conditions related to their work as Facebook moderators can have medical treatment covered, as well as additional damages of up to $50,000 per person.
Study explores the effects of autocomplete features on human writing
When a human and an artificial intelligence system work together, who rubs off on whom? It’s long been thought that the more AI interacts with and learns from humans, the more human-like those systems become. But what if the reverse is happening? What if some AI systems are making humans more machine-like?
In a recent paper, researchers from the Harvard John A. Paulson School of Engineering and Applied Sciences (SEAS) explored how predictive text systems — the programs on our phones and computers that suggest words or phrases in our text messages and email — change how we write. The researchers found that when people use these systems, their writing becomes more succinct, more predictable and less colorful (literally).
…“We’ve known for a while that these systems change how we write, in terms of speed and accuracy, but relatively little was known about how these systems change what we write,” said Kenneth Arnold, a PhD candidate at SEAS and first author of the paper.
Arnold, with co-authors Krysta Chauncey, of Charles River Analytics, and Krzysztof Gajos, the Gordon McKay Professor of Computer Science at SEAS, ran experiments asking participants to write descriptive captions for photographs.
…“While, for the most part, people wrote more efficiently with predictive text systems, this may have come at the cost of thoughtfulness. These kinds of effects would never have been noticed by traditional ways of evaluating text entry system, which treat people like transcribing machines and ignore human thoughtfulness. Designers need to evaluate the systems that they make in a way that treats users more like whole people.”
100 million years ago, Earth was a terrifying place. That’s according to a new paper in ZooKeys, which analyzed fossils from an area in southeastern Morocco also known as the Kem Kem beds. It was here that prehistoric animals such as “cartilaginous and bony fishes, turtles, crocodyliforms, pterosaurs, and dinosaurs” used to freely roam and hunt….
…Blade Runner 2049 director Denis Villeneuve is due to return with another highly ambitious and cerebral – not to mention, expensive – sci-fi epic later this year in the form of Dune, the first of a planned two-part adaptation of Frank Herbert’s touchstone 1965 novel. It’s a peculiar move for Warner Bros. purely from a business perspective, considering how much money they lost on Villeneuve’s last costly, thought-provoking, sci-fi feature. So naturally, as you’d expect, Screen Junkies points that out in their latest video.
With marketing for Dune now underway ahead of its release in December (assuming it’s not delayed to 2021), Screen Junkies has gone and released an Honest Trailer for Blade Runner 2049.
[Thanks to Martin Morse Wooster, Mike Kennedy, JJ, Cat Eldridge, Chip Hitchcock, John King Tarpinian, Joel Zakem, Chris Barkley, Michael Toman, John Hertz, Rich Lynch, and Andrew Porter for some of these stories. Title credit goes to File 770 contributing editor of the day Camestros Felapton.]
MAD Magazine will cease publication later this year, according to reports. Blogger Jedidiah Leland reportedly discovered the news after a MAD editor confessed to the magazine’s doom in a Facebook group, and shortly thereafter, cartoonist Ruben Bolling seemed to confirm the report on Twitter….
MAD magazine will not be completely closing down, as previously reported — although most of its new content will cease, and availability for the iconic humor magazine will be reduced. Earlier tonight, the news broke that MAD was set to cease publication after two more issues of new content, with the magazine using archival content to fulfill its obligation to existing subscribers. This is a little true, and a little not, and ComicBook.com has heard from a source with knowledge of the situation who clarified what is going on.
MAD will be leaving the newsstand after issue #9, which will land on newsstands in early August with all-new content. MAD #10 will also contain new content, but will be available only via direct market comic book retailers and subscriptions. Rather than closing up shop, the plan at present is to continue publishing issues that will feature reprinted classic MAD pieces, wrapped with new covers art. Further, MAD will continue to publish its end of year specials, as well as books and special collections, capitalizing on the value of the MAD brand in spite of the loss of new content in the magazine
In the viscerally unnerving films of Ari Aster, there’s nothing more horrific than the reality of human grief. His haunted-house thriller, Hereditary, followed a family rocked by traumas so devastating that the eventual scenes of devil-worshipping naked boogeymen almost came as a relief. Aster’s new movie, Midsommar, doesn’t pack quite as terrifying a knockout punch, but it casts its own weirdly hypnotic spell. This is a slow-burning and deeply absorbing piece of filmmaking, full of strikingly beautiful images and driven less by shocks than ideas. It’s not interested in frightening you so much as seeping into your nervous system.
And like Hereditary, Midsommar is very much rooted in loss. It begins with a young American woman named Dani, played by the great English actress Florence Pugh, panicking over a family emergency that moves swiftly toward its worst possible outcome. As she tries to pick up the broken pieces of her life, Dani seeks solace from her boyfriend, Christian, and is surprised to learn that he’s about to go on a trip with some of his grad-school buddies. They’re headed to a remote Swedish commune that is holding a nine-day festival to observe the summer solstice. Dani presses him about why he didn’t tell her earlier, and an argument ensues.
They fly to Sweden and, after a few hours’ drive, arrive at a remote, centuries-old village where they are greeted by about 60 men and women wearing white robes embroidered with mysterious symbols. They are known as the Hårga, and they invite their American guests to participate in each day’s festivities, which include lavish feasts, silent meditations, exhausting maypole dances and the consumption of various mind-altering drugs. Aster has a gift for dreaming up fictitious subcultures, and he visualizes these ancient customs and artifacts with an almost anthropological attention to detail. The Hårga seem benevolent enough at first, and there’s something comforting about their strange rituals and their intimate communion with nature.
(5) MORE TOOLS FOR FINDING GOOD SFF. Rocket Stack Rank,
says Eric Wong in “New Recommenders and Improved Scoring” “has
added 10 more recommenders, improved how story scores
are calculated from 13 awards, 12 ‘year’s best’ anthologies, and 11 prolific reviewers,
and updated the Best SF/F lists for 2015,
and 2019 YTD.”
(6) ASTRONOMY HISTORY, The Atlas Obscura Society can get
you in to see “The
Second Largest Public Telescope in the World” on July 6 and 7. It’s on
Mount Wilson near Los Angeles. See schedule and details at the link. (Note: Observatory
is not ADA compliant,.)
Collecting ancient light in a 60-inch mirror, the Hale Telescope reflects images in your eye of beautiful objects, some that lie millions of light years away from Earth.
Join Atlas Obscura for an exclusive evening of observation with Mount Wilson Observatory’s historic 60-inch telescope. Assisted by a telescope operator and a session director, you will investigate objects in the night sky and get up close and personal with our solar system. Depending on the evening’s weather conditions, you could get a glimpse of faraway planets, a staggeringly close-up look at the moon, or star clusters looming over Mount Wilson, where the seed of the idea for this groundbreaking scientific invention was planted.
In 1903, astrophysicist George Ellery Hale went hiking in the San Gabriel Mountains. Resting at the summit of Mount Wilson, he gazed at his surroundings and realized he had found the perfect place to build an observatory. Five years later, at the very same spot, he unveiled the world’s largest operational telescope, a 60-inch reflector that attracted preeminent scientists such as Albert Einstein and Edwin Hubble. In fact, it was with this telescope that Harlow Shapley discovered that the Sun’s position was not the center of the Milky Way Galaxy. It now operates as the second largest telescope made exclusively for the public.
Howard Norman writes elegant prose — but really, that’s because everything about Howard Norman is elegant. The Vermont-based novelist and scholar of Native American lore sprinkles his fiction with all the things that interest him, from literary to culinary to planetary. Like many of Norman’s previous books, The Ghost Clause pays attention to Japanese poetry, binge-reading Trollope, what makes an intimate supper (mushroom omelets, salad, cherry pie with ice cream), and varieties of Northeast Kingdom moths.
The denizens of Adamant, Vt. — was there ever a better place name? — have a lot going on, even if by “a lot going on” one simply means making sure to leave time to have your cranberry scone toasted at the local café presided over by grumpy Vanessa. The first two people we meet are newly minted PhD Muriel Streuth and her husband Zach, a private investigator at the Green Mountain Agency. They’ve bought an old house with a library room, and their modern security system keeps picking up “Motion in Library.”
Investigations into the unknown motion-detector blips don’t reveal much. Fortunately for readers, our narrator soon reveals all (and this is not a spoiler): He is novelist Simon Inescort, whose widow, painter Lorca Pell, sold the house to Muriel and Zach after Simon’s untimely death by heart attack on the ferry from Maine to Canada. He also informs us of the title’s meaning, which refers to a perhaps-apocryphal Vermont statute whereby if new owners of a building discover it is inhabited by a “malevolent presence,” the sale can be nullified.
… The American science-fiction community was still in an uproar over the Shaver Mystery, “The Most Sensational True Story Ever Told,” according to Amazing Stories magazine, a publication whose circulation had skyrocketed after it published “I Remember Lemuria!,” a fantastic story purporting to be a memoir of the extraordinary subterranean-world encounters of writer/artist Richard Sharpe Shaver, in 1945.
…One of those letters, published in the October 1946 issue of Amazing Stories, came from Dr. Maurice Doreal, the Denver-based “Supreme Voice” for the Ascended Masters, super-evolved human beings who live below Tibet. Doreal had recently announced that he was moving his Brotherhood of the White Temple from central Denver to rural Colorado to wait out the coming nuclear holocaust. “Like Mr. Shaver, I have had personal contact with the Dero and even visited their underground caverns,” he now wrote. “In the outer world they are represented by an organization known loosely as ‘the Black Brotherhood,’ whose purpose is the destruction of the good principle in man…. The underground cities and caverns are, in the most part, protected by space warps, a science known to the ancients, but only touched on by modern science…. I note that many are wanting to enter these caves. For one who has not developed a protective screen this would be suicide and one who revealed their location would be a murderer….”
(10) TODAY IN HISTORY.
July 4, 1865 — Lewis Carroll’s Alice’s Adventures in Wonderland was published.
(11) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born July 4, 1883 — Rube Goldberg. Not genre, but certainly genre adjacent. Born Reuben Garrett Lucius Goldberg, he was a sculptor, author, cartoonist, engineer, and inventor who’s certainly best known for his very popular cartoons showing overly complex machines doing simple tasks in a terribly convoluted manner, hence the phrase “Rube Goldberg machines”. The X-Files episode titled “The Goldberg Variation” involved an apartment rigged as a Goldberg machine. (Died 1970)
Born July 4, 1901 — Guy Endore. Writer of The Werewolf of Paris which is said by Stableford in the St. James Guide to Horror, Ghost & Gothic Writers as “entitled to be considered the werewolf novel”. He also wrote “The Day of the Dragon” which Stableford likes as well. He was a scriptwriter hence for writing Mark of the Vampire starring Bela Lugosi. He also the treatment for The Raven but never got credited. (Died 1970.)
Born July 4, 1910 — Gloria Stuart. She was cast as Flora Cranley opposite Claude Rains in The Invisible Man in 1933, and 68 years later she played Madeline Fawkes in The Invisible Man series. She was in The Old Dark House as Margaret Waverton which is considered horror largely because Boris Karloff was in it. And she was in the time travelling The Two Worlds of Jennie Logan as well. (Died 2010.)
Born July 4, 1949 — Peter Crowther, 70. He is the founder (with Simon Conway) of PS Publishing where he’s editor now. He edited a series of genre anthologies that DAW published. And he’s written a number of horror novels of which I’d say After Happily Ever and By Wizard Oak are good introductions to him. He’s also done a lot of short fiction but I see he’s not really available in digital form all that much for short fiction or novels.
Born July 4, 1967 — Christopher McKitterick, 52. Director of the Center for the Study of Science Fiction, a program at the University of Kansas that supports an annual series of awards, lectures, classes, workshops, the Campbell Conference, and AboutSF, a resource for teachers and readers of science fiction. He’s also a juror for and Chair of the John W. Campbell Memorial Award for Best Science Fiction Novel from 2002 onward. And yes, he does write genre fiction with one novel to date, Transcendence, more than a double handful of stories, and being an academic, critical essays such as “John W. Campbell: The Man Who Invented Modern Fantasy and the Golden Age of Science Fiction” which was published in Steven H. Silver Hugo-nominated Argentus.
Born July 4, 1977 — David Petersen, 42. Writer and illustrator of the brilliant Mouse Guard series. If you haven’t read it, do so — it’s that good. It almost got developed as a film but got axed due to corporate politics. IDW published The Wind in The Willows with over sixty of his illustrations several years back.
Born July 4, 1989 — Emily Coutts, 30. She plays the role of helmsman Keyla Detmer on Discovery. She’s also her mirror universe counterpart, who is the first officer of that universe’s Shenzhou. (I like the series and am definitely looking forward to it when it jumps a thousand years into the future next season!) She was in one episode of the SF series Dark Matter and in Crimson Peak, a horror film but that’s it for genre appearances.
(12) COMICS SECTION.
A court judge and Frankenstein help Bizarro live up to its name today.
Arielle Saiber is a professor of Italian literature and romance languages, and also a big science fiction fan!
Recorded with Zencaster on 8th May, 2019.
Find out about the history of Science Fiction and fandom in Italy, and why flying saucers would totally land at Lucca!
(15) VOX DAY AT THE MOVIES. “I look forward to the shrieks
and wails,” writes aspiring moviemaker Vox Day. The Rebel’s Run Teaser Trailer has dropped, publicizing that a movie based on one of
Arkhaven’s Alt-Hero characters, is now in pre-production. A one-minute trailer is
followed by Chuck Dixon extolling the comics, and even a shot of Vox smiling
happily. So if any of that is the kind of thing you need a warning about, you won’t
(16) LIPLESS READING. Extra
Credits devotes a video to Harlan Ellison’s story and game in I Have No Mouth and I Must Scream – The End of the
Harlan Ellison was a little dismissive of this short story that you’ve might only heard of because you saw it on a Steam summer sale, but at the time of its publication (1967) its ideas about the possibility of “evil AI,” as well as the possible degeneracy of humanity, were shocking and unexpected, and it set the stage for the wave of sci-fi we’ll talk about next season.
(17) WHAT’S BUZZING? Nature has a nice
artist’s impression and short description of the drone proposed for use on Saturn’s
moon, Titan — “NASA drone to soar across Titan”.
Named Dragonfly, the US$850-million mission will launch in 2026 and arrive at Titan in mid-2034. The nuclear-powered drone (pictured, artist’s impression) could traverse hundreds of kilometres during its two-year mission.
(18) IDENTIFYING PROS IN THE WILD. Orbit Books tweeted an amusing
guide for telling two of its similarly-named writers apart.
Amazon is calling John Oliver’s depiction of conditions at the company’s shipping and warehouse facilities “insulting” to Amazon workers.
Dave Clark, Amazon’s SVP Worldwide Operations, responded to a harsh segment that aired Sunday on HBO’s Last Week Tonight With John Oliver. In the 20-minute segment, Amazon — as well as other companies with quick online-delivery systems — was lambasted for the exhausting chores required of the warehouse workers.
“The injury and illness rate in the warehouse industry is higher than coal mining, construction and logging,” Oliver said during the HBO show, in which he called Amazon the “Michael Jackson” of shipping because they’re “the best at what they do, everybody tries to imitate them, and nobody who learns a third thing about them is happy they did.”
(20) CHARACTERS WITH AGENCY. TV Sins wants you to know “Everything Wrong With Agents of S.H.I.E.L.D. ‘Pilot’”
This week we head into the MTU by finding everything wrong with the pilot of Agents of S.H.I.E.L.D.! It’s was a show with a lot of promise, and also a lot of sins.
[Thanks to Cat Eldridge, John King Tarpinian, JJ, Eric Wong, SF
Concatenation’s Jonathan Cowie, Carl Slaughter, Mike Kennedy, Andrew Porter, mlex,
Chip Hitchcock, and Martin Morse Wooster for some of these stories, Title
credit goes to File 770 contributing editor of the day Daniel Dern.]