The Imperial Transtar 1320 Series F “Teal Hawk”

Imperial Transtar 1320 Series F Teal Hawk

Why?

The question anyone who has ever played Silent Death has asked. This TPAC medium fighter introduced in the original game core rules that was lifted and shifted – along with the standard model redesign that occurred – when SD:TNG came out.

The big question was always why would Imperial Transtar build a fighter with only one battery of forward-facing Blatguns but requiring a crew of two to operate it? A pilot with their own gunnery skill and capability to operate the Blatguns as well as a gunner who can control the same guns, where both may not fire in the same turn? Even the notes in the core rules state that for best results give the gunner a high gunnery skill and the pilot a low gunnery skill.

The fighter itself is a formidable tool if used in the right scenario. Extremely fast and armed with high yield weaponry, it can run rings around heavy MPAC fighters and Gunships, staying well out of the range and speed restrictions of most weapons and dealing steady damage. Two Teal Hawks at a slightly higher combined cost than a single Sorenson III could do a far better job that the maligned, albeit with reason, Sorenson III.

The counter argument is a slightly cheaper and slower Hell Bender, while slower, could be more useful and not require the extra crew member.

Hell Bender

At face value the only minor advantage this dual crewmember setup would provide is in terms of the rule where gunners shoot fist. A multi fighter coordinated battle could use this advantage well. Flying directly toward an enemy ship in the pilots forward firing arc could deal severe damage before the pilot could return fire, assuming they have a weapon capable of hitting the fast Teal Hawk at the range Blatguns allow attack from.

Large battles where the Teal Hawks job is to take out damaged opponents are a different matter, but if that is the plan use a Sorenson III as it gets two shots a turn. The nature of the game is often one of smaller battles where every ship must be able to deliver from the start, making it a difficult expense to justify a ship that hangs out on the periphery doing little to nothing in the first turns.

Ignoring the lobsided original game rules (um cheap Nighthawk anyone?), one would need to spend around 8 to 10 points on the gunner. Even with a single point spent on the pilot’s gunnery skill (as recommended in the rules) it is still a waste when every point may count.

Back to the question of why. What were the designers thinking? I have some ideas based on some probable scenarios:

  • Training. While loose campaign rules came out as the game developed, the concept of keeping a roster of crew with their skills and what ships and weapons they are rated on, is possibly something many Silent Death players may have considered. One could go as far as to say within certain houses a pilot needs to be able to fly first and gunnery comes later. Thus, team a decent pilot up with a good gunner and use the Teal Hawk as a combat ready training model, where a successful mission, even if the pilot does not get a chance to shoot, could lead to a natural increase in pilots gunnery skill due to observation and training. The converse of this could be the pilot is teaching the gunner how to fly and fire. Where the pilot gives instruction on flying, lining up and firing vs a gunner simply watching for an enemy to come into their firing arc.
  • Scouting. This could require house rules as the Scout Class was alluded to but never properly defined or differentiated from a standard fighter. But consider the Teal Hawk as a craft that can do serious distance, where the Pilot is heavily involved in scouting activities and does not have the time to operate weaponry if a combat scenario comes up, unless absolutely necessitated by the gunner becoming incapacitated. Or where the gunner is the main scout crew member and only provides back up gunnery where absolutely necessary. Universal Night Watch even mentions the Teal Hawk NW was repurposed as a scout.

I thought I would have more ideas. Both of mine speak to a house rules or campaign style game.

The Teal Hawk has seen refits over time:

  • Teal Hawk II (Operation Dry Dock) – This refit not only adds three extra Mk10 torps in the rack, but increases the fighter’s defensive value to 15, making it extremely difficult to hit. At an extra 4 BPV this would usually be a better investment than the base model.
  • Teal Hawk III (Kashmere Commonwealth) – The so-called smugglers mod. They dropped the torp rack and gunner to make way for a cargo bay. As fast and defensible as the original but 3 BPV cheaper, less the minimum 1 for the additional crew member. Who needs torps anyway when you are fast enough to run rings around slower ships and pling away at them. Come against a schwarm of Microraptors, Pit Vipers, Darts or even Delta II’s and you will be in big trouble. The 1 or 4 torps of the base or Mk II version wont help much in such a melee either.
  • Teal Hawk EX (More than Valor) – Near twice the price of a Teal Hawk III and  the Mk III it has dropped the gunner. It however mounts the torp rack of the Mk II (instead of a cargo bay), has replaced the Blatguns with an Ion Ram and used the space saved by turfing the additional (superfluous) crew member to mount 6 Pulse Lazers. It has the same defensive value as the original and Mk III. Note it also has an additional decoy and better Point Defence system (1-6) than other Teal Hawk versions. With a minimum 7 points damage from the Pulse Lazers, small fast fighters must rightly fear it. Moderately slower fighters need to respect the Ion Ram. If a player can somehow slip this variant in amongst other Teal Hawks, short of really bad movement decisions or pure bad luck, it will cut battle turning swathe through the ranks of the opposition before they comprehend what they are facing.
  • Teal Hawk NW (Universal Night Watch) – A standard Teal Hawk fitted with a DLT Mk10 torp. Decoys and Point Defence are removed in favour of the Defensive Value being  bumped up to 17 – making it near impossible to hit. While designed to take on Grubs, this could be a lethal fighter in any battle, especially if mixed in with other Teal Hawks. “Why do I keep missing that one?”

I began drafting this article on a whim, thinking of the Teal Hawk and how it barely gets any play time in my experience. Having now completed this article, I may be a convert. Next game I am going to try running a few Teal Hawks. If you are up for a bit of a campaign, mixing it up with low key role paying or storytelling, imagine the mission to nick the Teal Hawk EX, or its plans from the Data Sphere. That could make for a remarkable story or mini campaign by itself.

Small parting comment. The Teal Hawk is one of the plastic models available in the Wings of Death box, if one can get obtain one of those these days. For a picture of a really nicely painted Teal Hawk among other fighters, check out gimgamgoo.com.

Sorenson III

Fantasy Book (Magazine)

Some years ago, while idly scrolling through eBay posts I came across magazine called Fantasy Book. The June 1984 edition to be specific. Now there are hundreds of fantasy and science fiction magazines out there, most of which have sadly come and gone. Something about this one intrigued me and with postage and exchange rates what they were at the time, i.e. affordable, I bought it and another edition from the same seller.

Why may you ask? I suppose they just looked cool at the time. I was not aware of resources such as ISFDB or Galactic Central, so had no idea of the scope of their run, rather basing my research on what I could pick up via other eBay listings and occasional searches on the internet. Referencing Locus (which I was aware of) never crossed my mind. All hugely useful resources which I now reference regularly.

What is the draw of old genre magazines? For me there are various reasons, from the simple joy of collecting, especially if a series is finite, which means one is not in for a unending commitment to purchase new issues as they come out.

Another aspect is the possible exposure to authors one would never otherwise encounter and, if the magazine is old enough, coming across big names when they were maybe less know at the time.

Original Fantasy Book July 1947 First Issue. Artist: Milo

Fantasy Book ticked these boxes and one other very important one – it was accessible in terms of price and availability. Living on the other side of the world from the US and the opposite hemisphere from Europe, one simply does not have the ability to jump onto your motorbike and head off to The Windy City Pulp and Paper Convention – read an awesome article about this event here and here , or its equivalent in the UK: The London Paperback and Pulp Fair. Please leave a comment if similar events occur in your country!

With exchange rates and postage fees, one has to be somewhat selective in collecting while continuing to scour book exchanges, school and church fêtes and the like in the hopes of picking up a little treasure.

The Fantasy Book I will be writing about here over the space of a few posts was a semiprofessional magazine published from 1981 to 1987 by Dennis Mallonee and Nick Smith.

It was not the first magazine to bear this name. That honour goes to the magazine published by Fantasy Publishing Company, Inc from 1947 to 1951 and edited under the pseudonym of Garret Ford.

Fiction House Press Reprint 2022

I am not enough of a completist to try and obtain these older magazines, the prices online are exorbitant, although two copies appear to have been reprinted in 2022 by Fiction House Press , which means if one were to buy, one had better be sure which version is for sale.

Original Fantasy Book November 1948 Standard Edition

The old Fantasy Book also printed a few of their issues in two formats, the budget pulp edition and then a deluxe edition, printed on book paper.

I do not know enough about this first version to comment more, suffice is to say it folded half way though publishing certain serials such as Journey to Barkut/Gateway to Elsewhere by Murray Leinster, which I am sure frustrated readers at the time.

Original Fantasy Book November 1948 Deluxe Edition

The Premier Issue of Fantasy Book – October 1981 features a comical wrap around cover. In the editorial, Dennis Mallonee makes reference to the magazines predecessor and goes on to discuss their plans for the magazine, noting that they have a stock of great stories in the pipeline, some by big names in the field.

Many of the authors featured in this issue have published multiple stories.

Fantasy Book October 1981 Premier Issue. Artist: Cathy Hill

The stories in this issue were all enjoyable and of good quality in my easy-going opinion. Each story is accompanied by at least one piece of interior black and white artwork.

The only instantly recognisable big name I encountered was L. Ron Hubbard (The Were-Human). A bit of a publishing error came in with The Musician by J. Neil Schulman, whereby a few hundred words were omitted. This unintentionally abridged story was accompanied by a note acknowledging the error and promising to reprint it in full in the next issue. Aside from these, story contents included in the 80-page magazine include:

  • The Assiz Dragon by Sherwood Springer
  • A Symphony for Sarah Ann by Sheila Finch
  • The Ballad of Lookhma by Jon L. Breen
  • We Take Care of Our Own by Terri E. Pinckard
  • Another Creator by Kris Neville
  • The Room at Inglenook by Walt Liebscher
  • Wasps by Walter Beckers
  • The Hour of the Anvil (poem) by Jim Neal
  • The Devil Behind the Leaves by Stephen Golden and Kathleen Sky
  • Bourbon, Water and Djinn by Boyd Correll
  • Warm, Dark Places by H.L. Gold

The second issue of Fantasy Book was published in December 1981 featuring a beautiful cover of a sorceress changing people into pigs.

Fantasy Book December 1981 Issue Two. Artist: Charles Vess

At 80 pages including the unabridged version of The Musician by J. Neil Schulman one must wonder at what was cut to allow space for this mistake in the previous issue. My humble, inexperienced in publishing, take on this would be to have added an extra 8 pages (the stories length) and point this out to the readers in assurance that they were not being short changed.

Big author names in this issue were A.E. van Vogt (Death Talk) and Katerine Kurtz Camber the Heretic opening chapters). I was particularly pleased to see the Kurtz excerpt as she is an author I have always wanted to read but have never gotten to. Having read these opening chapters to Camber the Heretic, I know I must obtain at least this series. The van Vogt was honestly not one of is strongest works in my opinion. It started well and was quite a nice concept but then became disjointed and a bit hard to follow. Was it written this way or was it hacked down to size?

Another name I was pleased to see was Donald A. Wollheim! The driving force behind Ace Science Fiction and Fantasy books and later his own brand (DAW), it was a pleasure to read the short and humorous Great Gog’s Grave by Forrest J. Ackerman and Donald A. Wollheim. Lest we forget, Forrest J. Ackerman was Mr. English Perry Rhodan, notwithstanding working with C.L. Moore on the Northwest Smith series and having published numerous short stories and other works.

As is often the case each new issue of a magazine improves its quality as the editorial and publishing teams gel and hone their craft and the second issue of Fantasy Book is no exception. While the Premier Issue was slick bar its admitted publishing error, this one simply felt better. Other stories not already mentioned are:

  • Won’t You Have a Cup of Tea Dearie by Terri E. Pinckard
  • Among the Wilder Talents by Sherwood Springer
  • Herbie Feamster, Lord of Dimensions! By K.L. Jones
  • Deal with the D.E.V.I.L. by Theodore R. Cogswell
  • The Dark Country by Dennis Etchison
  • Necromantic (poem) by Leilah Wendell
  • It Ain’t Missed Yet by Michael Bernard
  • Transylvanian Roots by Thomas R. McDonough
  • M-M-Magic by Rory Harper
  • Of Mice and Monsters by Albert Hernhuter
  • In All Things Moderation by Steve Rasnic Tem
  • Challenge (poem) by Jim Neal
Fantasy Book December 1981 Rear Cover. Artist: Josh Kirby

Overall I think these two volumes present a great start to a magazine I look forward to reading through all issue of and reporting back on in future articles. Yes I have all the issues, COVID induced exorbitant costs of obtaining the final issue aside, so the collection is complete!

If you find one of these around, pick it up. They are usually well priced from what I have seen and have some good stories, often by authors who have gone on to a degree of success in the genre.

Canon or Not Canon – Ideas and Concepts for the Silent Death Universe

Thoughts on Chronology

Shorty after humanity developed the hyperspace drive and began its surge towards the stars, the traditional means of time-keeping was abandoned as being impractical. A twenty-five hour day was instituted, along with a 360-day year of 12 months of 30 days each. These were synchronised and instituted all across Terran space.

While the Empire still thrived, the years are counted since its founding. There Imperial Year 0 marked the first consecration of the Imperial Dynasty Throne. Earlier dates were referred to as Pre-Imperial. The year in which The Next Millenium is set would have been Imp 518.

One the Empire fell, the former provinces felt they needed to break all ties with the Imperial way, so they began the numbering of years all over again.

Imp 511 became 0 AL, (Annus Libertatis: Year of Liberty). It was then that the next millennium – a fresh start, a time of incredible potential for both hope and destruction – began.

The current year is 7 AL. Proper notation for a date begins with the year and then the date, separated by a colon. For example, 7:125 AL stands for the 125th day in the 7th Year of Liberty (Silent Death: The Next Millennium 1998:6-7)

Silent Death: The Next Millennium is set roughly 10 000 Terran years in the future, if one uses the canon quoted here. A very useful time chart detailing key historic events can be found at the ICE Webring

One may postulate that retaining a Terran based time structure over such a long period stops making sense the further one travels from Terra, both in distance and time. Any given planet will naturally have its own day, seasonal and annual cycles which inhabitants would invariably settle into.

Consider also that earth time is based on a Babylonian sexagesimal – base 60 – system, which provides for 60 seconds in a minute and 60 minutes in an hour. Note the Babylonians divided their day into 60 parts as well, or 12 double hours called kapsu. Theoretically a planet with a much longer day and/or year would not work well using a base 60 time period and would need to determine its own local time scale.

In space and for longer time measurement however one would need to determine a more useful standard that however still works with human natural work and rest cycles, based on the metric system which uses the Second as a base. Thus:

ValueUnit NameDescription
0.000000001Nanosecond1 000 000 000th of a second
0,000001Microsecond1 000 000th of a second
0,001Millisecond1 000th of a second
0,01Centisecond100th of a second
0,1Decisecond10th of a second
1SecondMetric time base unit
10Decasecond0,17 minutes
100Hectosecond1,67 minutes
1 000Kilosecond16,7 minutes
10 000Myriasecond166,67 minutes
1 000 000Megasecond11,6 days (16 666,67 minutes)
1 000 000 000Gigasecond31,7 years (16 666 666,67 minutes)
Table of time based on Seconds as the standard unit.

While this table simply explains a base standard for metric time it does not address what a day, week, month or year may be termed as in 10 000 years in the future.

The following is submitted as a possible methodology using terminology that should be reasonably familiar to grasp. The Current Earth Equivalent is a more or less value, to describe how such a term may be used in day-to-day speech.

TermMetric Time UnitCurrent Earth Equivalent Notes
SecSecond 
KilsecKilosecond~ ¼  hour
DK-sec / DKMyriasecond~ 3 hoursFrom Das (10) Kilsec (1000)
Cycle100 Kilosecond~ 1 day 3 hours. A space day.
Lakh CycleMegasecond~ 11 & ½ days. A space week.Lakh = 100 000. Technically Das Lakh, but corrupted.
Crore Cycle10 Megasecond~ 115 & ½ days. A space quarter.Crore = 10 000 000.
DC-cycle / DC100 Megasecond~ 1147 & ½ days. A space year.From Das (10) Crore (10 000 000)
Table of standard space time units.

Certain terms have an Indian / Hindi origin gradually adopted as a way of simply referencing larger numbers. Example: it is easier to simply say (one) lakh than to say (one) hundred thousand. One also has to consider that, based on the past of languages such as English, one may extrapolate that similar linguistic chances would occur into the future, with adoption of certain useful or common words and phrases.

A Lakh (lākh) is 100 000. Technically a Cycle. A Lakh Cycle is misnamed, it is a Das (10) Lakh representing a Megasecond but has been corrupted.

No months are given, rather people will speak in week numbers or quarters (Crore Cycles)

The final concept is thus that while each planet may determine its local time, either as a derivation of the proposed interplanetary time measure, Imperial based units or something specific to their own locale, the Interplanetary timescale defined here be adopted in terms of certain sectors having a standard scale of measure.

This can make travelling long distance to other sectors somewhat challenging, earth style daylight saving and time zones on steriods.

Freighters

Part I -Where to Find Freighter in the Game

The Silent Death universe often speaks of freighters. After all this game isn’t based in The Great War on the Western Front, where enemies met each other on patrol most of the time, when not escorting bombers or attaching observation balloons! In an interstellar setting populated with billions of people living in kinds of conditions, where war is always happening somewhere, prize taking, raiding privateering or straight forward piracy is logically going to present itself for game scenarios.

Before we speak of Freighters and we need to consider some concepts and rules which will be familiar to most people who have read a science fiction book – often space opera – or have watched a science fiction film or TV Series. Salvage Claws and Tractor Beams! Without these common concepts that are by now surely recognized as part Science Fiction entertainment canon, having a way to take charge of a ship without blasting it to pieces presents quite an advantage when one wishes to capture some cargo.

Renegades: The Espan Rebellion

Renegades: The Espan Rebellion was designated as the fourth expansion for the original Silent Death: Metal Express game. The original much loved game was somewhat unbalanced and had already introduced a number of additional, important rules during the previous expansions, necessitating a second edition, Silent Death: The Next Millennium. Renegades was refactored to align it to the new rule set and effectively became the first expansion of TNM. While it did not introduce freighters, it added further inertia to the original kernel – the smugglers favorite Shryak Shuttle in the core rules.

Renegades added the Crescent (blockage runner) and Conestoga (heavy transport). Renegades also introduced a very useful example of a salvage orientated ship: The Scorpion.

The Scorpion Salvage Ship

The first true freighter was detailed in the Sunrunners forces supplement which saw publication the following year.

Sunrunners

The Borax Freighter is a slow, unarmed ship that, while provided a gunship style display for damage tracking, does not even get a write up about who built it or its history. Bold ‘C’s at specific positions in the side damage tracks are implicitly cargo slots which if hit mean a loss of cargo. The Critical Hit section also details special events for cargo loss. I could not find any other specific mention of this in the rules, but it is interesting to note the positioning of the cargo – see Part II of this article below. Sunrunners also repeated the Salvage Claw and Tractor Beam rules as well as the Scorpion’s ship display meaning one did not have to own Renegades to benefit from this specific aspect of its content.

Special mention should also be made of the Curtiss Shuttle in the same book. While not specifically classed as a cargo ship and having no specific cargo slots on its damage track, as an apparently reasonably sized shuttle, it could carry cargo internally. Faster, cheaper and more capable of taking some damage than a Shryak Shuttle, the Curtiss Shuttle has no armament so would be best employed in safe environments or with a fighter escort.

When it comes to Cargo in Silent Death, one has to look at the Kashmere Commonwealth house supplement. Published the following year from Sunrunners, it clarifies the implicit ‘C’ slot rule, further details Cargo Damage and Capacity while defining a system to design ones own Freighter. (TNM provided a system to design Fighters and Gunships).

Kashmere Commonwealth

House Kashmere is all about trade and this book defines the Ushas mega-freighter. Technically an Escort Class vessel it uses a Warhound ship display. It can also swap portions one or both of its massive side mounted holds to mount Battle Pods. On the other side of the scale is the Lakshmi, a swift and pretty deadly two person fighter with capacity to carry a small cargo in a reinforced bay. In between these tow is the Vishnu, a slow but heavily armored freighter, carrying some mild defensive weaponry and using the gunship style ship display. Although there are thousands of Vishnu plying the trade routes, one has to be careful that its dangerous twin is not encountered. The Yama is for all intents and purposes a Vishnu, but mounts Battle Pods instead of cargo, turning the slow well armoured freighter into a slow well armoured and deadly gunship!

Hostile Takeover

The Hostile Takeover annex book takes all the rules built on in the previous three books and ties them into a campaign, linking back to Renegades: he Espan Rebellion.

In terms of this article, note should be made of the Tractor Shielding rule introduced in Hostile Takeover, which helps negate the pull of a Tractor Beam.

Hostile Takeover details the last freighter to be noted in this article, the Astrahauler. Like the Borax Freighter and Curtis Shuttle it does not get its own picture on its gunship style ship display, but it does at least get a write up (sans ship picture) of its providence, where we learn it is made by the same Rio Rojo shipyards as who made the Conestoga.

The Astrahauler follows what can by now be seen as a standard mid size freighter pattern – slow and able to take a bit of damage before it starts to lose bits of cargo or ship components. To its benefit it is fitted with blast canons fore and aft which, against small fighters could do some damage.

Part 2 – What Space Freighters Could Look Like

In Part I we looked through what Silent Death had to offer in the line of Freighters and by extension heavy transports and shuttles. The concept of Space Freighters mounting containers alongside their core is hardly new and I believe Silent Death followed this Zeitgeist. (I specifically used that word as I want to touch on this in another article sometime).

To try and be brief, where I am going here is that modular containers are the norm currently, no paradigm shift to fundamentally change that pattern has occurred (like the paradigm shift from crates loaded into holds to modular containers), so in our current understanding of the world it is logical Space Freighters may take a similar form.

This can be seen in the Original Battlestar Galactica.

Battlestar Galactica Gemini Traders

I asked for permission to publish these from the BSG Modelling Group (GALACTICA Model FX) on Facebook.

Battlestar Galactica Colonial Movers

In terms of Silent Death these massive freighters would have to be tendered at an orbital satiation or a space station freight hub, being unable to land. Certain books or shows may take a different view – that with the right technology one could land one of these monsters, but I tend to like the space only concept, backing it up with a “well perhaps if unencumbered”, as the sheer weight they would carry plus even light gravity would have have to be a structural integrity risk.

The same rule may not apply for shuttle, heavy carrier or even mid size carriers who may depending on their design and intended capabilities, have atmospheric capabilities. Silent Death, like many a science fiction universe has a special fuel which allows for trans light capability, but that can only work with ships large enough or built to take the necessary engineering. Landing on any earth like planet thus comes with the added cost of ascending again, which is also a consideration when it comes to fueling, special trans light engine or not. Fuel converts to energy energy is never free.

The makers of Silent Death only ever made models of the Vishnu and Ushas freighters. These are still available via Silent-Death.mx.

That said I found this beautiful model on a web search. I have tried to contact the maker – Sublight Drive – via ETSY but my messages keep bouncing. No idea as to the scale.

Kashmere Ushas being Loaded – Sublight Drive
Kashmere Ushas Close Up – Sublight Drive

The conundrum remains however, how does one accommodate models of the non pictured Silent Death Ships? the Borax Freighter, the Astrahauler, the Curtis Shuttle?

This is the crux of the article to an extent. We have established what a freighter may look like. By now 3D printing has become relatively common, many people know someone who has a printer, or can access a printing concern to undertake a custom print. To this end many a CAD artist has done the work already, either through passion or perhaps identifying a gap in the market. There are many other games out there, or even dedicated Silent Death players designing their own freighters and needing a suitable model.

3D Printer Freighter – Origin TBD

I forgot to take own the URL for the above picture, but will endeavor to search it out and update here. This could easily be an Astrahauler or Borax Freighter, if that is how your imagined it. Or for a slightly larger, more modular effect, I quite like this one I found at CG Trader.

Freighter Mk 1 – CG Trader

The biggest question would have to be what kind of scale the models are and if they fit with your game.

To be fair, Silent Death had scale issues with its original metal core ships often enough. The original Night Hawk (later Cossack in TNM) single person fighter was massive compared to say the original Pharsii – which was thankfully re launched in a more realistic size (original model got reassigned as the Bat)

The Barbarian King by Quintin Snell

Cover of The Barbarian King by Quintin Snell.

The Barbarian King is the first novel published by my friend Quintin Snell. His short stories have been published in various online magazines.

As it has just been published, I cannot comment on the story, although I am very much looking forward to reading it. In the mean time here is the blurb from Amazon:

The small kingdom of Gelmoor is peaceful and prosperous, until the death of the king. His death causes a power vacuum which splinters the land into warring counties, each ruled over by a power hungry lord.
On his deathbed, king Gregory Maddock issues his final order to his captain of the guard and best friend: “Keep my son safe.”
Rodney Smith steals the prince away, heading up into the mountains where neither of them will be recognised.
Prince Dunkan grows up in a town orphanage, with no idea of who he is. A series of events take place, which steer Dunkan on a dangerous path lined with love, violence and suffering. He grows up, becoming a blacksmith, then disillusioned with life, an outlaw mercenary. However fate has big things in store for him, and his actions will have serious implications, beyond his own life. – Amazon

The Barbarian King rear cover

I will surely return here with an update once I have obtained and read the book. What I can say is I have enjoyed Quintin’s well crafted short stories that have been published at various online publishers.

If anyone has read this book, we would be interested in a short review to be published here.

And Now For Something Completely Different: Continuum by Roger Elwood

The accolade of being called an anthologist is not easily obtained. One can only imagine at the effort spent splicing the different elements that comprise an anthology into a cohesive whole that sits well with a theme that will attract book buyers.

Roger Elwood 1943-2007 most definitely earned the title of anthologist, having put together 64 mostly science fiction anthologies between 1964 and 1980. Like many of his peers, he was also an author who published a small number of fiction novels and short stories.

UK Version – Cover art by Patrick Woodroffe

Mr. Elwood also performed editorial duties for the short-lived Odyssey Magazine (1976).

This article is not a celebration of Mr. Elwood’s career though. It is about a unique series he published called Continuum.

Is it an anthology? Is it a magazine specialising in serial stories? A bit of both perhaps while at the same time neither of each in the true sense. Continuum may perhaps best be described in Mr. Elwood’s own words:

Solid science fiction, eight outstanding authors, an unusual format – this is the tapestry of Continuum, a revolutionary concept in SF anthologies, where each book in the series, of which this is the first, stands as an entity on its own, at the same time forming an integral part of a continuing cycle.

PHILIP JOSÉ FARMER

POUL ANDERSON

CHAD OLIVER

THOMAS SCORTIA

ANNE McCAFFREY

GENE WOLFE

EDGAR PANGBORN

These are the authors who create their own strange and fascinating worlds to which they return in each successive volume, thus contributing to a unique experiment in SF. Also included is the totally original revolving authorship series conceived by DEAN R. KOONTZ and continued by three eminent authors in the field.

Front matter of Continuum volume 1.

The series copywrite is 1974 whereafter four books were published in hardback form by W.H. Allen & Co. Ltd of London UK between 1975 and 1977. I picked up the paperback version of books 2 and 3 some time back while browsing the shelves of a second-hand bookshop. Being a sucker for an anthology especially a series which allows me to hunt the rest down for completeness, add in the cool cover art and I had to have them.

The paperback versions I picked up were published by Wyndham Publications under their Star Books imprint. While no art expert, I was not too surprised to find the cover artist of all four of the UK versions (W.H. Allen, Star) were the illustrious Patrick Woodroffe. Small wonder was drawn to these books!

UK Version – Cover art by Patrick Woodroffe

Not knowing what I really had, I set about doing a little research followed by some eBaying to obtain volumes 1 and 4. I was initially was struck by the apparent serial nature of the content. Thereafter I declined to tackle them because I really wasn’t sure how. Does one read each book from cover to cover as intended, or read each story across the four volumes?

This was perhaps the issue which prevented such a concept expanding. Perhaps it was simply a little too different for the average reader to try to figure out. Yet to paraphrase Mr Elwood, each story should have stood alone in its own right. In the end the series amounted to the originally projected four books and was not followed by any further undertaking of precisely the same nature.

Regarding the books, I have not seen others in my varied shop browsing. I had to buy book 1 and 4 from a seller in the UK. I doubt they can be considered a rarity, but owning a complete series by the same publisher could be considered an achievement of sorts.

UK Version – Cover art by Patrick Woodroffe

In the US the hard cover versions were published by Putnam while the softback saw print under the Berkley medallion imprint. The cover artist there was Vincent Di Fate. The series does not appear to have been republished in any form since. While the artwork on the US and UK versions differed, the hard back and paperback copies used the same artwork per respective country albeit with some differences in cover lettering.

Continuum 1

The first volume in the series contains the following stories across its 190 pages of small print text:

  • Stations of the Nightmare – Part One by Philip José Farmer
  • My Own, My Native Land by Poul Anderson
  • Shaka! by Chad Oliver
  • The Armageddon Tapes- Tape 1 by Thomas Scortia
  • Prelude to a Crystal Song by Anne McCaffrey
  • The Dark of the June by Gene Wolfe
  • The Children’s Crusade by Edgar Pangborn
  • The Night of the Storm by Dean R. Koontz
US Version – Cover art by Vincent Di Fate

Continuum 2

This 191 page small print volume presents the continuation of what came before:

  • Stations of the Nightmare – Part Two by Philip José Farmer
  • Passing the Love of Woman by Poul Anderson
  • Caravans Unlimited: Stability by Chad Oliver
  • The Armageddon Tapes- Tape 2 by Thomas Scortia
  • Killasahndhra – Crystal Singer by Anne McCaffrey
  • The Death of Hyle by Gene Wolfe
  • The Legend of Hombas by Edgar Pangborn The Fire Mountain by Gail Kimberly
US Version – Cover art by Vincent Di Fate

Continuum 3

The penultimate volume has numbers 182 pages, the typeface is slightly larger than the first two:

  • Stations of the Nightmare – Part Three: The Evolution of Paul Eyre by Philip José Farmer
  • A Fair Exchange by Poul Anderson
  • The Middle Man by Chad Oliver
  • The Armageddon Tapes- Tape 3 by Thomas Scortia
  • Milekey Mountain by Anne McCaffrey
  • From the Notebook of Doctor Stein by Gene Wolfe
  • The Witches of Nupal by Edgar Pangborn
  • Darkness of Day by Pamela Sargent and George Zebrowski
US Version – Cover art by Vincent Di Fate

Continuum 4

The final volume of 186 pages contains:

  • Stations of the Nightmare – Chapter Four by Philip José Farmer
  • To Promote the General Welfare by Poul Anderson
  • Caravans Unlimited: Monitor by Chad Oliver
  • The Armageddon Tapes- Tape 4 by Thomas Scortia
  • Killashandra: Coda and Finale by Anne McCaffrey
  • Thag by Gene Wolfe
  • Mam Sola’s House by Edgar Pangborn
  • Making the Connections by Barry N. Malzberg
US Version – Cover art by Vincent Di Fate

All but the last volume include a brief introduction by the editor. Sort stories, especially those of well published authors have a way of finding themselves reprinted. For the big names works published in Continuum have generally been collected and republished later. None appear to have been published before so each could be considered an original piece.

Of the works published in Continuum, those of Chad Oliver, Thomas Scortia, Gail Kimberly, Pamela Sargent and George Zebrowski have never been republished, although the pieces by Anne McCaffrey – strangely – only saw partial publication in in Croatia. The rest were subsequently collected in book form.

To use a contemporary term, was this attempt to disrupt the anthology market successful? I do not think it was, purely based on the fact that we do not see more anthologies like this. Surely it is unique and for the completist collector, it allows for a lovely encapsulated collection without loose ends or wondering if someone will tack on another follow up volume.

I am personally happy with what I now own and look forward to reading some authors whom I have not had the opportunity to encounter before.

Mystery in Tenochtitlan – Demon of the Air by Simon Levack

Some time back, while on holiday I perused the sale books at a local shop. They were stacked high and generally held no interest for me. One light orange coloured spine caught my attention. It was a book called Demon of the Air, by Simon Levack. I pulled it out and read the back:

INTRODUCING A NEW DETECTIVE TO RIVAL DIDIUS FALCO.

Mexico, 1517. The Aztec Empire.

The Emperor Montezuma rules by fear. Temples run with the blood of human sacrifice. In this brutal world a free man can sell himself into slavery. Escaping a troubled past, Yaotl has chosen to become a slave to the Chief Minister, Montezuma’s unscrupulous right hand man.

Strange things are happening. The sacrificial victim Yaotl was ordered to escort as leapt to his death, uttering sinister prophecies before the priests could cut out is heart. The emperor feels threatened. Mysterious strangers have appeared in the East. Visions disturb his dreams. His soothsayers cannot interpret them.

When the soothsayers vanish, Montezuma senses a connection with the bizarre suicide, and orders Yaotl to follow the trail – in defiance of his own master. What Yaotl uncovers will unlock nightmares form his own youth – and threaten the future of everything he knows.

This was something completely different. I enjoy the occasional novel with a historic setting and one like this, set in a culture I have sparse, probably inaccurate, knowledge of was intriguing to say the least. I parted with some cash and took it home from my holiday, unread, for it to take up residence on my accrescent shelf of Books Awaiting Reading. Demon of the Air languished there, partially forgotten until a recent reorganisation revealed it. The fates had thrust this novel back into my hands. Who was I to argue with such an auspice?

Demon of the Air is Simon Levack’s first published novel. Set in Mexico preceding the imminent arrival of Spanish explorers or conquistadores such as Juan de Grijalva and Francisco Hernández de Córdoba, it presents a first-person account of life in Tenochtitlan through the eyes of a slave called Yaotl.

I have the Pocket Books paperback version of Demon of the Air, which weighs in at 413 pages*. The novel is no dry history, neither is it an alternate earth fantasy. Rather it is a murder mystery in a unique fascinating setting. The first few pages are dedicated to authors notes and some maps, thereafter one is immediately thrown into the action as Yaotl and a friend ascend the Great Pyramid, on their way to a sacrifice at the temple of the war god Huitzilopochtli.

The novel is fast paced with one event leading into the next. Simon Levack interweaves the here and now with commentary on Aztec culture that enhances the narrative. Add in occasional, well timed flashbacks and one has a winning formula for an interesting story that is difficult to put down. I am not a speed reader, yet even so I mowed through Demon of the Air in short order as I felt compelled to read “just one more chapter“.

The end of the novel is bittersweet. No, do not worry, not a spoiler. Rather I had thought this to be a standalone story, whereas I discovered that, while the story does reach a conclusion, it also leaves a number of threads leading into a sequel. I was overjoyed at the prospect of more Aztec action, but also apprehensive of the wait I will have to go through to locate a copy of the sequel.

Sequels as it turns out. Some mild research reveals that the author written three more novels in the Aztec series: Shadow of the Lords, City of Spies, Tribute of Death. I look forward to reading all of these.

In conclusion, I found Demon of the Air to be a fascinating journey into Aztec culture and would recommend it to a wide range of readers as a true example of merging unlikely genres and settings into a compelling finished product. The subject matter has been extensively researched which makes it all the more believable to read.

I often find myself wearing a RPG game master hat when reading a book that engages me. I just cannot help thinking, “wow, what a cool idea” or “I am definitely using that next time we play” as I read. Sometimes I lie awake buzzing with ideas after reading an exciting story.

From a roleplaying perspective, Demon of the Air is a treasure trove of ideas. Tenochtitlan is a city like none other. Built on an island in the middle of a lake and bisected with canals, the possibilities for adventure and exploration may seem endless.

From a classic alternate earth RuneQuest III perspective, Aztecs should have been a fait accompli. There are accounts of such an Aztec supplement being considered in the Avalon Hill days. Alas talks about what could have been a radical supplement in its time never translated into anything material.

Reason enough for someone or a group of likeminded people with a passion for RuneQuest and Mesoamerican culture to publish a supplement.

For a detailed look at Avalon Hill’s RuneQuest III that does briefly touch on the Aztec theme, look no further than Michael OBrien’s detailed article on the subject at Black Gate.

* The book is technically 429 pages long but the last 16 pages are dedicated to the first chapter of the sequel: Shadow of the Lords.

Exanimate – Paradox Magazine

This is an ongoing series of articles discussing contemporary magazines which have ceased to exist.

Paradox Magazine was a speculative fiction publication edited by Christopher M. Cevasco that had a thirteen issue run. Their first issue was published in March 2003 while their final issue was published in April 2009, receiving a fitting eulogy at Back Gate Magazine.

The word paradox should be well known to most readers of speculative fiction and it is thus no surprise as to the existence, past and present, of other publications bearing this word in their title. The H.G. Wells Science Fiction Society of Romania publishes an inhouse magazine called Paradox, while a one off APA zine of the same name (formerly Just SF) was published in June 1982. Neither of these or any other publications with a similar name are covered within the ambit of this article.

The magazine’s speciality was more geared towards Alternative History, Period Tales, such as Arthurian, and Time Travel. i.e. Earth based as opposed to the otherworldly slant that often comes with traditional Fantasy and Science Fiction. Like many other similar publications, Paradox Magazine featured the occasional scholastic article, review and poem. One interesting differentiator was their substantial use of historic art, both on the cover and internally – an idiosyncrasy I quite liked.

I received my copy of Paradox Magazine issue 7 some years back, amongst an order of assorted back issues I was able to purchase from Neil Clarke, who publishes the successful Clarkesworld Magazine. As an indication of just how long this magazine languished on my Books to Read shelf, consider that Paradox Magazine was still an in print going concern when I received this specific issue!

The magazine has a glossy card cover in colour, depicting A Reading from Homer by Sir Lawrence Alma-Tadema (1836 – 1912). There is no artwork or other detail on the back cover. It is a standard sized “A4”, saddle stitched publication containing 56 pages of quality paper. Fiction in order of appearance is:

A Tear Like a Rainbow by Meredith Simmons. A tale of the US Civil War involving aerial reconnaissance through the use of lighter than air balloons and a young protagonist with a penchant for words starting with the letter i. Illustration by Roxell Edward Karr.

The Avowing of Sir Kay by Cherith Baldry . An Arthurian tale about Sir Kay, King Arthurs foster brother, seneschal and a Pentecostal vow. Illustration by Howard Pyle (1853 – 1911). While I recalled Sir Kay from various works of fiction and the movie Excalibur, this view of him was different to what I had expected. I enjoyed this story.

A Monument More Lasting than Brass by Steven Mohan, Jr. An Alt History tale about the first return to the moon, many years after a disastrous Apollo 11 mission failure. Illustration by Jeff Ward. The author of many BattleTech novels delivers a “what if” scenario on a cold war backdrop in the time of US president Reagan.

The Tiger Fortune Princess by the late Eugie Foster. This short work is set in China and involves the Empress Meiying and a curse placed upon her daughter, the princess Wen-Xiu. Illustration by Wu Guxiang (1848 – 1903). The story reads like a folk tale, quickly putting one in the mindset of a Chinese narrator telling the tale to rapt audience.

A Taste of Ashes by Ilsa J. Bick . This story takes the form of a letter written in the first person, detailing a horrific paranormal encounter. Illustration by Arthur Davis Broughton. The author is well published, and while I have not read any of her other works, it is my belief that A Taste of Ashes may fit within the universe of some of her works.

A Hand in the Stream by Darron T. Moore. Illustration by Jim Ordolis. This is a Time Travel piece about the leader of a team of time travellers from the future must return to a critical point in the past to collect certain objects of high value moments before they are destroyed, without of course causing any timeline continuity problems. The story flips between present and the main characters memories of certain events in her past. Enjoyable and quite credible in its context.

The Gods of Green and Gray by Paul Finch. A tale set in Roman occupied Britain, some years after the Romans quelled Boudicca’s revolt, this feature story takes up the final fourteen pages of the magazine. Illustrated by Allen Koszowski. This was my favourite story, although I freely admit my bias towards the subject matter. Well written with believable characters and a good mix of historic and fantasy elements, I could not put it down.

Other works include an essay titled Beyond the Barbarian: History in the Works of Robert E. Howard, by Patrice Louinet. If my experience reading and contributing at Black Gate Magazine has taught me anything, this would have been a perennial draw card.

Poems by Angelo Sphere (Prayer of Atigone) and the prolific Darrell Schweitzer (The Greatness of Scipio Aemilianus) are set amongst the various stories and advertisements, while regular departmental columns (editorial, book and film reviews and contributors’ biographies) round off the magazine.

I enjoyed the magazine, finding all the content to be well written and pertinent to the magazines by-line – “The magazine of Historical and Speculative Fiction”.  If an opportunity to purchase other issues presents itself, I will definitely take it.

Badger Books – British Pulp Science Fiction from the 1950’s

Some time back, while scouring the shelves of a tiny book exchange, I came across a book tiled The Time Kings by JB Dexter. It was published in 1958 by Badger Books and contained 158 pages of small typeface on paper from the cheaper end of the publication spectrum. An old science fiction book from a budget publisher, I had to have it!

Information regarding Badger Books is pretty thin, limited to a Wikipedia page and what can be gleaned from the Internet Science Fiction Database (ISFDB). They were an imprint of John Spencer & Co, London, who started out in 1947 selling pulp style magazines before branching out into budget paperbacks in the 1950’s.

The Badger Books imprint started out in 1954 with a number of books entitled Supernatural Stories which, apart from a detective story: Assignment in New York by Mike Lantry (E.C. Tubb), was the predominant theme of their publishing schedule until 1958, when they started to branch out into science fiction. Their first book in their SF series was The Waiting World by R. Lionel Fanthorpe.

SF1 (1958) – Cover artist unknown.

During the course of the following decade Badger Books published science fiction and supernatural books on a near weekly basis at their peak, with a handful of authors using various pseudonyms churning out quantity reading matter. They also covered, at a lesser volume, other genres such as romance, westerns and war.

My modest collection of worn covers. Sadly when it comes to budget publications, those that do survive are often the worse for wear.

The cover artwork is quite enticing, with shiny spaceships featuring prominently to engage the readers sense of wonder. Earlier novels had covers by a range of artists, including some prominent names in the field. By 1961 Henry Fox had become the principal cover artist for Badger Books, with most covers thereafter attributed to him.

The mid to late 1960’s were not good times for the pulp industry in general. Many magazines and budget book publishers were affected, on both sides of the Atlantic. Badger Books was no exception and they ceased publication in 1967.

Cover art left to right – SF6 (1958) – Artist unknown, SF25 (1960) – Carlos Jacono, SF34 (1960) – Ed Emshwiller, SF39 (1960) – Artist unknown.

South Africa has in the past tended to import most of our English language published matter from the UK, so it is not surprising that Badger Books do turn up occasionally. These books are becoming something of a rarity, having been published with no mind for longevity. As with many such pulp publications, many may have simply fallen apart or have been thrown away along with other old read magazines and comics.

My own small collection barely scratches the surface of the 118, or 227 if you include the supernatural line, published. Hunting for these books in exchanges, markets and second-hand shops can prove quite exhilarating especially when one finds a new sample to add to a collection. If you see one, give it a try. It may well be the work of a hack churning out words to meet a deadline, but could as easily be a hidden, long forgotten gem.

Cover art left to right – SF52 (1961) – Artist unknown, SF60 (1961) – John Richards, SF65 (1962) – Artist unknown, SF78 (1962) – H Fox
Left to right – SF103 (1964), SF107 (1964), SF112 (1965). By this time Henry Fox was Badgers primary cover artist, although there is no specific mention of him doing these covers at ISFDB.

The Orc Gathering

Some humans experience the fun, filth and fury of an orc gathering. This is a description of the gathering and does not detail and specific role playing events.

From a distance it looked like a plan filled with bushy terrain that stretched on towards the horizon. Details became clearer as they neared, movement could be discerned on the plain. Cresting the brow of a small hill, there was a sharp intake of breath as the vista before them came into view.

They had been looking past the low hill – more a high area on otherwise flat landscape than a true hill – regarding what could be seen on the following, distant incline. Before them, across could be loosely referred to as a valley, the land was blanketed wit a moving mass or orcs.

The orcs thronged like ants, moving apparently randomly amongst tents, fires, livestock and wagons. What few trees may have previously been resent on the plain had long since disappeared to be used for shelter or firewood.

The noise, smell and energy of the great orcish gathering washed over them as they neared. They noted that the odd human merchant had set up for business on the periphery, risking life and livelihood for the chance of trading with the orcs for their (often plundered) gold. They received looks and grunts of greeting or challenge as they entered the periphery and began to make their way into the gathering proper, but for the most part they were left alone. Any serious challenge to orc safety had been met and dealt with leagues away, before the gathering proper began. A small band of humans posed no threat to what appeared to be thousands of orcs. Any larger threat that may approach the gathering would have been dealt with the none too friendly orcs who had pulled patrol duty.

“No boasting rights may be claimed for killing at a gathering. Orcs adhere to a special truce at their gatherings. Humans at an orc gathering are the safest humans in all Gaia.” They repeated these words like a mantra, desperately calling upon whatever gods may be listening to uphold their truth.

Yet their sources appeared to be correct. While here they could still die at the hands or an orc, the changes of dieing at the hands of the same orc elsewhere were considerably higher. They watched the orcs fight, feast and fornicate with equal enthusiasm as they walked unmolested amongst those violent people.

Slowly they made their way inward, accepting the an ale here, or an offer to gamble or wrestle there, all the time learning more about orc culture and language. Hours spent here would teach them more about orcs than they could learn in years of pouring over dusty scrolls and tomes in great libraries of Chakar and Draskor.

Though most knew of, had met and spoke the language of the plentiful Darketa, or even the vicious, aloof Nar-Haaz, few knew of the Mâal. It was now that they marked members of this third nation of orcs, this sub species who hailed from the far south, making their home among the great southern peaks. The Mâal they saw looked at them in a way that chilled their human souls and reminded them just how precarious their situation was.

The wiry, mottle skinned Mâal sneered and spat at them and thought not verbalised, the looks on their faces threatened death. A drawn out painful death for sure if you were to become their prisoner a passing Darketa explained helpfully, laughing at their own joke. Fortunately most of the Mâal who were in attendance had congregated to the far southern side of the gathering and kept to themselves for the most part.

For that matter the Darketa and Nar-Haaz did not appear to socialise much with the Mâal. Darketa and Nar-Haaz also kept mostly to their own kind, but tended to mix better with each other when occasion permitted.

It started to rain. A steady summer downpour that continued into the night. Filth that had lain on the ground or in shallow trenches washed together into rivulets as the rain cleansed the field. Rivulets fed streams that became choked with filth which they disgorged into bigger streams and rivers which all headed west, down an indiscernible gradient and would eventually empty into the Sylmar river. River fish choked on water fouled with the effluent of twenty thousand orcs, but as the rain continued to fall and the cess trenches washed clear, fresh water entered the rivers and the fish breathed again.

Through the night and rain the orcs fought, fornicated and feasted. Bonfires spat and sizzled as all manner of beasts were roasted on them. A vast bonfire, ten times the size of any other was visible towards the centre of the gathering. They heard talks of the great beast roasting there: A dragon said some, a stoorwyrm said others. The tale of whom and how it was slain changed with each telling.

The orcs fought, feasted and fornicated. Their fighting was not usually lethal, and not always physical. They boasted and haggled, argued, wrestled and brawled in the mud. At times one would need to look twice to see if two orcs rolling in the mud were wrestling or fornicating. The concept of privacy and tents among orcs, although understood, were not always contextualised together. While an orc may use his tent to keep his armour and sword dry from the rain, or conclude a sneaky deal out of the eyes of his fellow orcs, he or she would fuck in public so as to make it easier to refresh their beer, boast of their prowess and speak to their mates at the same time.

As the night progressed and became an even more drunken orgy than the day had been most of them received sexual proposals from various orcs. Food was plentiful and willingly shared, with the smells of freshly roasted meat mingling with spicy stews bubbling in cauldrons and oneesha bread baking over low fires.

By morning the rain had slowed to a light drizzle. While masses of hung-over or still drunken orcs milled about, others could be seen oiling weapons and muscles. The few humans traders who had come to the gathering had long since departed with heavy purses and empty wagons. Slowly the populace began to make its way west, towards what appeared to be a small copse of trees still left standing. Beer still flowed. Spilled wine looted from Sylmar valley farmers ran in red rivulets between their feet as they joined the orcs making their way west, winding between tents, horses and comatose orcs.

Food was still plentiful and it was easy to slice a snag off of a cooling roast, or appropriate a mostly un-gnawed haunch or if not careful, find oneself eating a spicy mouth burning stew out of a scooped out hunk of hard oneesha bread – the consequences not fully understood until later.

The copse of trees was not what it had appeared to be from a distance. An orc made quadrant of raised earth was flanked on three sides by the “trees” which now that they were closer, could be seen to be a myriad of war banners on long poles. The western side of the quadrant which was furthest from them was empty of banners. The banner poles were made of various materials, though mostly wood some were of bone and some even of bronze and whale ivory. Each banner represented a specific clan, while each side of the square, barring the empty western side, represented a specific nation of orcs, Nar-Haaz on the north, Darketa on the east and Mâal on the south.

This was the square, the main reason for the orc gathering. The place where the three nations put down their weapons and met in peace to boast, affirm alliances and feuds, demonstrate skill at arms and make orc policy. The gathering was a rare occurrence, few orcs saw one, a very small number ever saw two.

They were of a select small group, daring, human and perhaps very stupid. They were of a fraction of a percentage of humans ever to behold the wonder of an orc gathering – in all its fun, filth and fury.

This article was originally published on VI April MMIX