#probably raids an abandoned Western movie set

[lost-technology]

Dear My Brain, I do NOT need to do another massive Trigun AU right now. However, just to make you happy, I'll toss out my ideas here for "maybe someday." Okay, I'm on a Fallout-kick lately. Good show for my games, yes? A rare pretty decent live action adaptation of a set of video games. Definitely nods to fans / players there. Also been doing a little playing of Fallout 4. (Fallout 3 is the only game of the series I've played all the way through main quest sadly (maybe I'll download the classics from Steam...) Anyway, I've played with this notion for Trigun before - but only in the "if they were players." I made perks / gameplay styles for the main characters. So, what are you doing, brain? Why are you starting to come up with ideas for an actual story for me to write as a crossover?!!! Especially when I do not know if there are enough people who like both properties AND read fanfiction to be interested in a crossover AU / fusion fic - then again, I tend to write things primarily for my own delight, anyway. I was telling myself "no, these two things are already too similar, there's really no need," but then came the idea that "no, there are some things unique enough to the Fallout setting that you could really have fun with the Trigun characters wandering a post nuclear North America rather than Planet Gunsmoke / No Man's Land." I could even interchangeably refer to the Wasteland as No Man's Land... Okay, Brain, so you're telling me that in this fusion universe, Vault-Tec had a subsidiary that worked closely with the budding U.S. space program, which if I am not mistaken, is canon (that satellite-dish quest in Fallout 3 and that experimental for space-colonisation front Vault concealing the real experiment in the Nuka-World expansion for 4). SEEDS was sort of its own separate thing, more benevolent than the Vaults and free from their wild secret experiments. Their mission was open: Developing a new, yet profitable, source of power for the cooperate overlords to profit from, being a failsafe for re-terraforming the Earth in the event of a nuclear war, and being a study for close-quarter scientist-living for potential space colonies. SEEDS Vault 05 (as distinct from Vault 5, SEEDS gets a different class) saw the successful bioengineering of life forms they called Plants. They were actually developed shortly before the war of 2077, but were not considered perfected. After the bombs dropped and the doors sealed, further study showed the Plants' potential as essentially living G.E.C.Ks (Garden of Eden Creation Kits). A living answer to the G.E.C.K, water-chips, cold-fusion... Even a potential way to divest from the atomic energy that America had been depending on since the end of WWII. (Fallout, for non-players, is an AU of reality diverging at WWII's end). And then Independents are born. Rem Saverem, a rogue scientist who rebels against Vault-Tec's lack of ethics managed to smuggle out the first Independent. Poor Tesla, being a little girl she had to send out, but the Hell of the Wastes were literally a better shot for her survival than for her to stay in the SEEDS-Vault. Sometime later, a pair of twin boys are born and Rem manages to convince the crew not to make them into test subjects. Until she can't. Cue big escape scene where she gets Vash and Nai out of the vault and dies in a hail of bullets right before them as guards cut her down and come after them... And so starts the journey of pair of living McGuffins who can either save the world or destroy it in search of their lost sister. Nai eventually becomes Millions Knives, a brutal Wasteland warlord bent on the destruction of humankind. Vash is on the run with bounties upon bounties upon him. He meets a ghoul named Wolfwood, dependant upon a certain kind of Chem to heal his wounds and to keep him from going feral and a couple of reporter-ladies from one of the larger settlement-cities intent upon uncovering Wasteland mysteries.

[littleapocalypsekitten]

I feel like I’m being told to spread the word that White Dwarf is a thing that exists.  (I think you can still find it on Youtube and the occasional Walmart bin.  I’ve only ever been able to re-watch it on Youtube).   I am having a devil of a time trying to get people to watch it, though.  When we first got Netflix, I tried looking it up on there and on some of the other streaming services we technically have access to, but nada.  I was trying to get *one* person to watch it with me.  No success.   This is THE most obscure thing that I like.  Once upon a time, in the mid-1990s, FOX ran a science fiction movie that was supposed to be a pilot for a TV show that was rejected.  The pilot was made into a Weekend Special Prime Time movie.  It went up against the Full House finale or something so very few people watched it... I saw adverts for it and it seemed like my kind of thing.  And it was.  Very, VERY weird.  Ahead of its time, too.  Criticisms of it in TV Guide reviews panned it for the “mix of science fiction and western.”   Guess what actually became popular later, with various anime that came out a few years later among the geek-set (*nodding to my Trigun fandom, and the more popular Cowboy Bebop) as well as the smash hit, Firefly.   So, the plot of White Dwarf...  A young Earth doctor goes to the small planet, Rusta, to fill out a “frontier / third-world country” work requirement in order to qualify to open his own fancy-pants practice.  Rusta is a planet orbiting a white dwarf star and it is tidally-locked, which means that one side is in perpetual light and one side is in perpetual darkness.  Climate is regulated by machines that mysterious alien precursors left behind.  The machines are starting to break down.   Rusta’s population as a few different alien / native species, but is mostly made up of humans who have adopted the veneer of various past cultures.  The Light Side is mostly old American West.  People live a frontier-western lifestyle with wells and buckboards and that type of thing.  There is one magistrate / noble in the Light Side who tries to recreate Ancient Rome at his estate, but it’s mostly Old West there.  On the Dark Side, people live like Medieval Europe, with castles and are ruled by a king.  It is constantly stormy there and they hunt these native black panthers that reportedly taste delicious.    There has been an ongoing war between the Light Side and the Dark Side, which is why the young doctor is there - this is supposed to be his frontier adventure treading sword and arrow wounds and so forth.  The doctor he replaces gets ambushed and murdered by Darksiders on the way to the spaceport. One of the opening scenes is the murder of a frontier-family by Darksider bandits on a raid, which is why their twin girls, who were at school at the time, live at the hospital the young doctor stints at, as well as this boy with a shapeshifting disease who was abandoned there by his parents.   The planet is called Rusta because its ocean has a high iron content, which makes the water look rusty, like blood.  There’s a native parasitic worm that once it gets inside you will eat your brain and possibly your soul.  If you look up this series on Youtube, if you don’t find the movie, you will probably find the scene with the Tissue Gloves (gloves used by doctors to do cut-less surgery, used in a scene to extract a worm.  It’s the one clip people kept around because it’s WEIRD).   This...movie... pretty much tossed EVERYTHING at the wall to try to see what sticks.  It’s BONKERS.  It pretty much was a TV pilot for a series that was going to reveal all of these cool ideas / amazing world over the course of a series, but didn’t get the chance.  This is sad for me, because I would have watched the HELL out of it.   And now I feel like “I’m the only one who knows what this thing even is, aren’t I?”  Although...yeah, I did find it on Youtube a while back.    Hey! I found it!  Go watch it!   White Dwarf   I wanna become a tumblr cult-movie cult leader!  

Sometimes a cult classic is a movie I love and get like 4 people to watch. I’m the cult leader

[dweemeister]

49th Parallel (1941)

The Allies were losing the Second World War. In London in 1939 or 1940, the Ministry of Information (the propaganda house of the British government) met with film director Michael Powell and asked if he might want to make a film about minesweepers. Powell’s interest was piqued, but then he suggested making a film that might inspire the United States to abandon their neutral stance on the conflicts in Europe and Asia. His new partner-in-crime, screenwriter Emeric Pressburger (Pressburger would soon become Powell’s co-director on their subsequent movies), relished the prospect, hoping to “scare the pants off the Americans” with this newest project.

By the second half of 1941, the situation appeared dire. The Allies evacuated Dunkirk (their last foothold in continental Western Europe) the year prior; Nazi Germany was making advances in the Balkans; Fascist Italy was reclaiming the former African lands of the Roman Empire that it long sought; Imperial Japan had completed its military stranglehold on modern-day Vietnam, Laos, and Cambodia. British Prime Minister Winston Churchill was the most vocal in pleading with the United States to enter the war, but still Washington sat on the sidelines, adopting the policy of appeasement. Michael Powell’s 49th Parallel is an unusual propaganda feature film, and ultimately did not inspire the Americans to declare war on the Axis. Though released in the United Kingdom in late 1941, the film was not given a general release in the U.S. until April 15, 1942. By then, the Japanese attack on Pearl Harbor already provided the impetus for the Americans joining the Allies.

Powell and Pressburger’s newest work was no longer needed to scare the pants off any American. With 49th Parallel (originally released in the United States as The Invaders, which is also how it is listed in the records of the Academy of Motion Pictures Arts and Sciences), they introduced a narrative centering around Nazi soldiers looking to impose their values an ocean away from home. Many WWII-era propaganda movies have lost much of their watchability given time, but that is not the case here.

A German U-boat has surfaced in Hudson Bay in Canada. Six sailors are tasked by the captain to search for foodstuffs and supplies, but shortly after they reach land, the Royal Canadian Air Force (RCAF) has destroyed the U-boat. The six Nazi raiders are now at large, looking for ways to return to Germany or to rally the Canadian people to their side and begin an insurrection. Their commanders, Lieutenants Hirth (Eric Portman) and Kunhecke (Raymond Lovell), push the men forward. The raiders soon terrorize a band of French-Canadian trappers led by Johnnie (Laurence Olivier with an atrocious French accent) and murder a local Inuit named Nick (Ley On; whose people is described by Hirth as, “sub-apes like Negroes, only one step above the Jews” – this line was cut from the American release to avoid offending segregationists). Kunhecke is killed by an Inuit marksman as their raiding party attempts to steal a floatplane, and becomes the first casualty as these six are picked off one after another. Their mission to return to Germany will encounter several stops, including a community of Hutterites (a Germanic Anabaptist group, similar to the Amish, that fled Europe in the nineteenth century due to religious persecution) that they will attempt to convert to Nazism and Banff National Park.

Also featured are: Hutterite leader Peter (Anton Walbrook), Hutterite villager Anna (Glynis Johns), writer Philip Armstrong Scott (Leslie Howard), and Canadian soldier Andy Brock (Raymond Massey). Rounding out the U-boat’s raiding party are Vogel (Niall MacGinnis), Kranz (Peter Moore), Lohrmann (John Chandos), and Jahner (Basil Appleby).

If 49th Parallel was not a propaganda film, it would be more commonly labeled a war thriller. Editor David Lean (1962′s Lawrence of Arabia, 1965′s Doctor Zhivago) was one year away from directing his first feature film, and his ability to string together frantic images in the handful of pursuit scenes means that 49th Parallel never needs spectacular violence nor masses of soldiers engaging in a firefight to send hearts racing. Lean’s future cinematographer for both Lawrence of Arabia and Doctor Zhivago, Freddie Young, is also involved. And though the widescreen camera lens of the 1950s and onwards had not been standardized yet (the film is in the typical 1.37:1 ratio for the time), his opening images of Canadian mountains and the nature photography found in the film’s second half are spectacular to behold. For eighteen months, the filmmakers traveled over 50,000 miles across the Atlantic Ocean and Canadian wilderness to shoot this film. 49th Parallel is a cross-country, cross-continental effort. When put through the paces of Lean and Young’s work, puts into doubt the certainty of any propaganda movie’s ending – even for a few minutes.

Emeric Pressburger’s screenplay keeps the war thriller based in Western anti-authoritarian rhetoric. Pressburger, a Hungarian Jewish refugee who fled continental Europe and whose command of English was imperfect, allows the Nazi characters to spout dogma without challenge; their ignorance and contempt for anyone not like them obvious soon after the U-boat surfaces in Hudson Bay. Their victims are never entirely helpless, often challenging the Nazis with celebrations of Western democratic and classical ideas championing a person’s fundamental rights to free thought and to live the life they please. Unlike a typical, pure war movie, 49th Parallel is a Nazi struggle to escape North America contained within a grander ideological dialectic. The film makes no pretense on what side it is on (it should not in any case). Its messages are articulate, achieving its initial goals to disturb and terrify the audience with the mindsets of men willing to slaughter their way home.

Uneven performances are expected in propaganda cinema, and 49th Parallel is no exception. Established actors like Leslie Howard and especially Laurence Olivier are serving overcooked ham with their performances. By the midpoint, Eric Portman, as Lieutenant Hirth, begins to dominate the proceedings – all of the scathing and pedantic lines penned by Emeric Pressburger go to the unshakeable Nazi commander. As a result, Portman’s performance lacks any nuance or self-doubt, as he becomes the equivalent of a tea kettle that has been left on the stove whistling for too long. Nevertheless, Portman is also involved during 49th Parallel’s most blatantly political, yet most effective moment. At a community meeting, Lieutenant Hirth, believing that the German-speaking Hutterites are closeted Nazi sympathizers, begins to traffic slogans of racial superiority, shredding the Allied nations as unwilling, unmanly combatants. Hirth has misinterpreted the people who have offered them food and temporary shelter. The Hutterite community’s leader, Peter, played by future Powell and Pressburger regular Anton Walbrook (1943′s The Life and Death of Colonel Blimp, 1948′s The Red Shoes), dismisses the hateful rhetoric by invoking the history of his people – a history, defined by personal freedoms and the intolerance of others, that makes their existence a living refutation of Nazi doctrine.

Concludes Peter:

You think we hate you, but we don’t. It is against our faith to hate. We only hate the power of evil which is spreading over the world. You and your Hitlerism are like the microbes of some filthy disease, filled with a longing to multiply yourselves until you destroy everything healthy in the world. No – we are not your brothers.

One could say that Walbrook is over-explaining the film’s subtext here, but other propaganda films released from the Allied nations were far more heavy-handed than this to insensitive faults (see: 1944′s The Negro Soldier – an American propaganda piece meant to increase black enlistment which celebrates black cultural excellence, yet completely fails to mention slavery or racial segregation in its historical passages). Walbrook’s presence, however brief, electrifies the audience’s energies in the scenes that follow.

The individual whose work on 49th Parallel could be called transcendent is English composer Ralph Vaughan Williams. Those knowledgeable with classical music probably just read that last sentence in disbelief but, yes, Ralph Vaughan Williams composed for films. In fact, 49th Parallel contains the first Vaughan Williams score for a feature-length film. Decades earlier, Vaughan Williams studied under Impressionist composer Maurice Ravel (Boléro), and the Frenchman considered his English pupil among his most gifted. Influenced by English folk songs and Tudor-era modal music, Vaughan Williams’ rhythmically complex style did not cohere until shortly before World War I. He served in the Great War, returning home emotionally traumatized, his hearing permanently damaged. For 49th Parallel, Vaughan Williams wished to invoke musical nationalism in ways he believed no composer had yet accomplished in British cinema.

Recording with the London Symphony Orchestra, Vaughan Williams begins his score with the “Prelude” – a molto legato statement of an opening, meant to invoke the lyricism of Christian hymns that extol freedom and human fellowship. One can hear the influence of Ravel’s Impressionist roots in this music, rejecting Wagnerian leitmotifs and versatile enough to adapt to 49th Parallel’s shifting moods and settings. The majesty of the prelude shares few similarities to “Hutterite Settlement: Anna’s Volkslied” (“Volkslied” is German for “folk song”). Wandering flutes, wisping the rural landscape along with the solo German-language vocalist. It is a peaceful, somewhat elegiac cue – combining Vaughan Williams’ strengths of string-led pastoral stillness, pre-Baroque influences, and the sweep of North American music. Throughout, Vaughan Williams will alternate between non-resolving passages for the Nazis to juxtapose a musical uncertainty to their ideological rigidity, as if their experiences in Canada may be inspiring second thoughts; the early Hollywood musical-esque bustle of a large city; and an Englishman’s interpretation of Native American music. Much of the music is written not to respond to what is occurring on-screen, but to empower the images. It is a virtuosic composition from Vaughan Williams that sounds as fantastic within the film as when listened to independent from it. Vaughan Williams would work on ten more movies until The Vision of William Blake (1957), with his efforts for 49th Parallel displaying a remarkable musical versatility in style and in musical medium.

During production, Raymond Massey, Leslie Howard, and Laurence Olivier all agreed to half-wages during production to assist the war effort. An aberration the year of this film’s release, the remainder of the cast was not comprised of just English actors (more specifically, London-area or Southern English actors), but Scots (Finlay Currie) and Irishmen (Niall MacGinnis). Few British films had ever been made with such a stacked cast, let alone being set on a grand international stage. Lawrence of Arabia this might not be, but this is as close to being an epic film as any British film production was able to be by the 1940s. The film’s financial success across the West allowed for the creation of independent British film production companies like The Archers (Powell and Pressburger) and Cineguild (David Lean), among others. The face of the non-Alfred Hitchcock British filmmaking industry would be strengthened by the marvelous reception given to 49th Parallel, securing the nation as one of the greatest forces of world cinema.

With its value as propaganda ended due to the course of history, 49th Parallel should be watched as both a historical landmark for British filmmaking as well as an excellent, potent thriller. It may not have changed any of the military or political outcomes Powell and Pressburger and the rest of its cast and crew were targeting, but the positive impacts of this production – for audiences and within the film industry – have outlasted many other works of propaganda.

My rating: 8.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

[hermanwatts]

Sensor Sweep: S-F Weapons, Thomas Ligotti, Savage Minicrate, Michael Whelan, Starman Jones

Cinema (IGN.com): The concept of the sci-fi weapon also has its allure. Whether it’s a cyborg hero taking down villains with some kind of crazy blaster, or evil Dark Lords wiping out entire planets with their mechanical monstrosities, there is no doubt that the destructive capabilities of such futuristic weaponry appeal to a certain base instinct in us all.

  Writers (Social Ecologies): Over a period of years the works of Thomas Ligotti have pervaded my thought and life. I’ve decided to spend time writing on the art and philosophy of Ligotti in a new book, one that I will hopefully finish by the end of fall. Not sure when it will be published, but I’ll keep you informed. I may not be as active on the site as I’ve been but will still pop my head up from time to time as I progress.

  RPG (Conan.com): Privateer Press has announced the SAVAGE MiniCrate subscription box, where you can get minis featuring heroes and villains from

King Conan

the rich worlds of Robert E. Howard. The first miniature in the series is Dark Agnes de Chastillon from Howard’s Sword Woman stories.

The SAVAGE MiniCrate is offered as a monthly subscription service monthly ($16.99), or as a six-month VIP subscription ($98.99). Each shipment contains a single exclusive, limited-edition miniature and a corresponding Collector’s Card. International costs will vary, as usual.

Magazines (Mens Pulp Mags): In case you don’t know about it, PulpFest is one of the biggest and best annual pulp-related conventions in the country.

Since the theme for that year’s presentations was “The Pulps at War,” we put together a set of overheads about the war stories and artwork in men’s adventure magazines and the thematic, artistic and literary DNA they share with the pre-World War II pulp magazines.

In the second half of the presentation, I spent some time talking about the men’s adventure mag BATTLE CRY.

    Cinema & Movie Novelization (Glorious Trash): I was probably one of the very few 19 year-olds who had a copy of Circle Of Iron on VHS in the summer of ’94, and I certainly was the only one who got his girlfriend to watch it…several times! It’s a wonder she didn’t break up with me halfway through the first viewing, because Circle Of Iron is a bad movie, one that should’ve been roasted on Mystery Science Theater 3000 but for some reason never was.

  Writing (Sly Flourish): I’ve recently been doing a lot of adventure writing, the results of which you can find in the Fantastic Adventures: Ruins of the Grendleroot Kickstarter. As part of this project, I wanted to dig deep into what makes great adventures. So, as I did when writing Return of the Lazy Dungeon Master, I hit the books (and the blogs) to collect as much of the best advice on adventure design that I could.

    Sports Fiction (Paul Bishop): Boxing and noir go together as smoothly as a one-two combination punch. The inherent qualities of both noir and boxing, desperation, bad choices, violence, tension, humanity stripped bare, combine for a marriage made in Hell.

We’re not talking the Rockys of the boxing world here. We’re not talking the life affirming, if you punch hard enough, sooner or later you’re gonna be a contender, kind of boxing stories. We’re talking about the down and dirty, punch drunk, cauliflower-eared, in bed with the mob, no hope fighters who populate such novels as Fat City (Leonard Gardner), Ringside Jezebel (Kate Nickerson), The Leather Pushers (H. C. Witwer), The Bruiser(Jim Tully), or Iron Man (W. R. Burnett).

    Art (DMR Books): oday is the birthday of Michael Whelan, one of the greatest artists to ever work in the fields of fantasy, sci-fi and horror. The occasion prompted me to think back on the Whelan covers that really, really affected me when growing up. I have decided that there were four such.

I was a Whelan fan before I was a Frazetta fan. In fact, Michael Whelan—along with Jeffrey Jones—was the first non-comic book artist I was ever a fan of. My fandom started the day I bought the DAW edition of Elric of Melniboné. I was already familiar with the Barry Windsor-Smith comics version of Elric, but that cover blew me away.

          Vintage Fiction (Hi Lo Brow): Eighty-five years ago, the following 10 adventures — selected from my Best Nineteen-Thirties (1934–1943) Adventure list — were first serialized or published in book form. They’re my favorite adventures published that year.

Please let me know if I’ve missed any adventures from this year that you particularly admire. Enjoy!

  Pulp Fiction (DMR Books): The two Northmen ships he had encountered in the Channel had turned and rowed up the Thames to raid the British villages along the river; even though he has only 30 men able to fight them, Tros is able to ride a rising tide up the river and wreak havoc on the raiders.  He sinks one ship and manages to steal the other but the able-bodied Britons desert, more comfortable fighting on land than on a ship. Tros gives Orwic permission to go, leaving the defense of his leaking galley and the stolen long ship to Conops, a score of badly wounded Britons and himself.  Tros wants that long ship; it is beautiful and whoever built that ship could help him build the ship of his dreams.

  Fiction (Brain Leakage): Confession time: I love post apocalyptic stories. ​I always have. Something about the genre’s tropes and trappings just gets my blood pumping. Give me bombed-out cities, atomic mutants, and barbaric biker gangs, and you’ll keep my ass glued to the seat until the credits roll. Funny thing is, as long as I’ve had it, I’ve never given my apocalyptic obsession much thought. If anything, I chalked it up to watching Thundarr the Barbarian as an impressionable kid.

  RPG (Rampant Games):  Matt Barton’s outstanding history of computer role-playing games is now out in a second edition. I haven’t read the whole thing yet (it’s HUGE), but the last ten years have brought about some enormous changes and tons of new games to the genre. This is kind of funny to me, as Matt had kind of closed the previous edition on a down note, thinking the era of quality single-player RPGs had come to a close.

  Heinlein (Tip the Wink): I’m reading my way through many of the Heinlein juvenile SF novels. Last time it was The Rolling Stones, this time, Starman Jones. No, it’s not forgotten, none of Heinlein’s juvenile SF novels are, really, but I recommend them, some more, some less, so here we go.

  Mystery (Jerry’s House of Everything): After reading and reviewing Kuttner’s collection Three by Kuttner last week I was in the mood for another book by him.  Luckily Murder of a Wife, the last of his four mysteries featuring San Francisco psychoanalyst Michael Gray, was near the top of mount TBR.

Kuttner, who died much too soon in 1958, had directed much of his energies to mystery novels in his last years, even as he was studying for a Master’s degree when he had his fatal heart attack.  Murder of a Wife appeared in March 1958 (just one month after the author died) in a paperback edition from Permabooks — its only paperback appearance.

  Weird Western (Scifi Movie Page): Deep in a Wyoming mine, hell awaits. Former cattle driver, Rough Rider and current New York City cop Nat Blackburn is given an offer he can’t refuse by President Teddy Roosevelt. Tales of gold in the abandoned mining town of Hecla, in the Deep Rock Hills, abound. The only problem-those who go seeking their fortune never return. Roosevelt’s own troops are among the missing, and the President wants to know their fate – and find the gold. Along with his constant companion, Teta, a hired gun with a thirst for adventure, Nat travels to a barren land where even animals dare not tread. Along the way, they are joined by a Selma, a fiery and beautiful woman in search of her brother who was swallowed up by Hecla years earlier.

  Games (Jeffro’s Space Gaming Blog): Such a small box, but there’s so much game inside! You can play it as a “design-a-thing” game where you spend five or ten minutes figuring out how to destroy your friend’s continuing character in a campaign of endless arena duels. But you can also cut out the min/maxing element entirely by dealing several of of the fighter cards to each player and seeing what happens. How do you make these unoptimized figures work together as a team in order to crush the spirit of your opponent? It’s not immediately obvious! The range of options each turn are tremendous!

  Westerns (Rough Edges): As you can see from the back cover copy above, BLOOD TRAIL by Gardner F. Fox (originally published in paperback by Belmont in 1979) is a revenge Western, a very common plot in the genre. Fox doesn’t really bring anything new to the table in the story he tells in this book (on the trail of the three men who bushwhacked him and left him for dead, the protagonist finds himself in the middle of a range war), but it’s the execution that really matters in a book like this, not the plot. And in that respect, Fox does a superb job.

  Sword-and-Sorcery (Legends of Men): Last week I review Holmes book Enter The Barbarian. If you haven’t read that review yet, check it out here. Morgan Holmes is an expert on pulp fiction, sword & sorcery, sword & planet, Robert E. Howard, Conan The Cimmerian, and red pilled man. Morgan was kind enough to share much of his knowledge on sword & sorcery with Legends of Men in this interview. In fact, this interview so comprehensive that it’s a great reference for those who want to know more about the genre and masculine fiction.

    Sensor Sweep: S-F Weapons, Thomas Ligotti, Savage Minicrate, Michael Whelan, Starman Jones published first on https://sixchexus.weebly.com/