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elysian-entries · 3 years

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One film, two visions; The Justice League

It’s 2017; the highly anticipated “Justice League” film, directed by Zack Snyder, is set to be released later in the year as a continuation of the DCEU.

A blockbuster movie showcasing the biggest DC characters uniting. Taking down the ultimate super villain; bound to fulfil millions of past and present children’s, as well as current adults and elderly dreams.

Then a fork in the road appears, Snyder and his wife, Deborah, step down from the colossal project due to the incredibly woeful loss of their daughter, Autumn. News hits the fans like a brick. Resulting in Joss Whedon and the Warner Bros. Studio stepping up to the mantle. Or at least attempting to.

Whedon's theatrical cut lost Warner Bros. Pictures approximately $60 million dollars. With overall painfully negative reviews and reception. Breaking the hearts of DC fans everywhere.

4 years, campaigns, hashtags, sky banners, petitions, and billboards later; I can’t say how many of us would have predicted receiving the holy gift that is the “Snyder Cut”, in its full 4 hour running time glory (in a 4:3 ratio, which somehow adds to the grandeur). 4 years of dedicated, passionate and determined people helping in any way they can for the cause. It was a journey to behold.

A large section in Snyder’s 4 hour venture is used to build dimension and depth in the characters. Making an absolute world of a difference. Something that was sorely lacking in Whedon's cut. The film had a completely different feel and atmosphere instantly.

There's no better example of increased depth in characters than Cyborg's (Ray Fisher's) narrative. I was engaged, and intrigued by his story. In Whedon’s cut, he isn't even given a second thought. His entire backstory was cut as well as his father's important role also being stripped. His scene where he sacrificed himself in order for them to find the mother box was gone. And it took away such an important, integral part in Cyborgs story, and in the film in general I believe and also realised having seen the two movies; the complicated but delicately developing relationship between father and son. And just the whole story in general made such a difference in Snyder's cut, it really is almost indescribable the difference it made. It just felt so much more genuine and heartfelt. Like a real developed and executed narrative.

In Snyder's cut we were shown detailed flashbacks that fully fleshed out his character, his morals and his relationships. Creating a much needed deeper connection with the audience. We experience his conflicting journey to accepting his responsibility, accepting the past, the "gift he has", and his purpose in the league. Leading into receiving closure. He was given great and meaningful importance and purpose in this cut.

Similarly, Ezra Miller's Flash was too given a largely more meaningful and impactful role that left quite the impression on me. His character was light-hearted and charming but still had those important, emotionally impactful scenes. Which were painfully lacking in Whedon's cut. I was left loving Barry Allen a lot more than I already did. Barry's scenes with his wrongly convicted father were hard hitting for me. They also play a large part in making later scenes more impactful. Like his detrimental importance during the final fight. In Whedon's cut his big hero moment was saving a Russian family. The overall the inclusion of the family was superfluous and extraneous, along with the robber at the start and many other things. Not only that but Whedon's cut gave the Flash a silly, attempted comical relief role. To be fair he attempted to give everybody a comical relief role. Which hardly worked because none of the attempts were actually funny and were at time agonizing. It ultimately lacked substance and came across as almost immature. The scene where Barry went on about brunch was painful. Leading me to ask, why? Why was this so important to film Whedon?

After re-watching Whedon’s version, I had gained a new found appreciation for Snyder's representation of Barry. '"Make your own future, make your own past"; he echoes his father’s words. "Your son really was one of them, the best of the best," as his theme "At the Speed of Force" plays in the background of this pivotal moment. A powerful scene reflecting Barry's ulterior motive, doing his father proud. Which invoked many tears. And still does whenever I re-watch the scene or listen to the song. As if it were the first time experiencing it. Thomas Holkenborg's soundtrack truly amplified emotion and made the scenes much more powerful, It makes for one of the absolute best scenes in the movie; I'd say one of, if not my absolute favourite.

His job in charging up Victor was completely removed and I have to wonder why. Instead Barry was left to participate in "bug duty" (bugs being one of his fears also). Barry's role in Snyder's cut, and that one incredible scene where he broke the rule was arguably better than Whedon's Justice League as a whole.

I think the only scene in Whedon's cut involving Barry that I thought was actually meaningful was where he was faced with his first real mission. And he was confronted with his fears of "obnoxiously tall" beings. He appeared anxious and frantic. Fearful. Communicating to us his inexperience. And Batman simply told him to just "save one". To which he then, without struggle, saved them all. And was also able to participate in the final battle. The "save one" scene made those achievements more meaningful.

The scene after they won the battle, showcases the victorious team standing proud; and Barry with a sweet, goofy, golden retriever-esque smile plastered on his face. What a loveable smile.

An interesting contrast is the scene in where Barry reveals to his father his new position at an “actual job”. In Snyder’s cut the father was absolutely over the moon, shouting at the top of his lungs, "his foot is in the door!" repeatedly in excitement. It tugged at my heart strings; his shameless pride in his son. Making me wonder how he would have shown his pride if he found out Barry saved the whole Earth and humanity. We can assume Barry had that unequivocally powerful underlying thought too. Contributing to his saccharine reaction. In Whedon’s cut the reaction was softer and more timid but nonetheless a sweet moment. Barry becoming bashful.

It was a sweet touch to have Cyborg and Flash finally fist bump during that victorious scene after Victor rejected Barry's initial advance in Whedon's cut. Ezra Miller improvising that “racially charged” line, acknowledging the possible racism attached to a fist bump I assume. The whole fist bumping being "racially charged" was not included in Snyder's cut. The grave digging scene was entirely different. Which I far more preferred. It was a group excursion. With a little positive interaction between the Atlantean and the Amazonian. And funnier, more light-hearted dialogue between Barry and Victor.

Aquaman’s contrast was interesting. In Whedon’s cut he actually sought out to obtain the trident to help the league (although he was always disagreeing with them). Compared to Snyder; where he was apprehensive and had to be hesitantly persuaded by Willem Dafoe’s character Vulko (who was completely absent from Whedon’s cut). This was also an importantly established relationship by Snyder. Arthur first makes his desire to help the the team known saving them from the water rushing from Gotham Harbour. He isn't acknowledged in the theatrical cut but in Snyder's cut Diana notices and takes a moment to take in his presence (I assume?). Then Barry asks who that guy is. And of course we all know, it's Aquaman.

I particularly liked how Snyder chose to include Barry asking for Arthur's opinion on military hats. It's an odd, minimalistic thing to include - the reasoning as to why I like it. I also thought it was quite charming.

A scene I think deserves a mention is when Aquaman is first introduced, and then rejects Bruce's offer, he then makes his way back into the ocean. A farewell song is performed. This was quite early in the film and I think the voices being hauntingly beautiful, yet slightly eerie/poignant set the perfect atmosphere. A well done scene.

His overall character was also contrasting. He became a genuine hero who was proved capable of more than water powers and silly moments. Including that god-awful lasso of truth scene. In the theatrical cut he was bitter, a bit of a joke, not caring too much about the events that were unfolding. He had more of a heroes’ sense of purpose within Snyder’s cut.

Gal Gadot did not gain too much from the extra scenes. Though different to the theatrical cut, Snyder had paired her with a repetitive character establishing theme. It could be referred to as ancient lamentation music. Hauntingly beautiful. Something I could only assume would be the battle cries of the Amazonian warriors and the Amazonian warrior inside Diana. In some ways possibly over used, though I thought it was brilliant. It has a special place in my heart because I love that type of soundtrack. The almost eerie, maybe poignant but overall emotion provoking type. Especially her introduction scene where she faces off against the terrorists )which was overall better in Snyder's cut) The haunting warrior moans fade into her classic theme to create an incredible atmosphere. And that atmosphere was definitely missing in Whedon's cut, in more than just that one scene. It was also sorely lacking the lamentation music. We also didn't get that sweet interaction between Diana and the little girl.

When Diana began detailing Steppenwolf and the mother boxes past to Bruce, the cuts were very strange and abrupt/awkward in some way. And it felt silly and rushed; and I think that perfectly describes the whole film.

Whedon's cut also included uncomfortable scenes. Almost forcing characters to be funny where it was just completely out of place and character. Or just downright inappropriate. To be fair, Whedon is known for the Marvel movies in which fourth wall dimension breaking and odd self ware/ironic jokes are heavily used. One of the main reasons I don't particularly enjoy them, but rather enjoy the darker, more meaningful DC movies. I say meaningful in the way in which we are completely transported into this universe; where it's taken seriously and has obvious effects and meaning to the characters. Compared to Whedon's Marvel films in which the threat is joked about and the characters make fun at their expense.

Another negative contrast is the colour grading and overall shots. A good example is the conversation between Lois Lane and Martha Kent. In Whedon's version the colour is poppy, reminiscent of Buffy the Vampire Slayer, or The Office. As if it were an empty shell of a TV show. Lacking any artistic or symbolic aspects. Whereas Snyder's conversation between Martha Kent (who was actually Martian Manhunter) and Lois Lane was beautiful. The lighting was dim, with steam from their hot coffee creating a brilliant shot and conveying the perfect mood. Almost a piece of art. A lot of Snyder's cut looked as if it were ripped straight out of an incredible graphic novel. His talent when it comes to filmmaking is grandiloquent. Compared to Whedon's over saturated and flat scenes as if it were from a cliché sitcom.

Whedon also made the Justice League a lot more dysfunctional than it needed to be.

The scene where the team unanimously come up with the plan to revive Superman seemed really silly and lackluster in Whedon's cut. In Snyder's cut it was a genuine moment. A "wow" moment where the penny dropped. It gave me goose-bumps. The way it was implied, the explanation/analogy with the house, and then Cyborg creating a Superman visual as the team, standing around the table, stared at it in awe. All thinking the same thing. Without even having to say it (as Barry pointed out) It was a uniting moment. Whedon's version was just, disappointing. Lacking any impact at all. And it made the team seem disconnected in a way. Whereas in Snyder's scene the league's thoughts were in unison.

There was also an agonizing amount of Wonder Woman praise. I think praise is a...well...nicer way of putting it. It was more so adolescent boy humour, immature if you will; with her being the butt of the joke. To the point where it was little uncomfortable and borderline unnecessary. And to another point where Gal Gadot refused to do a scene, (the one where Flash lands on her) and Whedon insisted so much on still including it - that they used a body double. A scene so stupid and pointless it actually hurts. Why, Whedon?

Superman's main feature in this film is his moustache. Or, lack thereof. At the beginning of the theatrical cut, we witness the infamous Superman film scene, where we are introduced to his CGI moustache…then “Everybody Knows” by Sigrid plays as we see the aftermath of his death. I really enjoyed this scene, the song and the atmosphere. I think it was a strong start, setting the poignant mood. But of course it all goes out the window and downhill from here.

The biggest difference between the two Superman’s was the elimination of the godforsaken CGI removed moustache and the introduction to the “Recovery Suit” in Snyder's cut, which was a brilliant touch. We actually see Clark stumble upon the suit. A scene where various voices from his past, echo in his mind. An equally important and impactful scene; where he flied up into the universe, overlooking the Earth he is to protect.

I also really liked the whole, "Lois Lane is key" setup, with the eerie premonitions and glimpses into the “Knightmare”. Adding yet another deeper layer to the narrative. Setting the scene for Snyder's envisioned sequel.

In Whedon's cut during the first confrontation where Clark is confused immediately after his resurrection - the previous BvS battle is implemented more. With the "Do you bleed?" question being revisited. Giving us an unwanted closer look at the strange looking $3 million dollar CGI.

I liked Snyder's first confrontation better. It included more action and participation of all parties. And it was just a longer scene, making it seem more plausible and less silly. Before Clark reached Bruce he went through every member. Resulting in a little appreciated interaction between Arthur and Barry. I also thought Whedon’s scene showing Superman throwing Batman away like a ragdoll added to the ridiculous nature.

During the final battle. (Not mentioning how uncomfortable the colour grading was causing an unlikable atmosphere. Especially when it became daylight, taking away the exciting and intense atmosphere.) Whedon's Superman's entry was a little plain. Maybe cliché. Banging on about "truth" and "justice". Which isn't necessarily bad. It's just, maybe, too Superman? We then see the relieved faces of all the members. Batman's giddy smile was by far the best. It was nice to see genuine happiness and I think that played an important role in communicating to us Bruce's character arc. From lowest of lows, and his conflicting attitude towards Superman in BvS, to Superman giving him incredible hope. Though it slightly made me uncomfortable.

Snyder's entry of Superman was brutal in the best way. Appearing just before Cyborg was chopped to bits. Giving us that epic moment of 'He came.” Superman mercilessly rips into Steppenwolf for the next minute or two. No breakaways. Which was a great choice. It perfectly showcased his abilities. Though in the theatrical cut he was shown to be the only capable one of saving the world and being the real “hero”, in Snyder’s cut, especially The Flash, they were all shown to be powerful with meaningful parts to play.

Bruce Wayne appeared more guilty and conflicted about what happened in BvS in Whedon's cut. Though he was overshadowed in terms of writing by Superman and Wonder Woman. He also was the one who brought in the "big guns" a.k.a Lois Lane as a contingency plan in case the Superman resurrection went awry. In which it did. In Snyder's cut it was coincidence, or the doing of Man Hunter in that mysterious scene. Bruce was also quite tense and wasn’t too much a bright beacon of hope as he was in the Snyder cut. Even despite Snyder's vision of him being reminiscent and heavily inspired by Frank Millers version; darker, older, broken and violent in a way (which is brilliant) he still had this character arc. The lover’s tiff he suffered with Diana was irritating and what I thought was superfluous. Creating an unnecessary disconnect with the group. It wasn't an interesting sub-plot/complication at all .

Bruce's character arc (from the dark BvS time, to the hopeful present) was more thoroughly shown in Snyder’s cut compared to Whedon's. I briefly mentioned Bruce's schoolgirl grin when Superman arrived right on time. Though Snyder more effectively showcased this positive rise through his obviously increased in optimistic attitude. When the team are off the defeat Steppenwolf once and for all Alfred asks Bruce how he can be so sure of the Man of Steel’s arrival. And Bruce replies full of vigour, “Faith, Alfred, faith!” And in another instance Barry questions their strength against Steppenwolf due to the amount of demons he has won against. Bruce declares that, “He’s never fought us. Not us united.” It was a powerful statement that heavily elevated excitement for the final fight.

During this final fight, Batman basically goes out on a suicide mission. Then the rest of the league join him for a family reunion. The Snyder cut better represented this with an astounding freeze-frame, slow motion shot of the team. It nicely established the power of unity in this case.

The way in which Steppenwolf was defeated was vastly altered. Changed completely. Mostly due to Darkseid’s absence in the theatrical cut. Darkseid added an important extra layer of looming fear, and even gave Steppenwolf more depth. It gave him an important reason as to why he was doing what he wasy doing. As we saw his utter dedication to Darkseid. It alerted us of the larger dangers that were present. Steppenwolf’s death in Whedon’s cut was ultimately debilitated after seeing Snyder’s version. Instead of being anti-climactically eaten alive by his bug minions as the sun rose; (maybe it’s a personal preference but I heavily dislike the daylight, especially for action scenes) his head was chopped off, first horn by horn, then from the neck. His decapitated head thrusted back through the portal into his own world, landing at the horrifying Darkseid's feet, along with the terrifying parademons. Engulfed by a fiery hellscape. The horror that Earth could have faced. But still could face. It reveals the deeper and darker enemy, beyong Steppenwolf looming just beneath the surface.

A sinister tune plays, as we see the victorious Justice League looking back at them. The portal then closes. Although a victory, we can’t help but wonder what the demonic and powerful entities, far more powerful than Steppenwolf, have in store for Earth’s future.

The Knightmare vision being apart of that future. It's set up from BvS to the very end of Justice League. It's a very intriguing part of Snyder’s vision. The moment where you can link up and see the connections between all the post-credit scenes and the “premonitions” is an epiphanic moment. It’s a whole other narrative on its own that you can analyse, hypothesize and discuss. It’s a very intriguing/exciting concept to think of what would have been Snyder’s future movie where Barry (as we saw previously reverse time) goes back to warn Bruce that “Lois Lane is the key”, to avoid the whole disastrous scenario. We can gather that he is referencing what we see at the end of Snyder's cut, Superman turned evil. The death of Lois Lane, whose skeleton we saw Superman cradle previously, we can assume had a hand in that, and possibly the Anti-Life equation too. It's an incredible narrative, and there are few things I would love more than seeing the Snyderverse come to life on this epic scale again.

We also finally get a glimpse of Snyder’s joker. A very exciting moment for me. Seeing any new iteration of the Joker is an exciting moment. Could Jared Leto somehow redeem himself?

Well, it sure was infinitely times better than the Suicide Squad rendition. This Joker was actually eerie and unsettling. I felt almost uneasy watching these scenes, and his odd laugh caused shivers to form down my spine. Jokers comments about “boy wonder”, whom we find out was indeed Bruce’s adoptive son, were heartbreaking (I believe he was actually referring to Dick instead of Jason surprisingly as his grave was once seen in a previous movie) Leaving me holding my breath, wondering what Bruce would say next, or what other wretched thing Joker could say. Of course the "reach around" comment was a bit off, but I’ll just brush over that.

We also learnt of Arthur Curry’s death, Harley Quinn’s death. Proving that Snyder had such a colossal plans for all the characters, dead and alive.

It’s a poignant feeling; to see this incredible, vast narrative, just beneath the surface, unfold. Knowing that we won’t be able to see it fully developed. As of now.

While watching these two completely different cuts of the same movie; it occurred to me and I am sure many other people, that attempting to produce such an in depth narrative intensive movie on the small scale that Whedon attempted, will commonly end in a painful, empty and superficial representation. Or maybe that really was just Whedon's vision.

As the epilogue ended, the credits rolled. Hallelujah began playing, sung by Allison Crowe. And as they rolled, in big letters the words; "For Autumn" took center focus. White against black. Clear as day. Like a bus, it hit hard. The reason I was sitting on that couch finally having the great honour to watch such a film. The courage it must have taken to continue and finish such a project is beyond admirable, it's heroic. Also non-profit. It only further proves what we already knew, that the intentions were pure, as no one ever doubted.

Also acknowledging the giant billboard on one of the buildings promoting the American Foundation for Suicide Prevention. A very important cause, especially to the Snyder’s. To date fans have raised over half a million dollars to the AFSP in honour of Autumn. A truly incredible feat.

When looking at the two movies side by side, it blows my mind to see the difference that I do. The emotion, meaning, the depth. It all just made sense in Snyder's cut. The emotion was palpable, absolutley unmistakable. Things mattered more. The people mattered more. There were reasons, and purpose. It was a genuine journey for every one of the characters, and I felt it. There were so many little scenes that made so much difference that added depth and meaning, emotion.

And I cannot say such words for Whedon, though I won’t put all the blame on him. Warner Bros. is about equally responsible. .

The true, original and intended Justice League; expatiated heroes, people, stories and journeys coming together on a grandiose scale, executed with passion and care. But also giving us a bittersweet taste of Snyder’s epic trilogy that could have been.

The end of the saga; and the rest of Snyder’s visions, are left unfulfilled; as of now. But regardless, remains as one of the things I hope to see come to life. Watching this movie, and the feeling I had during and afterward is indescribable. I want to say a massive congratulations to Zack Snyder. The film was beyond breathtaking. It really is so special and it will forever have an important place in my heart.

Though I think the most important thing to take away from the Snyder's incredible work is Autumn's story.

Thank you Zack Snyder.

For Autumn.

www.imdb.com/title/tt12361974/

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hermanwatts · 4 years

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Sensor Sweep: Conan Companion, Star Trek, Necromancers, Stanley Mullen

New Release (Amazon): By Crom! At long last the definitive history of Conan the Barbarian paperbacks that fans have clamoured for. 107 pages with detailed chapters devoted to each of the mighty Cimmerian’s publishers. Heavily illustrated with many rare images. Plus complete cover galleries of every US and UK Conan title ever issued. In full colour. An indispensable aid to Conan collectors and completists everywhere. Featuring a specially written foreword by Conan comics legend Roy Thomas!

Star Trek (Huffington Post): The LA Times recently ran a story about the Child Exploitation Section of the Toronto Sex Crimes Unit, which contained a mind-boggling statistic: of the more than 100 offenders the unit has arrested over the last four years, “all but one” has been “a hard-core Trekkie.” Blogger Ernest Miller thought this claim was improbable. “I could go to a science fiction convention,” he explained “and be less likely to find that 99+ percent of the attendees were hard-core Trekkies.” While there may be quibbling about the exact numbers, the Toronto detectives claim that the connection is undeniable.

Review (Brain Leakage): That said, if you are looking for a great post-apocalyptic read, I want to draw your attention to the work of Jon Mollison. I read his A Moon Full of Stars recently, with the intent of dedicating a full-length ‘Pocky-clypse Now review to it soon. I do still plan on doing that. But I’m probably going to wait until after our daily news cycle looks a little less like the opening credits to the 2004 Dawn of the Dead remake.

Awards (Kairos): … And enjoy a hearty laugh at the incestuous wasteland the once-prestigious Hugo Awards have become.

Predictions that the Hugo field would degenerate into a circle jerk of olpdub purse puppies beloved by editors in New York–and pretty much no one else–have been realized ahead of schedule.

Here’s a partial list of this year’s finalists.

D&D (DMR Books): The Complete Book of Necromancers by Steve Kurtz was released in the spring of 1995, and came and went fairly quickly. Luckily a friend of mine snagged one shortly after it came out. Ostensibly the book was intended for the eyes of Dungeon Masters only, but of course we were hungry to add the new spells and powers to our player characters’ repertoires. Clark Ashton Smith is mentioned by name in the majority of the chapters of Necromancers. While Smith’s absence from Appendix N is conspicuous, Kurtz more than made up for the oversight.

Fiction (Digital Bibliophilia): Any book that opens Page One with a man being skewered by the broken mast of a sailing ship in the middle of a storm has to be good right? Well, I’m happy to say Oath of Blood by Arthur Frazier lives up to its gory opening scene and delivers a fantastic little novel about the clash of the Saxons, Normans and Vikings during the 11th century (1066 to be precise). Arthur Frazier was one of many pen names used by the prolific Kenneth Bulmer.

Gaming (Jeffro’s Space Gaming Blog): Charisma. It’s not just a dump stat, they say. But look, if you don’t have a lot of it, you’re going to be stuck in a career as an assassin. Which is kind of funny, actually. Of course if you were going to actually use that stat in an AD&D game, you’re going to have to flip to the middle of the combat section to find the reaction table. Why is it there right in the middle of sections detailing initiative and missile discharge? Evidently this something pretty important to consider when the players have initiative in a random encounter, right?

Fiction (Dark Worlds Quarterly): Another writer who has left a huge legacy with little recognition is Gardner Francis Cooper Fox (1911-1986). Fox began his career writing for Batman as early as 1939. (It was Fox who gave Bruce Wayne his “utility belt”.) During his decades long career with DC, he would work on such characters as The Flash, Hawkman and The Justice Society of America. He was there when Julius Schwartz revamped DC comics to meet the new “Comics Code”. He was there when DC invented its Multiverse. Outside of DC, he would pen the first Sword & Sorcery comic called “Crom the Barbarian”.

Fiction (DMR Books): The book being advertised was Kinsmen of the Dragon by Stanley Mullen. I was completely unfamiliar with both the title and the author. A bit of research revealed that this book had never been reprinted since its publication in 1951, which explains why it’s so little-known today. In spite of (or perhaps because of) its obscurity, good condition copies are pricey, usually going for over $50, and signed copies are much more.

Fiction/Gaming Tie-in (Karavansara): Two nights in Arkham: Lovecraft purists often frown at Lovecraft-inspired fiction. The main charge raised by these people is, other writers are either too much like Lovecraft or not at all like him, often at the same time. The second most common accusation is that certain stories are too action-centered and adventure-oriented, filled with guns blazing and chanting cultists. They usually blame Lovecraft’s popularity with the gaming crowd as the main reason for these degenerate pastiches, in which Indiana Jones or Doc Savage seem to exert an influence stronger than Nyarlathotep’s.

Fiction (Mostly Old Books): he Fargo series tell the tales of early 20th Century adventurer and solider of fortune Neal Fargo. They aren’t Westerns as the covers suggest. In this installment Fargo is hired by a rich old blowhard to rescue some Mayan treasures and the excavation team, which includes his son, from the jungles of Central America.

Cinema (The Silver Key): 1917 had been in my “to watch” queue for a long time (aka, floating around in the back of my mind), and last night I watched it with my older daughter, a self-described “film buff” who wanted to see what the hype was all about. Two word review: Excellent film. It’s an intensely personal/soldier’s journey type of story, and also manages to convey the larger tragedy of the Great War.

Fiction (Sacnoth’s Scriptorium): The Inklings and the Mythos (Dale Nelson). So, I’ve now recovered the missing issue of MALLORN* containing Dale Nelson’s wide-ranging inquiry into possible connections between the Inklings and Lovecraft’s circle, “The Lovecraft Circle and the Inklings: The ‘Mythopoeic Gift’ of H. P. Lovecraft” (MALLORN 59, Winter 2018, pages 18-32). It’s a substantial piece, and in it Nelson raises such topics as the following: Did the two groups read or were they influenced by each other?

Fiction (Scott Oden): In the past few weeks, my sophomore novel, MEMNON (Medallion Press, 2006; Crossroad Press, 2018), has received a raft of four-and-five star ratings on Goodreads and a pair of excellent reviews — which, for a fourteen-year old novel is no mean feat. Author Matt Larkin, in his review at Amazon, writes: “Evocative prose paints a living picture of the Classical world while the sudden, brutal violence serves to remind us never to look at history through rose-colored glasses.” While Scott Marlowe of Out of this World Reviews praises many things, including the battles: “I can only describe [them] as spectacular and right up there with some of the best battles I’ve had the pleasure to read in historical fiction (think Bernard Cornwell, surely one of the best of them all). Memnon gives Alexander such grief I imagine Alexander remembered their contests right up until his dying days.”

Fiction (Tentaculii): Lovecraft’s famous survey of supernatural literature was published in The Recluse in August 1927. Later in the same year Eino Railo published the history of the literary gothic in The Haunted Castle: A Study of the Elements of English Romanticism. A December 1927 review in the New York Evening Post suggests Railo’s book was published in time for the Christmas market and the January book-token crowd, and thus it appeared several months after Lovecraft’s circle had finished digesting his Supernatural Literature. Lovecraft refers to The Haunted Castle, a translation from the Finnish, in admiring terms in a later letter to Barlow and terms it a study of “the weird”.

History (Men of the West): Suddenly the war became fun. It became exciting, carnivalesque, tremendous. It became victorious and even safe. We awoke on the morning of Sunday, the 30th of July, with the feeling that the war was won — in spirit, if not in fact. Patton and the Third Army were away. At the 8th Corps, which held the western sector of the Normandy front, the G2 colonel said: “We’ve lost contact with the enemy.”

Fiction (Tentaculii): The second half of a forthcoming book, No Ghosts Need Apply: Gothic influences in criminal science, the detective and Doyle’s Holmesian Canon (October 2020), attempts to make the case that there are gothic traces in what are often assumed to be the ‘rationalist’ Sherlock Holmes stories. Sifting the extensive blurb for the book, one can eventually determine that the author suggests the following specific points… * intrigue and secret societies. . .

Fiction (M Porcius Blog): Let’s check out four stories by Mickey Spillane’s all-time favorite author, Fredric Brown, that first appeared in beautiful pulp magazines in 1942 and 1943, magazines that you can read at the universally beloved internet archive for free. “Etaoin Shrdlu” made its debut in Unknown Worlds in 1942. The cover of Unknown may be boring, but the interior illustrations are quite fine, those by Frank Kramer for L. Sprague de Camp’s “The Undesired Princess” in particular.

Sensor Sweep: Conan Companion, Star Trek, Necromancers, Stanley Mullen published first on https://sixchexus.weebly.com/

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