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Biweekly News Roundup 2024-03-24

Personal / Website News

XII Caesars Retrospective

Brand new, hot off the presses, article up at my website!

As yall know, I love it when the world of industrial music and sword and sandal collide and I jump on any chance to write about them. Twenty years ago the industrial-ambient-experimental compilation XII Caesars was released. An opportunity presented itself to interview both Post Scriptvm and Murderous Vision, so I leapt on it and churned out this retrospective of the compilation. Some great insight from both projects – please check it out here!

Emmanuelle Legacy CFP Re-opened + Bibliography

Since garnering publisher interest, I’ve re-opened the CFP for the Emmanuelle legacy book. The updated CFP can be found here.

Tracie May-Wagner in Passion and Romance: Double or Nothing (prod. by Alain Siritzky)

I’ve also started annotating Emmanuelle scholarship and posting it here at my website so other scholars have a nice bibliographic resource. The bibliography and annotations can be found here and it is a major WIP.

Miscellaneous Tidbits

Michele on the Fan2Fan Podcast

Michele recently appeared on a two-parter episode for the Fan2Fan Podcast to talk about the City Symphony genre of silent films.

Part 1 can be found here.

Part 2 can be found here.

Or streamed through your favorite podcast app.

Awen/Murderous Vision/Autumn Brigade/DSM-III Concert

American neofolks acts Awen and Autumn Brigade, along with industrial project Murderous Vision and DSM-III will be holding a concert in Brooklyn, NY on May 5th.

Per the Awen Facebook:

Awen returns to New York after 17 years!
There will be an intimate concert in Brooklyn on May 5th with Murderous Vision and Autumn Brigade.
This will likely be the only Awen concert this year, in celebration of the new album This World And Its Spirits!

Tickets are available now in limited numbers and it’s recommended that you not wait too long, as the venue has limited capacity.

Tickets can be purchased here.

I’ve done a couple of articles about Awen before that I need to migrate to this website. You can find my review of their album, The Hollow in the Stone, at this link.

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Interview Peplum

Aut Caesar Aut Nihil: Twenty Year Retrospective of the XII Caesars Industrial Compilation

Twenty years ago can seem like ancient history when looking at both pop and underground culture, a feeling that becomes compounded when a textual artifact from the past is an examination of ancient history proper. Industrial music typically does not dive into the world of antiquity, (usually staying in the realm of post-modern concepts), but the inherent experimental nature of the genre occasionally pushes a music project or release to explore topics related to ancient history. The 2004 compilation, XII Caesars, released by the long since defunct Somnambulant Corpse, is one of those outlier releases where industrialism and antiquity collide. Twenty years later, the release deserves to be unearthed and re-appreciated, not only for its contribution to the industrial genre, but as a time capsule of the underground scene in the aughts – a literal aural artifact. 

XII Caesars Cover Insert.

XII Caesars is a concept compilation with a specific focus on Julius Caesar and the first eleven emperors of Ancient Rome as detailed in Suetonius’ influential text, The Twelve Caesars. Each track focuses on a specific Caesar and are presented in chronological order of each emperor’s reign with two exceptions: four emperors share track seven “Year Of Four Emperors (Galba, Otho, Vitellius, Vespasian)” and the last track is the epilogue “Ultor,” a reference to Mars Ultor, an iteration of the god of Mars during the period of Augustus.

The first track, “Julius Caesar, Dictator,” is by the ambient-industrial project Exsanguinate. The background drone of the song feels like one is being shaken or rattled, with distorted wailing appearing halfway through the track. There is a chilling, 4-beat rhythm that adds a catchyness to the track, giving listeners something to latch onto during the song’s duration. 

“Augustus” by Tugend is the album’s second track. An ambient song with some neo-classical and borderline dungeon synth elements, it sounds like the music one would hear from a church belonging to an apocalyptic cult, with the latter half of the track bringing a fire-and-brimstone drumming to it.

Card of Tiberius / Murderous Vision.

The third track is the ambient “Tiberius” by Murderous Vision. The song begins with a repeating sample “Hey, Caesar” with the background giving way to other, garbled, sampled voices. The gives the track an effect of hearing whispered plots and schemes, and a general uncomfortable vibe, no doubt recreating the feelings of Tiberius’ paranoia.

“Tiberius” is followed by “Gaius (Caligula)” by Bestia Centauri. A droning track with some atonal electronics, it would easily be at home on the Cryo Chamber label.

Card for Claudius / Post Scriptvm.

Post Scriptvm’s “Claudius” is the compilation’s fifth track. An experimental soundscape, the song is sample heavy of crying, weeping, animal baying, and water rustling. The samples sit atop a 1-2 beat that flows through the song, making the song unnerving and ominous while at the same time accessible and easy to latch onto.

The minimal-ambient “Nero” appears to be the only song ever released by The Great Despisers. 

Survival Unit brings the power electronics genre to XII Caesars with their “Year Of Four Emperors (Galba, Otho, Vitellius, Vespasian).” The track is both burbling and bombastic, peppered with muddled samples of speeches and screeches. It is volatile track, definitely mimicking the period of civil war in the Roman Empire. 

“Titus” by Önd is an extremely minimal, experimental song, bordering on a single note being held through the entire duration. 

The last of the twelves Caesars, Domitian, is the compilation’s penultimate track and composed by Axone, the project of Somnambulant Corpse’s owner Chris Donovan. An industrial soundscape song, “Domitian” feels both windswept and grating, like traversing stone tunnels constructed by giant bees.

The final track on XII Caesars is “Epilogue (Ultor)” by Marspiter. An industrial-ambient composition, the song feels like gazing upon a ruined city in the middle of a desert under a dark sky, a last glimpse of what once was.

Insert Back.
CD in tray.

The cover of XII Caesars shows the busts of the twelve emperors in a small, 3×4 grid, with a faint, dark, modern cityscape as the background. Inside the booklet shows a gladius while the CD proper shows the pillars and buildings of Ancient Rome aflame. The presentation proper is akin to the imagery used by VNV Nation during their Empires-era (late 90s/early 2000s). Included with the album is a series of large, double sided postcards, housed in a ziplock bag, each depicting a rendition of different Caesar in a hand drawn style. The entire package evokes both the ornateness and DIY philosophy expressed by small, extreme music labels of the aughts. 

Complete packaging of XII Caesars.

Though ten industrial/ambient/noise artists are showcased on XII Caesars, only a three survive to the present day: Murderous Vision, Post Scriptvm, and Survival Unit (though Exsanguinate appears defunct, the project’s mastermind, Thomas Garrison, continues on prolifically as Control). Post Scriptvm and Stephen Petrus from Murderous Vision have graciously shared their experiences and thoughts about their tracks, providing incredible insight not only into their craft, but of industrialism of the period. 

What is your relationship with antiquity, classics, or (in the case of pop culture) the sword and sandal genre? Are these topics that interest you or influence you in any way?

Murderous Vision: Outside of an affinity for the Jason And The Argonauts film as a child, I don’t have a notable interest in the genre. I do, however, have an interest in all things historical. So, when creating my Tiberius themed contribution, I tried to keep his rule in mind. Something sounding epical, orderly and underlying dread were the things I attempted to execute.

Post Scriptvm: The name of my project, Post Scriptvm, as well as its specific spelling, is inspired by the mid-1970s BBC series I, Claudius, which portrays the early Roman Empire and is narrated by Emperor Claudius. Although my project has consistently been influenced by the ideas and aesthetics of Russian art and literary movements at the turn of the 19th and 20th centuries, particularly Russian Futurism, I opted for this Latin name because, to me, it implies fin de siècle or the end of an era.

Murderous Vision, photo courtesy of the artist.

Outside niche subgenres such as neofolk and martial industrial, industrial music generally doesn’t dabble in pre-1900s history, let alone antiquity. From your perspective why do you think that is?

Murderous Vision: I think it may be related to the actual sounds of these genres. The instruments used and song structures involved evoke the way one thinks music sounded in these periods. With standard industrial music, the instrumentation is very clearly of the 20th and 21st centuries, and might be sonically incompatible with these historical periods. Authenticity and effectiveness reign.

Post Scriptvm: Many industrial music artists that I particularly appreciate, such as Bad Sector, Werkbund, Internal Fusion, SPK, Inade, among others, find inspiration in ancient mythologies. To me, this makes perfect sense. A 20th-century art critic once observed that the avant-garde serves as a continuation of classical art within modern contexts—an intentional continuation of an ideal that has been lost and ruined. For me, industrial music, particularly its more extreme, dark variety, has always served as a soundtrack to a civilization in steady and catastrophic decline. We primarily grasp, value and interpret antiquity through its ruins entombed within the sterile museum morgues, while a minuscule portion of surviving texts suggests an expansive realm of ideas forever beyond our reach. Industrial music, in parallel, reflects the decay of modern civilization, frequently finding inspiration in the ruins of ancient cultures. By referencing ancient ruins to depict the downfall of our own society, we are essentially shaping our own antiquity.

Post Scriptvm, photo courtesy of the artist.

What was the genesis of your involvement of the XII Caesars compilation?

Murderous Vision: At the time I had a close relationship with Chris Donovan and his label Somnambulant Corpse. I had previously been involved with the label on his Lovecraft themed compilation [note: The Outsider], and released a split CD with his personal project Kuru, called Blood-Brain Barrier. Both of these were released by Somnambulant.

Post Scriptvm: I received an invitation to contribute to the compilation from the owner of the Somnambulant Corpse record label. A couple of years prior to XII Caesars, Somnambulant had issued my debut album [note: Guaze], and I had previously contributed a track to the label’s earlier compilation dedicated to H.P. Lovecraft.

Did you get to select your emperor or was one assigned to you?

Post Scriptvm: The label actually had assigned each artist a Caesar to dedicate a track to, stating that the compilation’s subject matter necessitated a somewhat dictatorial approach.

Murderous Vision: It was assigned to me, based on his personal feeling of which emperor he felt suited the sound of each project he chose to include.

Your track on the compilation, was it an untitled song you had in your repertoire that you submitted or was it a song composed exclusively for the release?

Murderous Vision: It was composed exclusively for his compilation.

Post Scriptvm: For this compilation, I created an entirely new track, incorporating samples from both I, Claudius and the 1979 film Caligula, another one of my favorites.

How did you go about capturing the theme of your respective Caesar and conveying it in your composition?

Murderous Vision: I started by reading what I could online about the history and life of my Caesar. In drafting the sounds I kept in mind that I wanted to use reverbs that would evoke vast marble halls and open ancient stadiums. I recorded everything with a degraded VHS copy of Caligula playing on the TV in the background. 

Post Scriptvm: Apart from incorporating samples from the mentioned films and submerging myself into both The Twelve Caesars by Suetonius and The Roman Empresses by Jacques Roergas De Serviez prior to recording the track, I did not deviate from my typical approach for composing Post Scriptvm tracks at the time. As an undergraduate student back then, I had only rather primitive, rudimentary equipment at my disposal, which, in my view, was well suited for interpreting the ambiance of the ancient Roman Empire.

Going back in time to 2004, what do you recall the reception of the XII Caesars was like?

Murderous Vision: I don’t think it was widely circulated, but deeply appreciated by those who did get one. I seem to remember some favorable reviews circulating. 

Post Scriptvm: The reception was very positive. Despite being a DIY homemade CD-R release, the compilation was sold all over the United States and Europe and received several positive reviews in the underground press. The early 2000s marked the pinnacle for underground industrial music artists and small independent record labels like Somnambulant.

What are your thoughts on the compilation as a whole, from the presentation to the other contributions?

Murderous Vision: I was quite proud of my involvement. The label pulled no punches in the presentation, using high quality artwork and paper stocks to present the art panels, and professionally produced media sealed the deal. Every other act contributed great sound materials. It was a stellar compilation from a golden era that was known for stellar compilations.

Post Scriptvm: It is certainly of its time both in terms of sound production and its distinctly DIY presentation. It’s a wonderful testament to the era when underground experimental music flourished, showcasing the passion and dedication of the record label and every artist involved. Regrettably, the record label and the majority of the artists are no longer active.

Reflecting on your song for the compilation, are there any changes you would’ve made for it? Any thoughts of updating, remastering, or remixing your song and giving it a second life?

Murderous Vision: I think the track was a nice representation of the sound of Murderous Vision in that era. I think it stands as a good representation of both the band and the theme. The version that appears on there was truncated by the label for whatever reason he had at the time. The full, unedited version did, however, appear in 2006 on the Murderous Vision retrospective Ghosts of the Soul Long Lost Volume 1 [Note: listed as “Tiberious (Full Version)”].

Post Scriptvm: If I were to reinterpret that track now, it would have a completely different sound. I prefer directing my attention towards the future rather than dwelling on the past. Nonetheless, having to revisit it would provide me with a compelling reason to reread The Twelve Caesars and The Roman Empresses and to rewatch Caligula and I, Claudius.

Finally, what are some upcoming project news you’d like to share?

Post Scriptvm: My new LP titled Eisstoß is now available on Tesco Organisation, and I have a cassette EP titled Секта set for release in April on DumpsterScore Home Recordings.

Murderous Vision: This year will be another filled with activity. 2024 actually marks thirty years since the inception of the project. Among things that will happen this year are a performance in May supporting longtime friends Awen in NYC. There are a couple special surprises planned for the gig, but one must attend to see what they are! This year will also see the release of a new full length album called Pestilent Black Breath on Germany’s excellent label Dunkelheit Produktionen. Work is also well underway on a retrospective book of reflections on thirty years of Murderous Vision that will be packed with photos, flyers and ephemera from the beginning to present times. The machine chugs on…


Sincere thank you to Stephen Petrus and Post Scriptvm for their time and answers. More information on their projects can be found at the below links:

More information/tickets on the upcoming Awen/Murderous Vision/Autumn Brigade/DSM-III can be found here.

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News

Biweekly News Roundup 2024-03-03

Personal / Website News

Hearteater #1 Review

New comic book review is now online!

I take a look at the debut issue of Hearteater, a NSFW erotic pirate adventure comic. It can be read here.

HP Lovecast Podcast

A new episode of HP Lovecast Podcast is also online!

We have a returning guest, David Rose, on the show talking about his short story collection of Lovecraftian military fiction, Monsters in the Bush. The episode can be streamed at the HP Lovecast Buzzsprout page, via the embedded player below, or through your podcast app of preference.

HPLCP Transmissions – Ep 29 – David Rose and Monsters in the Bush H. P. Lovecast Podcast

Scholars from the Edge of Time

The February Scholars from the Edge of Time vidcast is now online.

Michele and I start our retrospective of the peplum films of Bella Cortez with Vulcan, Son of Jupiter. I’ll be typing up my notes as a “Peplum Ponderings” article later this month.

The episode can be watched on YouTube. Stay tuned in March for the next Bella Cortez film we tackle which will probably be The Tartars (1961).

Emmanuelle Legacy CFP Re-opened + Bibliography

Since garnering publisher interest, I’ve re-opened the CFP for the Emmanuelle legacy book. The updated CFP can be found here.

I’ve also started annotating Emmanuelle scholarship and posting it here at my website so other scholars have a nice bibliographic resource. The bibliography and annotations can be found hereand it’s a major WIP.

Miscellaneous Tidbits

Recent Peplum Acquisitions

I never heard the term “spear and fang” before as a genre, I just kinda called them “prehistoric peplum,” but alas, it’s a term and it has its roots in a Robert E. Howard story of the same name (story found here).

Coincidentally, at the same time of learning about “spear and fang” I had ordered such a film from Amazon. I never heard of it before, but it is called Alpha (2018). I learned of it while researching my In the Name of the King 2: Two Worlds write up in that both films star Natassia Malthe).

I’ve never seen it, but it looks tough. I also know the poor pupper is not going to make it.

In the mood for some new peplum music to write to I plucked up off discos the soundtrack to the Conan TV series of the 90s.

This was a series that was greenlit to capitalize on the success of the Hercules/Xena shows. Conan managed to slip by me growing up, so I’ll have to hunt down the boxset of it to watch (but it’s way OOP). It does star Ralph Möller who is always bad ass, from Universal Solider to Gladiator. He looks like a good Conan on the cover of the album.

The music is fun – great background music to write to.

On the subject of Möller and music, I’d be remiss if I didn’t bring up his guest appearance in the E Nomine song “Schwarze Sonnne” which has Möller wielding a sword in a post- apocalyptic city while fighting tech ninja. The song slaps hard:

Next up is In The Name of the King 3: The Last Mission.

After seeing Two Worlds, I felt obligated to complete the trilogy. I hope in this one they actually lean into the modern day soldier/merc doing stuff in Medieval times. If you want to read my thoughts on In the Name of the King 2: Two World, click here.

Also procured is Damon and Pythias (1962), another classic era sword and sandal I have not seen.

I’ve been trying to get the Warner Archive releases of sword and sandal films when I can. I heard scuttlebutt that Warner was going to wind down their production of physical media, which would be a shame because they actually took care of their films so their peplum releases actually look decent on home video.

I don’t know how I stumbled across it, but it was random on Discogs, but I had to have a copy of Inferno’s The Roman Empire.

Someone on a Sword and Sorcery Discord I go to said the cover looks like Encarta barfed all over it (they’re not wrong!). I am going to try to hunt down all the pictured that where used in the collage work on this album. I’ve identified one: The chariot and horse scene near the top left is from the Hercules Unchained poster (see bottom right):

The music is early 90s Eurodance style. It’s campy, but kinda catchy and fun. If I can find more image sources I’ll do an article proper on this album.

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Peplum

Maiden Voyage: Hearteater #1

Kimona, better known as the Hearteater, is an adventurous pirate lass, who along with her talking raven companion Zephyr, have had their fair share of encounters with treasures, riches, and near death misses. Their newest adventure brings them to Port Harmony, where a magical voice compels Kimona to rescue Finn, a handsome scoundrel of a thief, sentenced to be hung at the gallows. After getting intimately acquainted with each other during the night at an inn, a mystical bell that Kimona wears around her neck begins to glow, signifying a new adventure for the trio.

PDF Cover.

Hearteater is crowdfunded, erotic pirate comic set during the Golden Age of Piracy. Published by the women-owned Laguna Studios, (an offshoot/successor of Unlikely Heroes Studios), the comic is written by Laurie Foster (The SurgeonSuper!), with Cari Salviejo (XenogeistHypergeist) on line art, Patty Arroyo (cover artist for Bombshell & Atomica,Roseblood Manor) on colours, Saïda Temofonte (Number of the BeastDCeased) on lettering and Brian J. Lambert (Wingless Comics founder) and Sarah White (The Surgeon) as editors.

Genre waves come in cycles: rising, cresting, and retreating every few years. The pirate genre is no exception. After a period of cooling from the numerous Pirates of the Caribbean films, the last few years have seen pirates remerging in all corners of media: television (Our Flag Means Death), video games (Sea of Thieves, and Ubisoft’s freshly released, though somewhat maligned Skull and Bones), music (Visions of Atlantis), and comic books (The Pirate and the Porcelain Girl). Laguna Studios’ Hearteater definitely contributes to the pirate genre canon while overtly embracing the erotic angle promised by tales of swashbucklery. 

Kimona is a fun character, who knows what she wants and is always on the prowl for the next promise of adventure, be it by the sword or between the sheets. She is also a liberated character, both in race and gender, which gives her the agency and mobility to do her pirating deeds. Her raven familiar, Zephyr, acts as her voice of reason, but Kimona is the type of character who does not always give into reason.

Issue one of Hearteater is fairly short, there is no seafaring or sword fighting to be found, but there is an escape attempt and a steamy love scene. Kimona proper gets her character foundtations fleshed out and it is easy for readers to latch on to her.

While the narrative sets up the chess pieces as is traditional in first issues of a new series, the art of Hearteater tells a different story: great characters but forgettable backgrounds.

The expressions and details on characters such as Kimono and Zephyr are great.

The characters, especially Kimona, in Hearteater, look great. Kimona has the best facial expressions that compliment her speech bubbles and make transparent her emotions. Her seductive poses are sultry (with some breast jiggle onomatopoeia thrown in for good measure) while her other depictions show her in command, perhaps with air of mystery as readers are learning more about her.

Opening panel of the comic.

The background art, on the other hand, falters a bit. The opening shot of the comic, designed to lure readers in right from the get go, is an aerial shot of Port Harmony, filled with nondescript, featureless, flat buildings. Hearteater may actually be aware of this limitation because subsequent panels focus on closeups of Kimona and other characters, rather than have backgrounds shown in detail. It’s a shame since in the pirate genre, setting is important as readers want to be whisked away to tropical islands and port cities. The look of the characters nails it, but the world proper needs a bit more love.

Hearteater’s Kickstarter campaign concluded in the autumn of 2023 with backers receiving their rewards in February 2024, a pretty quick turnaround. As with many crowdfunded comics, Hearteater sported a variety of alternative covers – both in normal and risque formats – and came with a handful of extras from meeting stretch goals.

Zheanhmeart risqué cover – personal copy.

Artists who contributed covered are Cari Salviejo, Ian Richardson, KodiArt, Dravacus, Zheanhmeart, and Katy Rewston. All the covers are great, making choosing one a difficult process. Salviejo’s cover though, showing Kimona surrounded by green tentacles, hints at the eldritch elements stated in the Kickstarter campaign but not shown in issue one (something to look forward to in the next issue).

Rewards for the campaign included a metal bookmark and a chibi-esque sticker of Kimona.

Backers also received both digital and physical prints done by Mike Watson and Veronica Smith.

Pirates are awesome and Hearteater is looking to be fantastic as well. The erotic elements are definitely sexy, Kimona and company look to be fun characters to invest in and see their adventure continue, especially if it might venture down into Lovecraftian/Eldritch horror territory while maintaining the pirate atmosphere. A Lovecraftian-Erotic-Pirate story? Yes, please!


Links to know more about Hearteater:

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News

Biweekly News Roundup 2024-02-11

Personal / Website News

Peplum Ponderings: In The Name of the King 2

It’s been almost 2.5 years since my last “Peplum Ponderings” (which was on Messalina [1960]), so hoping 2024 is a good year to bring that series back.

Starting off with a “Peplum Ponderings” of the 2011 Uwe Boll film, In the Name of the King 2: Two Worlds. Check it out here!

The next few “Peplum Ponderings” will probably be on the pepla of actress Bella Cortez.

Scholars from the Edge of Time

And, coinciding with the above article, Michele and I talked about Two Worlds on the January episode of Scholars from the Edge of Time, which can be watched on YouTube.

Miscellaneous Tidbits

Marx Warriors of the World

In early February Michele and I attended the AZToyCon over at the Mesa Convention center. The con was 90% Funkos, but there was some neat stuff here and there.

One of the things I spotted was a vendor with a Tupperware full of CIB of these late 50s/early 60s plastic figures form a company called Marx. The line was “Warriors of the World.” I had never seen or heard of these before, but I loved, loved the vintage box art on them. There was a handful of Viking ones, but quite a few Roman solider ones, so I plucked up three of them.

Look at those boxes!! Are they not awesome? I wanted to open all three, but I didn’t want to risk accidentally tearing a box, they have older style flaps inside. I did manage to open Tiberius:

There’s the box, a little card with a bio, and the figurine proper, all handprinted. It’s about the size of a classic green plastic army man. But I really dig it! Once I get a proper curio cabinet in my office, I’ll open all three boxes and put these bad boys on display.

Autographed Stuff

Ship of Dreams

In early January iconic horror writer Brian Lumley passed away. He and Gary Myers are probably the two most important authors at shaping Lovecraft’s Dreamlands after Lovecraft has passed away. We have not had a chance to discuss Lumley’s work on our H. P. Lovecast Podcast, but we hope to in the near future.

One of Lumley’s Dreamlands entries is the book Ship of Dreams, which I have this awesome, limited edition, autographed copy.

The cover art by Allen Koszowski is spectacular. Here is the back cover:

Friends’ Stuff News

Neverending Streamer Substack

My friend Travis has a new article at his Neverending Streamer Substack. It’s about episode 4 of the Marvel streaming series Echo. Subscribe and check it out here.

Bible Films Blog

Matt Page has a new article at his Bible Films Blog called “Which Bible Films Celebrate a Significant Anniversary in 2024?”. There’s a lot of films on the list with movie birthdays so check it out here.

Angela Sylvaine Short Story Collection

Angela Sylvaine will be having her first short story collection published this spring by Dark Matter Ink. It is called The Dead Spot: Stories of Lost Girls and is already available for pre-order at the Dark Matter Ink Store.

Of course, Angela has been on our HP Lovecast Podcast twice: talking about her novella Chopping Spree and talking about her debut novel Frost Bite. Click the links to have a listen and then consider supporting her work!

Categories
Peplum

Peplum Ponderings: In the Name of the King 2: Two Worlds (2011)

Plot

Granger (Dolph Lundgren) is a retired special forces soldier who runs a martial arts gym in Vancouver, Canada. Sometime in the past he lost his squad during a battle, and each anniversary since then he sips a whisky in their honour. While partaking in his yearly ritual in his home office, he is assaulted by black robed assailants – Dark Ones – which he dispatches with his fists and firearms. In the midst of the skirmish, warrior-wizard Elianna (Natalie Burn) appears, summons a portal, and takes Granger back in time to the ancient kingdom of Ehb. When they manifest by a lake, Elianna is stabbed by a Dark One. After Granger kills the foe, he is besieged by the king’s right hand man, Allard (Aleks Paunovic), who knocks Granger out and takes him to the forest fortress. There Granger meets the king (Lochlyn Munro), who tells Granger he is a chosen one and part of a prophecy where he is to slay the Holy Mother (Christina Jastrzembska), an evil witch who has brought a plague upon the land.

After being tended to by healer Manhattan (Natassia Malthe), surviving an assassination attempt by a wench (Michaela Mann), and consulting a blind fortune teller who lives in a tree (Elisabeth Rosen), Granger is briefed again by the king and sets off into the forest on his quest. Though wanting to go solo, Granger is joined by Allard, Manhattan, and a small squad of the king’s soldiers. Granger and company are ambushed twice by the Dark Ones, with the second time Allard sacrificing himself to allow Granger and Manhattan time to escape.

While fleeing, Manhattan injures her leg, so Granger leaves her in a safe area by a stream and sets off alone to the Dark Ones’ camp. He deduces the Holy Mother wants him alive, so he strolls into the camp unimpeded and gains audience with the Holy Mother who informs him that the king is actually an alchemist named Raven, who is the real villain in the kingdom. He unleashed a plague that killed off many and took over the throne. Granger is actually a child from the prior royal family that the Holy Mother took to the future to hide from Raven, and now that he is back he needs to fulfill the prophecy: find the “catalyst” and defeat Raven. 

The Holy Mother, who turns out was one of the Dark Ones who assaulted Granger in his house, passes away, leaving warrior Dunyana (Heather Doerksen) as the new leader of the Dark Ones. She and her men escort Granger to the outskirts of the dark forest where he is supposed to venture in to search for the unknown “catalyst.” Before entering the forest, Granger uses his new kingly abilities to make Dunyana the new leader of Ehb.

Granger enters the forest and encounters a dragon. As he is about to fight the dragon, Manhattan appears and throws a rock at the beast. The two escape and encounter a squad of Raven’s men, who are quickly dispatched by the dragon that was in pursuit. Granger and Manhattan flee the forest and run into Raven and his small army who take the two captive and back to the forest fortress where he intends to execute them. Just as he is about to kill the duo, the dragon arrives and starts attacking the fortress. Dunyana and her men, who have been waiting in hiding nearby, deduce that the dragon is the catalyst, and charge into the battlefield. 

Raven makes his escape with Granger in pursuit. Arriving at the lake, Raven opens a portal to the future where he intends to unleash his alchemy plague. Raven and Granger hop in and find themselves in Granger’s house. Granger easily dispatches Raven by drowning him in his bath tub and stuffing his vial of plague solution into his mouth. Granger returns to his home office to do a new toast to his new fallen comrades. While doing so, an amulet given to Granger by Manhattan begins to shimmer.

Commentary

In the Name of the King 2: Two Worlds (2011) is a Connecticut Yankee in King Arthur’s Court-style neo-peplum and the second film in Uwe Boll’s In the Name of the King trilogy. As of 2024 it is the second to last video game inspired/adapted film that Boll has directed, the last one being In the Name of the King 3: The Last Mission (2014). Like the first film in the series, the only connection Two Worlds has to the Dungeon Siege PC games of the aughts is being set in the kingdom of Ehb.

Two Worlds can be best summarized as diet Army of Darkness (1992). Both are low budget affairs that involve a time traveler unwittingly thrown to Medieval times, being part of a chosen one prophecy, having to kill an ominous villain (Bad Ash/Holy Mother), and questing to procure a “thing” (Necronomicon/the catalyst [a dragon]). While Army of Darkness has gone on to enjoy decades of cult film appreciation, Two Worlds is fairly run-of-the-mill. There are two primary issues with Two Worlds that hold it back from being a better film: Lundgren (and how he is portrayed/portrays himself) and the writing. 

Lundgren is a proper action star, from bigger budget, A-list, popular films (Universal Soldier [1992], Rocky IV [1985], The Expendables [2010]) to direct-to-DVD fare (Diamond Dogs [2007], Icarus [2010], Silent Trigger [1996], etc.). In 99% of Lundgren films a viewer will know exactly what to expect: Lundgren bringing the martial arts, fisticuffs, and gunplay. Sadly, Two Worlds falls into that 1% category where Lundgren is not on his A-game.

Per IMDB trivia there are two reasons in tandem that are throwing off Lundgren: that this is a paycheck role and that he injured himself early in production. Paycheck roles are not bad per se, they can be fun or elevate an otherwise unremarkable film. Paycheck gigs can be an indicator of enthusiasm for the actor in some instances, with some going through the motions to collect their salary (see the advent of geazer teasers), while others still take their part seriously (such as Nic Cage during his financial troubles, he still brought “Nic Cage” to everything he did).

However, coupling a paycheck role along with Lundgren injuring himself and you have the performance of an actor who definitely does not want to be there. Lundgren must have been in some serious pain because he looks uncomfortable in every shot he is in. This is not the uncomfortable of a fish out of water scenario, (which is what should be going on in this time travel tale), but of someone in legit pain. Because of this, it can be assumed that Boll had to drastically alter the film’s action scenes to accommodate Lundgren. He has one scene in the forest where he punches, kicks, and spears soldiers part of an ambush, but a good chunk of the film shows Lundgren resting, sitting, or laying down. Narratively, the film tries to justify Lundgren’s lack of physical performance by showing scars on his back, that he was previously wounded in battle, and still takes medication to combat his lingering injuries. It is, pun intended, only a bandaid for the film. For these reasons, it appears Lundgren is not able to bring his full Lundgren-ness to Two Worlds, especially since he is no stranger to fantasy roles having played He-Man in Masters of the Universe (1987), but commendable for him sticking it out. 

The second major fault with Two Worlds lays with its writing, specifically in two arenas: the film does not lean in to its main, unique feature, and the film has no narrative stakes and will unfold the same way regardless of the presence of the Granger character or not.

Firstly, Two Worlds does not take advantage of its premise: that of a special forces person thrust into Medieval times. This movie should have had multiple scenes of Granger using his special forces expertise to dispatch enemies, infiltrate camps, and gather intel. Army of Darkness leaned into this attribute with the character of Ash (Bruce Campbell), even though that character is a normal person: he trains Arthur’s army, has a shotgun, uses a chemistry textbook to make explosives, outfits his car with a giant rotor and so on. The character of Granger exclaims he wants to sneak into the Holy Mother’s camp, but the king instead outfits him with a squad of soldiers, ruining an opportunity for modern day covert activity action. There is one sequence where Granger sneaks up on an unsuspecting soldier as they are cooking and then stabs them. Granger then proceeds to walk into the Holy Mother’s camp unimpeded, as he is expected, rending his stealth kill unnecessary. Movies such as The Final Countdown (1980) and G. I. Samurai (1979) narratively take advantage of modern tech/skills in historic times, Two Worlds does not.

Secondly, this is a film were the events that unfold do not “count,” like a movie that ends with everything being a dream, lowering the narrative stakes. If Granger had not time traveled back to the era of Ehb, the movie would end in the exact same way as if he did: Raven may or may not attempt to kill the Holy Mother, but regardless he will still take the time portal and – surprise – end up in Granger’s house. At that point, the movie would end in the same fashion of Granger defeating Raven as he would be an intruder in his home. The only reason for Granger to travel to the past is because the prophecy of him being the chosen one dictates it. Unfortunately, the plot of the film leans too heavy on the chosen one prophecy as it is used as hand-waving justification of why the movie unfolds the way it does. Why does Granger need to head into the woods? Who knows – prophecy. What is he questing for? Who knows – prophecy. Why do the Dark Ones, if they are the good guys, attack Granger in his own home? Who knows – prophecy. And so on. It’s a panacea for bad writing.

Boll, to his credit, salvages what he can with an injured actor and a script that was no doubt in flux. The woodland battles look good and the use of sweeping shots of tree-covered mountains give the film an epic quality to it. The choice to film in winter is an interesting one. Everyone in this film is obviously cold, with their breath visible in every shot, but this cold factor adds a gritty element to the film. 

As a neo-peplum film, Two Worlds is sword and sorcery in the post-Lord of the Rings vein. There is not an emphasis on bodies in Two Worlds as one would find in 80s barbarian films. Like a peplum strongman character, Granger primarily uses punches and kicks to dispatch his foes. He is given a sword towards the film’s final act, which he unsheathes when he encounters the dragon, but he does not actually engage in combat with it. 

Aside from the brief shot of his back in his gym at the beginning of the film, Lundgren/Granger’s body is never on display in Two Worlds, so no Ivan Drago shots to be found. Though he is not portrayed as a traditional strongman character, Granger does share some characteristics with Conan in that they are both orphaned very young and grow up learning how to fight (Conan as a gladiator and Granger as a special forces member). In a related observation, the kingdom of Ehb is similar to Conan’s Hyborian Age, a prehistory fantasy setting that allows wiggle room for magic and history proper.

There is a genre meta reference when Granger asks Allard if he is into “swords and sweaty sandals.” However, the jab sounds like it is trying to ape Airplane’s (1980) “Joey, do you like movies about gladiators?” except it comes off as needlessly homophobic in Two Worlds. The reference is welcomed, but it could have been delivered in a non-derogatory manner. In fact, this is another missed opportunity in that Granger could have brought up pop culture references of fantasy and peplum films to help him make sense of his time traveled predicament. 

Boll has a reputation for making bad movies, particularly video game adapted films, but In the Name of the King 2: Two Worlds is one of his better works. The movie proper is competent and scratches an epic fantasy itch. If Lundgren had been able to perform at his 100% his presence would have elevated the film to a more memorable status and provided a much needed wink-and-nod to make the greater narrative more digestible. 

Categories
News

Biweekly News Roundup 2024-01-28

Personal / Website News

Book Review

First article for the new year is now online!

Check out my book review of Vilioti Vintage by Jimmy Vargas and Lady Medusa, which can be read here. he book contains an interview with Ken Holewczynski, the dude behind Exotica Moderne, a magazine I’ve contributed to many times. So, definitely check out the review and the book proper.

Fan2Fan Podcast Appearance

My first podcast guest appearance for 2024 is over at the Fan2Fan Podcast!

In this episode we talk about the classic Italian gothic horror film, Castle of Blood. This was a lot of fun to revisit as it has been years – I dived deep into this movie over a decade ago when writing my thesis and since then I’ve grown to appreciate it more.

The episode can be streamed at the Fan2Fan Libsyn website, via the embedded player below, or through your favorite podcast app.

Castle of Blood Fan2Fan Podcast

And, of course, I’d be remiss without showing our copy of Castle of Blood, autographed to Michele and I from both Barbara Steele and Edoardo Margheriti, son of director Antonio Margheriti:

Emmanuelle Legacy CFP Re-opened + Bibliography

Since garnering publisher interest, I’ve re-opened the CFP for the Emmanuelle legacy book. The updated CFP can be found here.

I’ve also started annotating Emmanuelle scholarship and posting it here at my website so other scholars have a nice bibliographic resource. The bibliography and annotations can be found here and it’s a major WIP.

Miscellaneous Tidbits

New Edge Sword and Sorcery Issues 3 & 4

At the tail end of 2023 issues 1 and 2 of New Edge Sword and Sorcery, which has been previously Kickstarted, was unleashed upon the world. I received my copies:

The Fall 2023 issue has an advert for H. P. Lovecast, how cool is that! Also, a reminder, I did a write up about issue 0, which can be read here.

On February 15th there will be a new crowdfunding campaign to publish issues 3 and 4. You can sign up for when the campaign goes live at this link. There’s details there of what to expect from the new two issues. Check it out!

Recent Pepla Acquisitions

Recently plucked up copies of Gold for the Caesars and The Tartars, both from Warner’s Archive Collection. If it’s a peplum film Warner had a hand in back in the day, they kept decent prints of them over the years and give them decent releases:

The Tartars star pepla starlet Bella Cortez. Michele and I are probably going to do a retrospective of her pepla appearances, talking about different movies of the next few episodes of Scholars from the Edge of Time. I’ll be turning those discussions into articles for my Peplum Ponderings series which has been severely neglected.

Rest in Peplum Jesse Jane

This past week erotic actress Jesse Jane passed away. Jane appeared in many adult movies, including two pirate porno pepla: Pirates 1 and Pirates II: Stagnetti’s Revenge. Had the honor, way back in the late aughts, to meet not only Jesse Jane, but co-stars Stoya and Riley Steele at a meet and greet: won a raffle and received copies of both of the Pirates films in which the actresses autographed. Here is a mini-slideshow (NSFW images):

I have a polaroid somewhere as well documenting the meet and greet, soon as I find it I’ll add that to the gallery.

Autographed Stuff

Here is a summary of some of the autographed stuff from my library over the past two weeks on social media.

Robot Jox

Actor Gary Graham passed away on the 22nd. He didn’t star in anything I’d consider peplum, but he starred in lots of sci-fi movies and shows. Michele and I met him at a Hollywood Collectors show way back in the day. I had him sign my copy of Robot Jox:

As you can see, I’ve had quite a few people autograph Robot Jox over the years: Graham, director Stuart Gordon (RIP), producer Charles Band, and writer Joe Haldeman. It’s a fun mecha film. We see lots of mechs in anime and video games, but live action, not so much (but the ones we get, like Pacific Rim, turn out to be cult hits later on).

The Plain Janes

Here are copies of The Plain Janes and Janes in Love signed by author extraordinaire Cecil Castellucci.

And:

When we lived in Orange we would see Castellucci at many of the local cons and she was always awesome to say hi to. Michele moderated a panel on Star Wars at a Long Beach Comic Con that Castellucci was a panelist on.

Categories
Essays

The Codex of Cool: Interviews with Retroists in Vilioti Vintage

What is neo-vintage?

With a show-not-tell approach, this is the question that Jimmy Vargas and Lady Medusa’s book, Vilioti Vintage (2022), seeks to answer via interviews with twenty luminaries from the retro and vintage scenes. Per Vargas’ introduction, Vilioti Vintage is not a retrospective but instead a look to the contemporaries of vintage who seek to recreate it through different means. In its representation of neo-vintage, Vilioti Vintage casts a wide net, not just across occupations (artists, designers, musicians, photographers, pinups, publishers, et al.) but geographically (United States, Australia, England, Germany, Indonesia, and others), for its featured subjects. The end result is a resource that hits upon all the different avenues regardless of approach to the neo-vintage subculture.

The interviews begin with Scotty Morris, lead vocalist for American swing revival band Big Bad Voodoo Daddy. Morris shares his thoughts about some of the songs in the BBVD canon and talks about the importance of the movie Swingers(1996) in catapulting them (and by extension the retro scene) into greater visibility. However, with nearly three decades of being part of the music-business, it feels like Morris is reserved, or rehearsed in his answers. 

The second interview is with Vegas-based burlesque performer Hazel Honeysuckle who is overt in naming her sources of inspiration. She is much more candid than Morris, talking in depth about her origins and even relating some fun anecdotes, such as when she was a guest on the Netflix series House of Cards (2013-2018).

Tom Ingram, the creator of the Viva Las Vegas festival, holds no punches and brings a candidness to his interview. While other interviewees in Vilioti Vintage name drop the folks who inspire them, Ingram takes the opposite approach of speaking about dubious business partners and other obstacles he has faced over the years. He comes across as weathered and weary of the corporate aspect of running an iconic festival, but he has definitely seen it all and exhibits his learned wisdom. 

Filmmaker Chris Magee, who takes on a John Peel-esque role of presenting Americana music on his Bopflix YouTube channel, is not afraid to speak his mind on political issues. While folks in the retro and pinup scenes espouse mottos such as “vintage aesthetics not vintage values,” Magee follows through with these promises, illustrated when he talks about his drawing the line in the sand and saying a firm “no” to displaying confederate flags in music videos.

The fifth interview is with Jason Croft, founder of Bachelor Pad magazine. Croft’s observations of the retro revival happening during the 90s coincides with Morris’ recollections in one of the many displays of networkedness showcased in Vilioti Vintage. Croft’s answers come across with extreme enthusiasm and really dives into the history of Bachelor Pad. Though Vilioti Vintage mostly focuses on the noir to atomic age of vintage and retroism, Croft’s description of running a cheesecake website during the halcyon web 1.0 days adds a small element of vaporwave retroism to the book.

Croft’s interview is followed by artist Nathalie Rattner who talks in great detail about the technical aspects of creating pinup art. An interesting aspect about Rattner’s interview is her embracement of the corporatization of vintage. While Vilioti Vintage seems to take the angle that businesses swoop in on the newest trend, capitalize and cannibalize it, then move onto the next thing, (a sentiment certainly echoed with other interviewees in the publication), Rattner speaks freely of her art appearing on merchandise and advertisements and the associated boon it brings.

The next interview is with Don Spiro of Zelda Magazine, who brings in a contrasting perspective to the world of publishing when compare to Croft. While Croft’s rag seems on the up and up, Spiro talks of the death of his business partner, having to scale back Zelda to an annual publication, and how demand for his portrait work has dwindled due to the shift in models using selfies for self promotion instead of commissioning a professional. 

Rockabilly musician Wes Pudsey, who has performed at Ingram’s Viva Las Vegas, brings in an Australian perspective of Americana, relating fun stories of being on tour, such as when his vehicle got stuck in a low clearance situation while in Germany. 

Ken Holewczynski, publisher of Exotica Moderne and owner of House of Tabu, brings perhaps the most offbeat perspective to Vilioti Vintage. While other interviewees speak of events in their youth that set them on their retroist path, Holewczynski is fairly new to the scene having only gotten into tiki culture a few years ago. His past is with comics and industrial music, which do not tint his glasses when assessing tiki culture. It is probably this idiosyncratic background which has allowed Holewczynski to flourish and publish a high quality magazine and create desirable tiki mugs and glassware where others have faltered.

Italian burlesque star Albadoro Gala brings a continental touch with her philosophical answers. Gala has the most memorable yarn in Vilioti Vintage when she relates the tale of how she got her namesake when a crazy old lady attacked her with a knife. 

Ralph Braband, owner of Rhythm Bomb Records in Germany, echoes similar sentiments of Spiro in the difficulties of running a business, starting with great highs but dealing with current world woes. He offers realist answers of how his music business has weathered Covid-19 and the actions he had to take to do so.

Hairstylist Tom Vacher offers up an amusing story from his youth of getting to the car of two strangers – a couple who were into vintage clothing and driving an old school car. He was smitten immediately with their vintage lifestyle. He follows this up with stories of operating in the hair business in both the UK and in Australia.

Marcella of the Puppini Sisters has the most bubbly interview of the lot. Like Morris, she has experienced the whirlwind of a major record label swooping in on her music and then whooshing out. Though her and her singing partners, Kate and Emma, look the pinup part with their old school aesthetic with a modern twist, Marcella is adamant that they are musicians first while style comes second.

After Marcella’s interview, Vilioti Vintage loses a bit of its steam with the next handful of interviews of Harry and Edna (radio hosts from the UK), Maryann Lant (a European rockabilly musician), Aldi_ Hydrant (Indonesian clothing designer), and Tamara Mascara (drag queen) being on generic side. The answers in these interviews are short, and lack many of the personal details that prior subjects exhibited. The folks are interesting none-the-less and offer nuggets of wisdom and insight into their craft, their responses are simply not up to the caliber of prior interviews.

Vilioti Vintage regains its footing with Beck Rustic’s interview. Rustic is the owner of the Swelltune record label in the UK. He dives into an amusing story of how his label was accidentally started when he wanted to print a commemorative vinyl of the festival he hosts only to pounced upon by music acts to become involved. He gives candid responses on the impact of social media and streaming on the music business. 

Australian burlesque artist Porcelain Alice showcases the most inspiration in her interview to readers. She offers approachable advice for those who want to get into the business: there’s no qualifications required! One doesn’t need to know how to dance and there is no gatekeeper stopping someone from trying. For outsiders looking in at the retro world who might feel intimidated, Alice helps breaks those intimidating barriers down.

Vilioti Vintage ends with an interview with Natty Adams, an author and clothing designer based in New Orleans. Adams offers detailed and thoughtful answers into how he got started in his line of work and how he taps into a plethora ofhistoric eras for inspiration.

To compliment the subject matter, Vilioti Vintage bookends each interview with a series of high quality photos depicting their interviewees in their most fashionable or glamorous style. With each interview running around ten pages and the book in its entirety clocking in at around one-hundred and eighty pages, Vilioti Vintage aims for both quality and quantity. The end product of Vilioti Vintage looks to carry the torch brought about by the RE/Search publication Swing!: The New Retro Renaissance (1998) (the shout out to RE/Search in Vargas’ acknowledgments lends credibility that this was a desired outcome).

Taking the book as a whole, there is definitely reoccurring themes and observations from each interview which reinforces a complimentary nature. The interviews were conducted during the Covid-19 pandemic, so many subjects address how they operated during the dark times. There’s a philosophy to look to the past in order to deal with modern problems, and Vilioti Vintage, be it by happenstance or by design, reinforces this notion; that there is value to bring forth elements of the past and merge it with the present to create something new that lies in the realm between utility and homage. Vilioti Vintage is an invaluable resource for both appreciating and understanding the neo-vintage subculture.

More info about Vilioti Vintage can be found at its product page at The Lady Medusa & Vilioti Press website.

Categories
News

Biweekly News Roundup 2024-01-14

Personal / Website News

2023 Accomplishments

Michele and I recapped a majority of our accomplishments and projects on the last episode of the H. P. Lovecast Podcast, however I’d like to do a personal breakdown here.

Publication Accomplishments

Honoured to appear in five physical publications this year:

Sincere appreciation to Rachel Carazo, Jonathan Maberry, Evan Jordan, Michael Duda, and William Sloan for letting me be part of their projects.

Podcast Accomplishments

Links to all podcast appearances can be found on the Podcast Index page. Sincere thanks to Bernie Gonzalez, Peter Charbonneau, Hercules Invictus, and Sherri Nunn for having me be a part of their programs.

Conference Accomplishments

Michele and I attended CoKoCon 2023 and ere on two panels. It was also our first time ever vending at a con. Thank you to Hal and Dee Astell for having us.

2024 Looking Forward

I am hoping that 2024 will be as successful as 2023 was. This year will see a decade of me writing (since the publication of my first essay in James Bond in Popular Culture).

On the podcast front, Michele and I already have the first half of 2024 planned for H. P. Lovecast. We’ve also already recorded a few episodes with the folks at Fan2Fan Podcast, so expect those episodes to drop throughout 2024.

My essay on peplum cats, currently titled “Hic Sunt Leones: Peplum Strongmen and the Nemean Lion Legacy” was accepted last year by editor Simon Bacon for his collection, Cats: A Companion. The manuscript was sent to the publisher in early December, so hopefully this book winds up being published later this year! Nice to have a publication already on the docket.

I still have a pile of reviews I want to get done that have been piling up. I also have a list of essay ideas I have approval on, I just need to write and get out the door. It’s been a while since I’ve submitted to Exotica Moderne, so hopefully I can get an essay or two to them this year.

The main project for 2024, however, is the Emmanuelle Legacy book. On my timeline I have submit a manuscript to the publisher in October, which will be here before I know it. I have an intro and an essay to write, along with editing other folks’ essays. I’m super excited to try and realize this project, so it’s going to be nose to the grindstone for this one.

Thank you to all the folks who support me and my endeavors. You are sincerely appreciated!

Horror Literature.. Review

The collection, Horror Literature from Gothic to Post-Modern: Critical Essays, that Michele and I edited has just gotten a new review from the Journal of Ecohumanism, and it is a very positive one!

The review (along with the rest of the journal) can be read in its entirety here.

New Episode of H. P. Lovecast Podcast

New episode to kick off 2024! We kick off the new year interviewing Pat Shand about his three issue comic book miniseries I Summoned Cthulhu to Fund my Kickstarter.

The episode can be streamed at the HP Lovecast Podcast Buzzsprout site, via the embedded player below, or through your podcast app of preference.

HPLCP Transmissions – Ep 28 – Pat Shand and I Summoned Cthulhu to Fund my Kickstarter H. P. Lovecast Podcast

H. P. Lovecast on BlueSky

H. P. Lovecast is now on Blue Sky. If you’re using that social media please consider giving us a follow there! The username is: @hplovecast.bsky.social .

Emmanuelle Legacy CFP Re-opened + Bibliography

Since garnering publisher interest, I’ve re-opened the CFP for the Emmanuelle legacy book. The updated CFP can be found here.

I’ve also started annotating Emmanuelle scholarship and posting it here at my website so other scholars have a nice bibliographic resource. The bibliography and annotations can be found here and it’s a major WIP.

Miscellaneous Tidbits

The Neverending Streamer Substack

My friend, Travis Lakata, has started a Substack called The Neverending Streamer. Give him support and subscribe – check it out here: https://travislakata.substack.com.

Rest in Peplum Jennell Jaquays

Fantasy artist Jennell Jaquays passed away last week. She did lots of fantastic work. Her covert art for the Dragon Mountain boxset is probably one of the most iconic pieces of 90s 2nd Edition Dungeons and Dragons.

My copy of the box proper hasn’t survived the 30+ years, but the contents have! Here is book 1 of the module which sports the legendary red dragon.

Legends of the Lance Newsletter

While digging through my old Second Edition stuff I happened upon these five issues of the Legends of the Lance Dragonlance newsletter. Apparently these are extremely rare! I love how they look though and the art on them is aces.

Endless Armies Jeff Grubb Autograph

For this roundup of autographs, since I was going through my D&D stuff, figured I would show of my copy of Endless Enemies autographed by Jeff Grubb.

Way back in the 2000s my comic book store was Spy Comics in Federal Way. Apparently that was also Jeff Grubb’s comic book store to go to as well. The owner, Richard, arranged an in store event with Jeff Grubb who was on hand to autograph stuff he wrote. I got a few things signed by him, Endless Armies being one of them. Somewhere there is a photo of the event, I hope I can find it!

Categories
News

Biweekly News Roundup 2023-12-31

Personal / Website News

End of Year H.P. Lovecast Podcast

A brand new episode of H. P. Lovecast Podcast, and the last one for 2023, is now online.

This is a recap episode where Michele and I talk about what we accomplished with personal projects and podcast stuff for 2023 and what to expect for 2024. The episode can be streamed at the HP Lovecast Buzzsprout website, via the embedded player below, or through your podcast app of preference

Ep 60 – 2023 Recap, Podcast News, Upcoming Projects H. P. Lovecast Podcast

The New Peplum Citations

Lots of citation news for The New Peplum. Two books have recently been published that cite essays in The New Peplum.

First is “The Performance of Plasticity: Method Acting, Prosthetics, and the Virtuosity of Embodied Transformation” by David LaRocca, published in Plastics, Environment, Culture, and the Politics of Waste by Edinburgh University Press. The editor of this tome is Tatiana Konrad, who wrote the essay “Laughing at the Body: The Imitation of Masculinity in Peplum Parody Films” that appears in The New Peplum.

Next up is Brill’s Companion to Ancient Greek and Roman Warfare on Film edited by Konstantinos P. Nikoloutsos and published by Brill. This collection contains five essays that cite contents from The New Peplum:

  • “Brad’s Biceps and Dwayne’s Delts: Stardom as Physicality and Digital Spectacle in Troy (2004) and Hercules (2014)” by Djoymi Baker (who also wrote the Hercules essay in The New Peplum)
  • Swords Made of Rubber: Cinematic Antiquity through the Lens of War” by Konstantinos P. Nikoloutsos
  • “Romans and Zealots in the Global War on Terror: Asymmetric Warfare and Counterinsurgency in Risen (2016) and Ben-Hur (2016)” by Oskar Aguado-Cantabrana
  • “Atalanta as Celluloid Warrior in Jason and the Argonauts (2000) and Hercules (2014)” by Patricia Salzman-Mitchell
  • “Rockules’ Revenge: The Portrayal of the Veteran Warrior in Brett Ratner’s Hercules” by Owen Reese

Unfortunately, I don’t have copies of the above books so I can’t say what specifically is mentioned. Once I suss that out I’ll add the information to the page for The New Peplum. As always, even years later, I am super happy and flattered to see scholars still citing the essays in The New Peplum.

Emmanuelle Legacy CFP Re-opened + Bibliography

Since garnering publisher interest, I’ve re-opened the CFP for the Emmanuelle legacy book. The updated CFP can be found here.

Emmanuelle 6.

I’ve also started annotating Emmanuelle scholarship and posting it here at my website so other scholars have a nice bibliographic resource. The bibliography and annotations can be found hereand it’s a major WIP.

Publishing Recap

Below is a recap of my publishing endeavors for the year of 2023. Next week this section goes blank, so wish me luck as I crank out a new batch of essays to be published in 2024. Thank you to everyone who took an interest in my publications for last year. You not only supported me, but you supported the different publishers and editors who gave me venues.

Published in February, this collection contains my essay “Dance or Dēcēdere: Gladiator and Industrial Music Sampling.”

Vernon Press Product Page

Published in May, this issue of Weird Tales contains my essay “When the Stars are Right.”

Weird Tales Product Page

Published in late March, the first issue of the zine Footage Fiends, contains my essay “Analisi Della Cosa: Found Footage in Caltiki and Italian Theater Going Practices.”

Limited to 50 physical copies.

Order via Patreon.

Published in early August, Dark Dead Things #2 contains my essay “Correlating the Contents: Mimetic Desire in H. P. Lovecraft’s ‘The Call of Cthulhu’.”

Order via Dark Dead Thingswebsite.

Published late November/early December of 2023, my essay “An Imperial Decree? Soitenly! Matri-Phony as Proto-Toga and Sandal Comedy” appears in the debut issue of The Journal of Stoogeological Studies.

Amazon product page.