James Lollar, the mastermind behind the seminal synthwave outfit GosT, passed away on April 4th. A devastating loss to the genre, GosT’s album Non Paradisi and accompanying music video for “Maleficarum” helped solidify the occult elements of the burgeoning synthwave scene in the mid 2010s while going against the trend of leveraging 80s nostalgia that the genre is known for.
Back on January 7th, 2017, GosT and other influential synthwave outfit, Perturbator, played a concert at the Union in Los Angeles. Michele and I attended the amazing show, and on a whim, decided to do a write up about the event and have it published at the now defunct Heathen Harvest website.
In an effort to keep Lollar’s/GosT’s memory eternal, I have dug up my old concert review and republished it here at my website. Included in this write up are more photos of the concert that were not part of the original article. Note, these were all taken with a mid 2010s camera phone, so they are not the best quality, but they still do an admirable job at documenting the night.
𐕣Rest in peace James.𐕣
Concert Report
The first week into a brand-new year was already off to an excellent start for American synthwave fans. Legendary French synthwave act, Perturbator begin their first North American tour in the first week of January, playing a series of shows on the west coast in Seattle, Los Angeles and San Francisco before making their way east to Chicago, New York City, Montreal and concluding in Boston. Joining Perturbator for the west coast stops is another prominent synthwave outfit, GosT. What follows is a concert report of both projects’ performance in Los Angeles on Saturday, January 7th.
The concert was held at the Union Nightclub, west of downtown Los Angeles on Pico Blvd. A fitting location for a Perturbator show, in that the movie The Terminator has an iconic scene in the fictitious Technoir night club, right on Pico Blvd and of course, Perturbator has a song called, “Technoir” complete with samples from said film. The venue was huge: multi-story, multi-roomed, multiple bars everywhere. The magenta neon-signage directing folks to the different rooms only added to the (incidental) outrun aesthetics for the show. For all purposes, for this night, the Union was the Technoir.
The concert itself ran immaculately. When the doors scheduled to open at 9:00 pm, they were actually opened on the dot without delay. Security was in the queue to ID attendees and marking the underage kids with Xs on their hands to keep them nice and x-straight-edge-x, but also to keep the line moving swiftly. The show properly took place in the Union’s upstairs disco room, a huge dance hall with a full bar, elevated wall seating around the circumference, and even bottle service. A swag table was set up outside in the loft room, with only a few GosT releases for sale, but a treasure-trove of Perturbator CDs, vinyl and a new Metropolis-inspired T-shirt.
The show started at 10:30pm and thankfully without any filler acts, as this was a night to focus on two of the seminal pillar acts of the synthwave genre. GosT entered the stage after an intro of synthesized, evil chanting and proceeded into his hard-hitting masterpiece, “Maleficarum.” The GosT stage setup was fairly minimal: a cloth covered table with his equipment and accompanying lights from the venue’s stage. However. GosT himself was extremely animated: jumping up and down, rapidly bobbing his head, launching himself from the speakers, blowing kisses, and strutting up to the front row to high five and interact with his audience. At one point an attendee assumed he could do the same, got up on stage, jumped from the speaker and promptly injured his leg and had to be pulled offstage by security.
GosT performing.
GosT performing.
GosT performing
GosT performing.
GosT performing.
GosT dancing.
GosT dancing.
There is a significance about the whole performance: GosT himself dressed in all black with his sinister skull mask, dancing with wanton abandon, as if he were conjuring his music from his equipment. This echoes a great lineage of the ‘skeleton dance.’ From the Camille Saint-Saëns poem “Danse Macabre” (based on text from Henri Cazalis), to Georges Méliès’s silents L’Antre des Esprits (1901) and Le Monstre (1903) to the Walt Disney cartoon The Skeleton Dance (1929), there is an actual history rooted in this occult performance by GosT and not just simple dancing, retrowave theatrics. The comparison, intentional or not, is extremely apropos. GosT played a gamut of songs from his catalog, with some favourites of Non Paradisi including “Arise” and “Lake of Fire” before ending his set at 11:20 to a satisfied crowd.
At 11:45pm, Perturbator took the stage and launched into “Neo-Tokyo” followed by “Disco Inferno.” His set focused mainly on content from Dangerous Days and The Uncanny Valley, including songs (roughly in the following order) “Raw Power,” “She’s Young She’s Beautiful She’s Next,” “Diabolus Ex Machina,” “Future Club,” “Satanic Rites,” “Complete Domination,” “She Moves like a Knife,” “Humans are such easy Prey,” “Venger” and “Weapons for Children.” However, the club friendly song “Technoir” from I am the Night made an appearance early in the set, making it a fulfilling and dense playlist.
Peturbator performing.
Peturbator performing.
Peturbator performing.
Peturbator performing.
Peturbator performing.
Peturbator performing.
Peturbator performing.
Peturbator performing.
Peturbator performing.
Peturbator performing.
Peturbator performing.
While GosT was overt and animated in his performance, Perturbator was concise and reserved. He didn’t interact with the audience, save an occasional head bow while looking sinister from behind his hoodie, however he had additional theatrics in the form of LED lights set up behind him. The lightshow that went with the rumbling synthwave was a huge compliment to the performance: if one wasn’t deafened by the electro beats, they were blinded by the strobes. The BPM on many songs was increased and the floor quaked from the music as well as the dancing bodies. If there was a word to describe Perturbator’s set, it would be relentless – there were no pauses between songs and they all flowed together without a moment to catch one’s breath. This was an endurance. Perturbator ended their set a little before midnight. After the crowd chanting “One more song!” he reappeared to perform “Welcome Back” and “Perturbator’s Theme” from Dangerous Days as the encore before departing the stage as ominously as he had arrived.
An excellent performance from both acts, there is no doubt why both Perturbator and GosT are lauded the way they are: their studio output is immaculate and their live shows are engaging and raw. This evening at The Union was a testament to both project’s artistry.
Vanya is a warrior in training, sent to the prehistoric past for a year to test her survival skills against a harsh primeval environment and dinosaurs. Her journey becomes upended as she is drawn both into an intergalactic war with the purple skinned Torridians and the prophecies of the Bone Tribe who seek to hatch Torridian Dragon eggs. Vanya finds momentary respite when she and her lover, Serah, make it to a Federation installation. There Serah is cared for after having been implanted with a cranial device by the Bone Tribe Witch that gives her visions. As the Torridians commence an all-out assault against the base with their legion of cybernetically enhanced dinosaurs, the Federation responds in kind with their army of mechs. As the battle rages, Vanya is sent out into the jungle once again on a mission to retrieve a set of Torridian Dragon Eggs.
Vanya #09 cover by Zoran Jovicic.
Issue 09 Plot
The large scale battle between the Federation in their mechs and the Torridians with their cybernetic dinosaurs rages on. Taking advantage of an opening, Torridian general Tora pilots her robo-T-Rex, leaps off her mount, and lands on Relo Quarr’s mech, slashing it open. Holding her double ended sword at Relo’s throat, she orders the Federation to surrender. At that moment, in a deus ex machina, a battalion of Astral Guard arrive, mowing down the Torridians and their dinosaurs with their chain guns, laser webs, light blades, and other futuristic weaponry. Seeing the battle lost, Tora impales herself on an Astral Guard’s blade.
General Tora leaps from her cyber T-rex onto Relo Quarr’s mech unit.
Meanwhile, Vanya, having survived the rocket attack from a cyber-pterodactyl, encounters a scarred sabretooth tiger, who beckons Vanya to follow. Vanya does so, and their trek takes them across a chasm bridged by a rotten log. The log breaks, plummeting the two in to the treacherous river below, however they make it safe to shore and set up a camp.
At the caves of the Bone Tribe, the Witch grows frustrated that her pheromones are not imprinting on the Torridian Dragon egg. She tries to force the captured Astral Guard soldier Elah into the massive ritual orgy, but Niya offers to take her place instead.
Far at the edge of the Galaxy, a fleet of Torridian ships receive a transmission from the now defeated General Tora.
Commentary
The titanic battle that started in issue eight sees its conclusion in Vanya #9, though with a change in perspective. Issue eight went for big and epic, with many of the panels zoomed out to show the battlefield between the Federation and the Torridians and how large its scale was. Issue nine takes a personal, focused approach, narrowing it down to General Tora and Relo. The arrival of the Astral Guard, though a deux ex machina, was unexpected and a pleasant surprise. The last appearance of the Astral Guard was back in issue seven and it was not a positive portrayal. In that issue, Elah and her squadron of Guard arrive through a portal and are easily tricked and dispatched by the Bone Tribe Witch. The elite guard, the best of the best, did not live up to mythological-esque hype prior issues hinted at. This issue rectifies this portrayal (perhaps the issue seven portrayal is more of Elah was simply an ineffective leader and hence why her men are killed and she and others are captured so easily). The Astral Guard show up, do not falter in any way, and steam roll over the Torridians.
The razor sharp webs of the Astral Guard make short work of the cyber pterodactyls.
The Grid Alien from the 2004 Alien vs. Predator movie.
There are a few panels in the Astral Guard battle that might be homages or pop culture references. The Astral Guard shoot a web that passes through a flock of cyber-pterodactyls, slicing them into tiny pieces. This is akin to the Predator’s net weapon in the Predator movies (best exemplified with the Grid Alien in Alien vs. Predator [2004] that survives such a net attack).
An Astral Guard Warrioress wields a giant chain gun.
Barbarianna from the movie Kung Fury.
Another panel shows a blonde, braided lady Astral Guard, who evokes images of a Valkyrie, holding a chain gun in her hand. This is reminiscent of the synthwave movie Kung Fury (2015) that features a lady Barbarian (named Barbarianna) from the past who also wields a chain gun. These references may be coincidental, but they are bad ass and rehabilitate the image of the Astral Guard as the elite force that Vanya has been training to be a part of.
As the General Tora plot line comes to a close, another one gains momentum and that is the mystery of the sabretooth tigers. In this issue, Vanya encounters a sabretooth cat with a scar with two slashes across its right eye. Vanya follows the cat, which leads to a near brush with death for both of them as they fall into a chasm (though there is some whimsy present in the panel of Vanya and the sabretooth tiger riding the log together as if it were an amusement park ride).
Vanya and a Sabretooth tiger ride a log in the river rapids.
Is the cat friend or foe? Way back in issue two there was a sabretooth cat that was stalking Vanya and company. However, this cat lacked the scars over its eye, so it cannot be the same sabretooth. Its fate is currently unknown: is it alive or perhaps it was one of the sabretooths that perished during the attack on the Bone Tribe back in issue five.
Sabretooth tiger in issue 9 that leads Vanya.
The Bone Tribe Witch and three sabertooth tigers at her command in issue seven.
Issue seven shows the Bone Tribe Witch with a pack of three sabretooth tigers who follow her commands. One of the tigers does have two scars over its right eye. Has the Bone Tribe Witch sent this particular feline out to fetch Vanya and lead her back to the Bone Tribe’s caverns? In issue seven the Bone Tribe Witch references the Prophecy of the Dragon Rider. Perhaps the Witch needs Vanya in order to fulfill this role? With the tribe’s ritual orgies causing the Torridian Dragon eggs to hatch, there will definitely be some dragons to be rode.
Covers and Swag Impressions
Issue nine of Vanya was crowdfunded via Kickstarter in September of 2025 with physical rewards being shipped in late January of 2026. With this issue of Vanya came the news that the series was not going to end on issue twelve but instead would be turned into an ongoing series, the first for publisher Bad Bug.
This issue of Vanya was particularly awash with amazing alternative covers. John Royle’s cover gave Vanya a J. Scott Campbell vibe. Renato Camilo (who did the best covers for Vanya issues two, four, and five) brings their A-game again with a spooky night hunt scene between Vanya and a T-rex. Marissa Pope’s cover is particularly vibrant and luminescent.
Vanya #9 with nude, alternate cover done by Hedwin Zaldivar.
The best cover for issue nine goes to Hedwin Zaldivar who captures both the cheesecake style with the battle-hardened cave woman girl style. Zaldivar’s Vanya sports a giant beehive-dreadlock with dinosaur spikes sticking out from it, a cross between midcentury pinup girl and jungle girl. The cover is also action packed, with an exploding volcano and a squadron of pterodactyls flying about. A great, energetic cover all around.
Issue nine also came with an abundance of extra swag, more so than other issues in the series.
Vanya #9 art print by Sam Payne.
Firstly, there is the art print done by Sam Payne who has a distinctive “good girl” style, which is evident in the wing-tipped eyes of the women he draws. This is an adorable iteration of Vanya.
Stickers for Vanya #9.
Next comes not one, not two, but three (!!) stickers! One of the Vanya series logo, the other is of Yum!’s Vanya cover, and the final one is of the aforementioned Sam Payne art piece.
Two Tarot Cards for Vanya #9.
Stickers are not the only thing in quantity as this issue came with two tarot cards. One is of “Justice” and uses the Yum! cover art, and the other is of “The Hermit” and uses Tony Tzanoukakis cover art.
Vanya #9 Sooyoung Cosplay Print.
And finally, as with issue seven, Vanya #9 comes with a cosplay art print. The model in this print is Sooyoung, and shows a Vanya relaxing in a pool of water, something the character is fond of doing (see issue one and the Bruno Sousa and Tommy Shelton alternate cover of issue three). Overall, this issue of Vanya is mighty stacked with loot and those who contributed to the Kickstarter are well rewarded with some great swag.
Conclusion
Issue nine of Vanya was a nice package of both wrapping up story threads and introducing new ones. General Tora is no longer a menace, but it appears that victory may be short lived as interstellar Torridians mobilize. Vanya is back in her element being a neo-jungle girl who technically has an animal companion now. Will that sabretooth tiger align itself with Vanya or is it truly under the control of the Bone Tribe Witch? The Astral Guard received a much needed image makeover after their less than impressive entrance a few issues back. With this issue it feels like the Vanya series is moving into a new phase, one that is more mature, mature in the sense that the story has become wise to itself and knows where it is going and each character has solidified themselves into a specific role with specific stakes/goals: from Serah coping with her new kinda-psychic dinosaur ability (from the prior issue), to the Bone Tribe Witch working her magic and showing frustration at the ritual, to even Relo Quarr, who has only been present in the most recent issues, showcasing himself as a formidable leader. Vanya has elevated itself from a fun, chaotic at times, hypersexual comic to a story driven one that is taking itself seriously.
For more information on Vanya and the comic’s creative team, check out the links below:
Bad Bug Media Vanya 09 Product Page – (Not yet listed, but here is the link to all available Vanya comics so far)
There’s been an uptick in work being cited lately and I am here for it!
Firstly, my essay “Lost Nights and Dangerous Days: Unraveling the Relationship Between Stranger Things and Synthwave” from Uncovering Stranger Things has been cited in the essay “‘Dad, every serial killer is somebody’s neighbor!’ The Problem of White Supremacy in Summer of ’84” by Erika Tiburcio Moreno and published in the edited collection The ’80s Resurrected: Essays on the Decade in Popular Culture Then and Now.
The book was published by McFarland in March earlier this year. More info can be found on the book’s product page at the McFarland website.
Next, Hannah Mueller’s essay “Male Nudity, Violence and the Disruption of Voyeuristic Pleasure in Starz’s Spartacus” from The New Peplum has been cited by James K. Beggan in his essay “Why is he there? Male presence in a sexually explicit magazine geared towards heterosexual men” that was published in the Porn Studies journal.
Cover art for The New Peplum
If you have access the essay can be read at the journal’s page at Taylor and Francis.
New Episode of HP Lovecast
A new episode of our monthly Transmission program is now online.
For July we interviewed Chelsea Pumpkins, editor of the horror anthology AHH! That’s What I Call Horror: An Anthology of ’90s Horror. The episode can be streamed via our Buzzsprout page, the embedded player below, or through your podcast app of preference.
The schedule for CoKoCon 2023 is starting to take shape! You can find Michele and I on the following panels:
Saturday Sept 2 9pm – Fiesta Ballroom 2: From EC Comics to Shudder: Horror Comics That Excite and Scare Us
Sunday Sept 3 6pm – Coronado: Creepy, Crawly, Otherworldly Bumps in the Night, or Cosmic Horror Films
Monday Sept 4 1pm – Coronado: 1pm: Weird West in Popular Culture
I’ll be on premises the entire con, so feel free to hunt me down to say hi! Michele and I will also have a table we were sill be selling and signing books.
Publishing Recap
Below is a recap of my publishing endeavors so far in 2023.
Published in February, this collection contains my essay “Dance or Dēcēdere: Gladiator and Industrial Music Sampling.”
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.”
Kino Lorber just had a summer sale on their Blu-rays so I took the opportunity to pluck up some Italian films for the library.
The Last Hunter I already had on DVD, from Dark Sky Films. In fact, here is my copy autographed by Antonio Margheriti’s son, Edoardo Margheriti:
I did a presentation on The Last Hunter at the Southwest Popular/American Culture Association conference waaaaaaay back in 2010. Not my best presentation and still very green at being an academic, but the text of it can be read at my Academia.edu account.
Ironmaster I have not seen. It sounds like an Italian sword and sorcery flick, but in a prehistoric age. I am a fan of Umberto Lenzi’s work so this should be a fun watch.
Lastly is Yesterday, Today and Tomorrow, which I also have not seen. I’ve seen the iconic image of Sophia Loren slipping off her stockings that I feel like I’ve seen the film. I always think of Mastroianni from Divorce, Italian Style.
Pasolini’s The Gospel According to St. Matthew Commentary
Matt Page, author of 100 Bible Films, has recorded a commentary for Paolini’s 1964 Biblical peplum, The Gospel According to St. Matthew. The commentary and be streamed from YouTube. Criterion Collection recently released a Pasolini boxset that contains this film.
Call for Papers
Michael Torregrossa has a few CFPs out there. I’m sharing them here to help get the word out. Check them out and consider submitting!
Beowulfs Beyond Beowulf: Transformations of Beowulf in Popular Culture (Panel)
Sponsored by the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture and the Monsters & the Monstrous Area of the Northeast Popular Culture Association
Organized by Michael A. Torregrossa, Richard Fahey, Carl Sell, and Benjamin Hoover
Call for Papers – Please Submit Proposals by 30 September 2023
55th Annual Convention of Northeast Modern Language Association
Sheraton Boston Hotel (Boston, MA)
On-site event: 7-10 March 2024
The Old English epic Beowulf remains an important touchstone for connecting us to the medieval past, yet it also has continued relevance today through its various transformations in cultural texts (especially works of popular culture). Our hope with this session is to expand our knowledge of these works and assess their potential for research and teaching.
Please visit our website Beowulf Transformed: Adaptations and Appropriations of the Beowulf Story (available at https://beowulf-transformed.blogspot.com/) for resources and ideas.
Over a millennium old, the story of Beowulf is disseminated primarily through its editions and translations and its transformations. These three types of Beowulfiana represent a massive corpus of over 1000 works according to the Beowulf’s Afterlives Bibliographic Database; though, as medievalists, we tend to focus on the first two categories rather than the last concentrating on scholastic pursuits rather than entertainments. Consequently, many are often surprised by the variety and vitality of this corpus and its vast potential for research and teaching.
New versions of the Beowulf story feature in all forms of modern mediævalisms, yet (as is true with most medieval texts) research continues to focus primarily on depictions of Beowulf on screen (about 100 examples according to the Internet Movie Database). We hope in this session to expand our view of Beowulf’s reception by creators and look more deeply at the text’s wider use.
We are particularly interested in explorations of the adaptation and/or appropriation of the text, its characters, and its themes in works of fiction (at least 250 examples according to the Internet Speculative Fiction Database and much more recorded by the Beowulf’s Afterlives Bibliographic Database) and comics (at least 380 examples according to the Grand Comics Database), as well as their representations in new and neglected works on screen (including film, television, entertainment consoles, and the Internet). Additional versions of Beowulf can be found in works of creative, performative, and visual arts that also need more attention.
We hope to make our conversation productive. Therefore, we request that submissions highlight the ways the new text transforms the old (for example as interpretations or appropriations of the poem or as an intertext for another work) as well as its value in furthering the Beowulf tradition rather than focusing solely on any perceived defects.
Please see our website Beowulf Transformed: Adaptations and Appropriations of the Beowulf Story (at https://beowulf-transformed.blogspot.com/) for a growing list of ideas, resources, and support.
All proposals will also be considered for a themed issue of the open-access journal The Heroic Age: A Journal of Early Medieval Northwestern Europe.
All proposals must be submitted into the CFPList system at https://cfplist.com/nemla/Home/S/20596 by 30 September 2023. You will be prompted to create an account with NeMLA (if you do not already have one) and, then, to complete sections on Title, Abstract, and Media Needs.
Notification on the fate of your submission will be made prior to 16 October 2023. If favorable, please confirm your participation with chairs by accepting their invitations and by registering for the event. The deadline for Registration/Membership is 9 December 2023.
Be advised of the following policies of the Convention: All participants must be members of NeMLA for the year of the conference. Participants may present on up to two sessions of different types (panels/seminars are considered of the same type). Submitters to the CFP site cannot upload the same abstract twice.(See the NeMLA Presenter Policies page, at https://www.buffalo.edu/nemla/convention/policies.html, for further details,)
For more information on the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture, please visit our website at https://MedievalinPopularCulture.blogspot.com/.
The weird fiction/poetry literary magazine Dark Dead Things is publishing their second issue. I’m incredibly honored to be included in this issue with my essay on a Rene Girard reading of Lovecraft’s “The Call of Cthulhu.”
The issue can be ordered from the Dark Dead Thingswebshop as a bundle with a rad T-shirt of Meowlister Crowley. Issue 1 is still available, so check that out too and supporting this indie endeavor.
Sincere gratitude to Mike Salinas for including me in this issue.
Stranger Things Essay Citation
My essay, “Lost Nights and Dangerous Days: Unraveling the Relationship Between Stranger Things and Synthwave” that was published in Kevin Wetmore’s book, Uncovering Stranger Things, has been cited in Jutta Steiner’s book Nostalgie Im Upside Down: Das progressive Potenzial von Nostalgie in Der Retro-Serie Stranger Things.
My Stranger Things/synthwave essay continues to be my most cited piece of writing. Very flattered!
Bibliography Updates
I’m increasing seeing other texts aside from The New Peplum becoming cited and reviewed. Because of that I am creating subpages for some of these works with more detail. If you click the dropdown on the Bibliography menu you’ll start seeing them. These updates are a work in process, but I look forward to sharing more detail about these pieces I’ve composed or edited over the years.
Atlantis, the Lost Continent
A new episode of Scholars from the Edge of time is now online! In this episode Michele and I discuss the 1961 American sword and sandal film, Atlantis, the Lost Continent. Check it out on YouTube.
Publishing Recap
Below is a recap of my publishing endeavors so far in 2023.
Published in February, this collection contains my essay “Dance or Dēcēdere: Gladiator and Industrial Music Sampling.”
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.”
Published in early August, the second issue of Dark Dead Things contains my essay “Correlating the Contents: Mimetic Desire in H. P. Lovecraft’s ‘The Call of Cthulhu’.”
An organized panel to be proposed for the 120th annual meeting of the Classical Association of the Middle West & South, April 3rd – 6th, 2024 in St. Louis, Missouri, USA at the invitation of Washington University, St. Louis.
After a successful 1st edition of the panel in 2022 at Winston Salem, we are seeking abstracts for another panel on the reception of antiquity in modern music. 15-minute papers on the topic may discuss any genre of modern & popular music, including folk & country, rock & metal, hip-hop & pop, and theater & soundtracks, and may focus on lyrics, album artwork, music videos, live performances, or the music itself. We are particularly interested in questions of how musicians integrate ancient culture, myth, and art into a modern medium, and how they read antiquity in response to the personal, the aesthetic, & the political.
Send 300-word abstracts and questions to Jeremy Swist (swistjj@miamioh.edu) by 15th August 2023. Potential panelists must commit to present in person if accepted.
Recent Peplum Acquisitions
I’ve plucked up two peplum films recently to add to the library.
First is Land of the Pharaohs which just got the Blu-ray treatment this past June. Michele and I recently talked about this movie on Scholars from the Edge of Time (YouTube video link here) and I really dug it! When I saw Warner Archive was going to do a new version of it I had to pre-order it.
Next is an old release of a movie called G2: Mortal Conquest. Apparently this movie is a re-worked version of the 1995 movie Gladiator Cop. A name like Gladiator Cop, I gotta watch it! However it’s OOP and kinda pricy, so I’ll pluck up a copy later. In the meantime, this alternate version in the form of G2 will have to do. I remember Daniel Bernhardt from Future War which was on MST3K, which was baaaaad. So, I am hoping this movie will be just as campy fun.
Secret Agent Barbie GBA Game
Last weekend was Barbenheimer – when two blockbuster films, Barbie and Oppenheimer, got released the same weekend. It looked like a pretty fun pop culture event, two movies at the polar opposites of tone and subject matter, but linked none-the-less.
I didn’t get a chance to partake, but I’ll definitely watch both movies when they are released on Blu-ray. In the meantime, just for fun, I’ll share the odd Barbie artifact in my collection: a complete, in box (CIB) copy of Secret Agent Barbie: Royal Jewels Mission.
I bought this game long ago, I believe at the SoCal Retro Gaming Expo in Ontario, CA. I don’t have many CIB retro games in my collection (then and now), and I recall this game being extremely cheap. It was also a time, I believe, I was knee deep in spy-fi studies when Michele was working on her James Bond book. So because of all of that, I plucked up this game when I happened upon it. I recall playing it for a bit on my Retron-5 and enjoying it. Perhaps I’ll have to give it a proper play through.
Anyways, a rare opportunity to see a CIB Barbie game: box, cartridge, poster, manual, and Nintendo booklet. Not pictured is my plastic case I keep the game in to keep it in the best condition I can (the outer box is a bit bent in though).
Note: This essay was first published in the autumn of 2018 in the Letters from Thanator zine that is part of S. T. Joshi’s Esoteric Order of Dagon APA. This essay has been updated with corrections to spelling, word usage, and various clarifications.
A Game Called Quest is author S. J. Larsson’s third book, after 2016’s Megalodon: Apex Predator and 2017’s Total Immersion. Published with Severed Press, (as with his other two titles), A Game Called Quest concerns brother and sister Donny and Amanda, joined by friend Kevin, as they play a video game on the Atari 2600 entitled Quest which seemingly has VR capabilities that puts them into a fantasy world called Quintarria. The novella itself has issues: misspellings pop up more frequent than they should and Larsson doesn’t appear to be up to task to convey the story at an appropriate pace and consistent fashion. Despite these shortcomings, A Game Called Quest is noteworthy for its attempt at blending retro-modernism in the form of 80s nostalgia that has surfaced in the past decade along with the neo-peplum/sword and sorcery genre. The ongoing wave of 80s nostalgia is mostly preoccupied with the era’s horror aspect, (as evident in the Netflix series Stranger Things), and Miami Vice-esque aesthetics and for the most part eschews the sword and sorcery element that were popular during the decade. A Game Called Quest’s intersection of 80s retro-ism and sword and sorcery is its strongest facet and deserves exploration.
Personal copy of A Game Called Quest.
This short-form article will first provide a plot summation of A Game Called Quest followed by an attempt to unearth both the 80s retro-modernism and sword and sorcery elements in the story. Next, additional contextualization will be pointed out between the text and the real world, specifically regarding the usage of Pac-Man and how A Game Called Quest relates to other early console fantasy games, some that flirt with ARG (alternate reality game)-elements, akin to Quest’s VR immersion.
A Game Called Quest centers on Donny, a fourteen year old freshman trying to purchase a copy of Pac-Man for the Atari 2600 on launch day, but is thwarted by class bullies Brian, Duff, and Ernie. His punk-rock sister Amanda takes him and Kevin, a not-quite-a-friend of Donny’s, to purchase something else to cheer them up. They wind up in a mysterious trinket store where the eccentric proprietor, Royee, rents them an Atari game he created himself: Quest. The three take the game, along with its various peripherals, back home and play it. They are plunged into a fantasy world called Quintarria, with Donny assuming the role of a wizard and party leader, Amanda an elf archer, and Kevin a dwarf warrior. The three set off to save the kingdom, leveling up by killing monsters and bosses while gaining new skills and abilities in the process. At the same time, they also combat the real world bullies who intrude on them. The novella ends with the trio beating the VRgame, besting the bullies, and returning Quest to Royee, whose shop mysteriously disappears.
The 80s was perhaps the last gilded age of the sword and sorcery genre until the Lord of the Rings trilogy attempted to revive it twenty years later. The decade prior saw the cumulation of literary sword and sorcery, with folks like Lin Carter who edited many fantasy anthologies that gave visibility to both new talent and older, obscure works. The 80s saw the genre transcend the literary world and into other mediums, particularly in the cinematic realm. Examples include film adaptations of Robert E. Howard’s Conan such as Conan the Barbarian (1982, John Milius) and Conan the Destroyer (1984, Richard Fleischer), esoteric fare such as Hundra (1983, Matt Cimber), animated endeavors like Fire and Ice (1983, Ralph Bakshi) and even Italian derivatives such as Ator, The Fighting Eagle (1982, Joe D’Amato) and Conquest (1983, Lucio Fulci). The genre was also explored in video games, such as Ironsword: Wizards & Warriors II, Legendary Axe and Golden Axe, and tabletop games as with Dungeons and Dragons.
Despite the popularity of the genre, sword and sorcery elements are greatly lacking representation in the current 80s nostalgia trend. Outrun, the aesthetics that dominate 80s retro-ism and so named after the Sega arcade game of the same name, concentrates on components such as neon-magenta colours, vector gridlines, VHS tracking artifacts and faux VHS boxart, a setting sun broken by clouds, fast cars and palm trees. Synthwave, the music genre heavily inspired by the 80s, focuses mostly on horror elements (especially John Carpenter films and his music), as well police elements such as those in To Live and Die in L.A. (1985, William Friedkin), and cyberpunk and 8-bit/16-bit video game aesthetics. Movies and television shows such as Stranger Things, Kung Fury (2015, David Sandberg), Turbo Kid (2015, Francois Simard, Anouk Whissell, Yoann-Karl Whissell), and so on, also focus on these facets of the 80s. Stranger Things comes close to tackling the sword and sorcery genre during this time period, with the children in the show playing Dungeons and Dragons in season one and the arcade game Dragon’s Lair in season two. However, depictions of Frank Frazetta-styled barbarians and ruggedly harsh but fantastic worlds are absent in the present day trend of retro-modernism. Most sword and sorcery depictions appear in shows such as Game of Thrones, but even that series has its own identity and does not rely on 80s homage. The Fox television show Son of Zorn is perhaps the closest example of sword and sorcery done in a retro-modern fashion. Son of Zorn was a live action sitcom with a cartoonish He-Man inspired character named Zorn inserted into the “real world” à la Who Framed Roger Rabbit (1988, Robert Zemeckis) and Cool World (1992, Ralph Bakshi). The show was not a success and was cancelled after its first season.
Therefore, while the greater outrun, synthwave, and retro-modernism movements are concerned with exploring the horror, retro-tech, cyberpunk and Miami Vice elements of the 80s, A Game Called Quest differentiates itself within 80s revivalism by centering itself at the crossroads of retro-gaming and the sword and sorcery genre while borrowing heavily from other popular and cult 80s stories. To begin with, A Game Called Quest shares much in common with The NeverEnding Story (1984, Wolfgang Petersen): both involve bullies harassing a young protagonist and a sequence in which the youth visits a store and procures an item (a book in The NeverEnding Story and a video game in A Game Called Quest) that transports them to a fantasy world full of magic and populated by fantastic beasts and denizens. There are also shades of Labyrinth (1986, Jim Hensen) and Tron (1982, Steven Lisberger) present in A Game Called Quest as well, with both films involving heroes going to another world, with Tron complimenting the video game aspect and Labyrinth the fantasy aspect. Though made in the early 90s, it should be pointed out that A Game Called Quest’s plot anticipates Full Moon Entertainment’s Arcade (1993, Albert Pyun) in which teenagers are transported into a virtual video game world.
Regarding the 80s sword and sorcery elements, attention should first be directed to the novella’s cover. The artwork is a stock piece of art called “Dwarf Knight on Winter Cold” by Vuk Kostic1 that depicts a heavily armored dwarf in a forest during a winter’s night. The placement of the artwork against a solid red background and the typeface of the title has the cover replicate the box art of an old Atari video game. Though the dwarf isn’t quite in the Frazetta or Boris Vallejo style, it still evokes 80s fantasy elements. The story proper, of course, is submerged in video game sword and sorcery, with a party of adventurers fighting dragons, dark elves, snow imps, trolls, chimeras, and more. While the sword and sandal and the sword and sorcery genres share some overlap, A Game Called Quest contains elements of the neo-peplum genre, having been written post-1990, and by playfully making use of the genre tropes in a unique fashion.2 Basically, a contemporary-written book that leverages the sword and sorcery genre but via an 80s retro-gaming framework.
There is some fortuitous irony in that Donny is able to get Quest over Pac-Man. Various times through the story, Donny or Kevin exclaim how Quest is the greatest game ever.3 This is in stark contrast to the Atari 2600 version of Pac-Man that Donny had been pining for. This was the first home console port of Pac-Man, though it differs wildly in quality to the superior arcade version. Though initially a best seller, the port’s poor quality eventually had a negative impact to both Atari (who had manufactured an excessive number of cartridges)4 and the overall image of the video game industry. These would be elements that led into the video game crash of 1983.5
Poor reception of Pac-Man aside, there is a greater link between Pac-Man, Quest and fantasy games as they appeared on early consoles. The 2600 port of Pac-Man was programmed by Tod R. Frye who would go on to program the Swordquestseries of games for the 2600. Swordquest consisted of three games, Earthworld, Fireworld, and Waterworld with a fourth release, Airworld, being unreleased (though a version would appear on the Atari 50: The Anniversary Celebration compilation released in late 2022). The Swordquest games were not RPG games but instead adventure-puzzlers. Taking place in a fantasy world, players would move between rooms, dropping off items and solving puzzles. The innovative feature of the Swordquest games, much like Quest, is the ARG/metagame aspect of it: accomplishments in the game could impact the real world. In Swordquest, clues are unveiled within the game and crossed referenced in an accompanying comic book. Solving these puzzles would offer the player opportunities to win real world treasures created by the Franklin Mint: the Talisman of Penultimate Truth from Earthworld, the Chalice of Light from Fireworld, the Crown of Life from Waterworld, the Philosopher’s Stone from Airworld and ultimately the Sword of Ultimate Sorcery. The series was ultimately cancelled after the limited release of Waterworld and Atari was purchased by Tramel Technology.6 It is quite uncanny that Quest attempts to blend a video game with the real world in its narrative while the Swordquest series was, in every practical sense, actually able to perform this feat.
A Game Called Quest is not the best written work as Larsson doesn’t posses either the technical writing or storytelling acumen to truly accomplish what they set out to do. However, the fragments that do exist, the intersection of 80s nostalgia and the sword and sorcery genre via retro-gaming, is a stand out, well executed aspect of the novella. It’s definitely aninteresting take on the sword and sorcery genre as well as a refreshing nostalgia piece that attempts to work with specific80s tropes that are not as popular as others.
A few of the tenants of neo-pepla is that while it is applicable mostly to the sword and sandal stories, it has a universality that is can be applied to stories with shades of sword and sandal and encourages different styles (especially post-modern) of storytelling as well. The genre is also not restricted to films, but instead is a true transmedia genre thatcan be found in television, video games, comic books, music, literature, and other media as well. Nicholas Diak, introduction to The New Peplum: Essays on Sword and Sandal Films and Television Programs since the 1990s, ed. Nicholas Diak (Jefferson, NC: McFarland, 2017), 6-14
S. J. Larsson, A Game Called Quest (Hobart, Tasmania: Severed Press, 2018), 18, 130.
Steven L. Kent, The Ultimate History of Video Games: From Pong to Pokemon and Beyond – The Story Behind the Craze that Touched Our Lives and Changed the World (New York: Three Rivers Press, 2001), 236.
Diak, Nicholas. Introduction to The New Peplum: Essays on Sword and Sandal Films and Television Programs since the 1990s, 4-19. Edited by Nicholas Diak. Jefferson, NC: McFarland, 2017.
Kent, Steven L. The Ultimate History of Video Games: From Pong to Pokemon and Beyond – The Story Behind the Craze that Touched Our Lives and Changed the World. New York: Three Rivers Press, 2001.
Larsson, S. J. A Game Called Quest. Hobart, Tasmania: Severed Press, 2018.
The Call for Papers for the Emmanuelle, Black Emanuelle, and Emmanuelle derivative films is now live!
The CFP can found on this page. If you know other scholars who would be interested in this project, please share! I’d be super appreciative to get the word out.
Fan2Fan Podcast Appearance
Fan2Fan Podcast is doing a series of John Carpenter-centric episodes. I had the honor, along with Joshua Pruett, to appear on an episode discussing Carpenter’s ode to King and Lovecraft, In the Mouth of Madness.
The episode can be streamed at the Fan2Fan Libsyn website or via your podcast app of preference.
Around the time this Fan2Fan episode was recorded, Michele and I did an H. P. Lovecast episode on Carpenter’s Princess of Darkness. That episode can be seen as a companion piece to the Fan2Fan episode, so check both out!
Sincere thanks to Fan2Fan for having me on!
Galactic Terrors Appearance
The New York chapter of the Horror Writers Association does a monthly vidcast called Galactic Terrors which features authors doing readings of their work followed by Q/A.
I was very honored to be asked to appear on the November episode of Galactic Terrors. This episode featured authors Kenneth Cain, Karen Heuler, and myself. It can be streamed at YouTube or the embedded player below. Check it out!
A few citations have popped up in Google scholar in the last couple of weeks.
First, a journal article called “XVII New Literatures” from This Year’s Work in English studies looks to have cited or referenced Horror Literature from Gothic to Post-Modern: Critical Essays. The description makes mentions of Australia, so I highly suspect what is specifically referenced is Naomi Simone Borwein’s essay “Synchronic Horror and the Dreaming: A Theory of Aboriginal Australian Horror and Monstrosity.” However, since I lack institutional access, I can’t confirm this (so if you can, I’d be appreciative!).
Next, Karl Otty’s article “GTA Vice City Created a New Wave of ’80s Nostalgia” at SuperJump looks to have been re-published. This article cites my essay “Lost Nights and Dangerous Days: Unraveling the Relationship Between Stranger Things and Synthwave” that was published in Uncovering Stranger Things: Essays on Eighties Nostalgia, Cynicism and Innocence in the Series.
Miscellaneous Tidbits
Born of Blood Issue 2 Kickstarter Loot
My swag from the Born of Blood 2 Kickstarter arrived.
New episode of H. P. Lovecast Podcast is online! We had a bit of a modified schedule these past two months due to the holidays and other obligations, but we will be back to a regular schedule in January.
For our latest episode we take a look at the new Raw Dog Screaming Press anthology, Attack from the ’80s. Edited by Eugene Johnson, we dive into “Permanent Damage” by Lee Murray and “The White Room” by Rena Mason. The episode can be streamed at our Buzzsprout website or via your podcast app of preference.
Scholars from the Edge of Time
Michele and I had an episode of Scholars from the Edge of Time drop last Thursday.
Our episode was on the film Valerian and the City of a Thousand Planets. You can stream the episode at BlogTalkRadio.
AnnRadCon CFP December Deadline
The CFP for the Ann Radcliffe Academic Conference closes at the end of the month.
George Chrysostomou has an opinion piece at SreenRant called “10 Genres That Have Been Underutilized By The MCU.” The last genre Chrysostomou suggests in the article that the Marvel universe should dive into is the sword and sandal genre. From the article:
The sword-and-sandal genre fits perfectly with characters like Thor and Loki. It really hasn’t been used properly, though, with fantasy elements and sci-fi features becoming a mainstay of those movies instead. The genre itself has really died, but Marvel can be the company to renew it.
Hercules is a natural fit for this genre, as a film surrounding the early life of the Olympian before moving across time to the modern-day would be a fantastic introduction to the character. It could play into the mythology of Ancient Greece in a way Thor’s Norse history did not get featured.
George Chrysostomou
Yes, I agree! Bring forth Marvel’s Hercules!
New Hrossharsgrani Release
My friend Alex Wieser has a Viking metal project called Hrossharsgrani (which I have written extensively his Pro Liberate Dimicandum Est album in my essay in the forthcoming Gladiator book). After around a decade hiatus, his project is back in action with a new release.
It is a split album with German Viking/black metal Nachtfalke called Journey’s End. The album can be bought at Christhunt Productions.
Horror Literature from Gothic to Post-Modern: Critical Essays, the academic anthology that Michele and I edited that is based on presentations from the first two years of our Ann Radcliffe Academic Conference, is listed in the non-fiction section of Ellen Datlow’s book, The Best Horror of the Year: Volume 13.
For November we will be doing an 80s-themed month for the H. P. Lovecast Podcast. We will be watching the film, The Void, and then looking at the Raw Dog Screaming Press anthology, Attack from the 80s. Keep an eye out for these episodes at our Buzzsprout website or on your podcast app of preference.
NanoWriMo
Michele is doing NanoWriMo! She’s working on a novel called Land of the Riverbank.
If you want to support her or follow her progress, her username is Mbrittany at the NanoWriMo website.
General Neo-Peplum News
Band of Warriors #2 Kickstarter
Samuel George London has officially launched the Kickstarter to fund issue #2 of his neo-peplum comic series, Band of Warriors.
Here are some new sword and sandal and neo-peplum artifacts I’ve procured.
Physical releases of sword and sandal films are drying up. These used to be very plentiful in the 2000s and early 2010s from budget companies. However, these mostly skipped the Blu-ray format and now exist on YouTube in even worse edits. Had an opportunity to pick up this 50 movie back of sword and sandal films which plugs a lot of gaps on my collection.
I really enjoyed Warkings’ Revolution that I bought from Zia’s Records a few weeks ago. I decided to buy their first two albums, Reborn and Revenge. Very nice power metal, though the lyrics at times are a little silly.
There is a cover reveal and a product page for The Many Lives of The Twilight Zone: Essays on the Television and Film Franchise over at McFarland now! There’s no publishing date yet, but I am imagining it will be out late spring/early summer. To refresh, I have an essay in this book titled “Strange Realities: Twilight Zone-sploitation in Encounter with the Unknown” which does a deep dive into the 70s horror anthology film Encounter with the Unknown that Rod Serling narrated.
Issue 11 of Exotica Moderne has a cover reveal as well! In this issue I conduct an interview with Miss Pinup Miami.
Podcast News
Michele and I recorded a brand new episode of the H. P. Lovecast Podcast. In this episode we discuss William Eubank’s 2020 film, Underwater. Check it out on Buzzsprout or on your podcast platform of preference. Side note: we are finally on Pandora now!
General Neo-Peplum News
Sword and Sorcery Sketchbooks
Sword and Sorcery artist Gilead is selling sketchbooks of his fantasy art. If you’re in the US you can purchase them via PayPal for $12.00 at gilead@cox.net. More info in Gilead can be found at his Patreon.
Art copyright by Gilead.
Imperial Age to Debut New Song
Russian symphonic metal band Imperial Age, whose modus operandi is a melding of lots of different aspects of antiquity/mythology, has released a statement they will be debuting a new song on 2021-04-09 across all streaming platforms along with a music video on YouTube. The band is not doing preorders, and releasing the song’s title or cover art, though other things are being revealed via the band’s Facebook page and emails: screenshots seems to show the music video being vampire themed and Jane sings 100% of the vocals on the song.
Screencap of the new music video, promotional image made available on the band’s Facebook page.
Along with all of this, the band is working on a brand new album as well called New World.
The Midnight’s Horror Show Releases
Horror Show, the newest release from synthwave act The Midnight, was released this past Friday. The physical versions will be released later, but for now fans can enjoy digital incarnations at the project’s Bandcamp page. The release contains the track “Neon Medusa” which contains shades of mythology. Hope to dive into that track for a possible article.
Last week the CFP for the neo-medieval project came to an end. I’ve spent the last week juggling the project and came to the decision to shutter it for the simple reason that I did not receive enough abstracts to justice the project to any publisher. The medieval project is officially dead. However, keep an eye out here later in the year for a CFP for a different project. Thank you to all who submitted.
Podcast News
New episode of the H. P. Lovecast Podcast is live! In this episode Michele and I discuss “The House on Curwen Street” and “The Watcher from the Sky” both from August Derleth’s The Trail of Cthulhu. The episode is available on our Buzzsprout website or via the Podcast application of your preference.
General Neo-Peplum News
Swords, Sandals, and Synthwave
It’s not often the synthwave genre dives into subject matter older than the 80s, let alone into antiquity, yet The Midnight (retro wave band) is releasing a new LP called Horror Show that contains a track called “Neon Medusa.” The LP is available for pre-order on vinyl, cassette, and digitally at the band’s Bandcamp page and will be released March 19th.
Clash of the Titans 2010 on HBO Max
Article at Looper praising Clash of the Titans 2010 remake and encouraging folks to check it out on HBO Max.
Peplum Erotica Gaming
Ubisoft isn’t the only publisher/developer that has the market cornered in sword and sandal gaming, with their Assassin’s Creed series and Immortals Fenyx Rising. There is a WIP game on steam called Slaves of Rome that takes an erotic approach to the genre.
Slave of Rome banner provided by the developers
The game appears to be a BDSM simulator that allows players to create, train, trade, and have sex with enslaved persons in an ancient Roman setting. More info about the game can be found on the developer’s Patreon, Twitter, and Reddit.
SPQR Comic Ships
After a few minor setbacks and misprints, Riley Hamilton’s Kickstarted comic SPQR issue #1 has begun being shipped. If you didn’t contribute to the Kickstarter, no worries, the comic is available for purchase at Hamilton’s website.
I contributed to the Kickstarter so I reckon my copy will arrive in the next few weeks, so stay tuned for some sort of write up about it.
Rest in Peplum
British actress Nicola Pagett passed away at the age of 75 from a brain tumor. She played Messalina in an episode called “Claudius” in the 1968 miniseries The Caesars and Talia in The Viking Queen (1967).
