Dear friends, Welcome to this second issue of KOF. Let me begin by recalling Ray Harryhausen, who died on May 7th, 2013. His fantastic creatures fueled my imagination and that of millions of people, who had grown up in an era when special effects were still done by hand, using puppets and stop motion, without the aid of modern computers (which, unfortunately, often make movies look like chaotic video games.) Those who don’t know Harryhausen’s work may read the article Clash of the Titans Titans.. Thanks Ray Ray,, for making us dream with your Cyclops in The 7th Voyage of Sinbad, Sinbad, the skeleton warriors in Jason and the Argonauts, Argonauts, the Titans and Medusa in Clash of the Titans,, and all your other creations. Personally, I love so much his creatures that months ago I specifically commissioned this second Titans cover of KOF having in mind Harryhausen’s Titan, erupting in fury against the goddess Athena - real protector of the Athenian hero Perseus. While the emblem on the shield is a personal tribute to the 70th birthday of my mother, Umberto’s artwork and Alessandro’s colours built the classic mythological setting I had in mind to pay homage to a genre that excited me when I was a boy. Rest in peace, Ray. This cover is for you too. In this second issue we interviewed Scott Lynch, the author who proposed a new, Renaissance setting for the fantasy genre instead of the usual medieval setting with the adventures of Locke Lamora. Lynch is a brilliant writer and a very nice person. Thanks Scott, and good luck with your new book. Now on with another interview and another genre, from fantasy to science fiction, from the Gentlemen Bastards to ‘where no man has been before’. David Messina, a world-renowned illustrator, has recently completed the comic book Star Trek: Countdown to Darkness for IDW Publishing. You’ll have the opportunity to admire the wonderful artworks that David kindly gave us permission to publish. In the next issue of KOF KOF,, together with the second part of the interview, you’ll also find the great drawing he realised for the comic series Arcana Mater (written by Manfred Toraldo). And after this space trip we come back on Earth, and precisely in the middle of the Mediterranean sea. This month Kingdom of Tales, Tales, our writer’s corner, hosts the young Maltese author Ryan Attard, with his Wizard Always Cheats Cheats,, and the talented South Italian author Marco Guadalupi, with his Psychopathic Love. Marcella’s selected artist for the Kingdom of Art showroom is Riccardo Lo Giudice from Sicily. This month, Umberto and Alessandro’s cover workshop can be listened to as well! Yes, you will be able to read and listen the description of how the cover was made. I can anticipate that by the fifth issue we will add videos to the workshop, to offer you a unforgettable and exciting experience with Kingdom of Fantasy Fantasy.. Indeed, month by month we will work to increase the multimedia part of KOF to offer you a real journey into the world of digital magazines. Surprises do not end here, however: now KOF can be found on Wattpad too. From the beginning of May till mid-July we’ll be running a contest for Wattpad authors (guidelines may be found here.) The winner will be published both in the September issue of KOF and in the 2014 Fantasy Anthology. And finally, a new episode of Jasmine and Myriam’s Enchantment Agency! Agency! The charming duo is going to travel back in time to Ancient Egypt, to meet no less than the beautiful queen Cleopatra. The second half of Moon Worshippers will disclose the fate of Fiona. Will Rourke be able to help her and his own daughter? Thank you, and enjoy the read! Giuseppe
Giuseppe Pennestri’ Editor in Chief
June 2013 EDITORIAL
Staff Giuseppe Pennestri Abi Kirk Marcella Pennestri
Editor-in Chief Author/Copy-Editor Art Director
Pia Ferrara
Editor
Marco Guadalupi
Editor
Juliet Haydock
WHERE WE LEFT
Translator
Synthesis International Translator
Manfredi Toraldo
Creative Director
Itziar Lizarraga
Graphic Designer
Umberto Giampà & Alessandro Alessi Anghini
Rourke :CHapter TWO In the last edition, we met Rourke and learnt of his gift: to remove curses from others. This is his day to day work, aided by his daughter Kylie, that despite her thirteen years, is often more mature than her father, and a mysterious woman Dreide who is an expert in witchcraft. The trio travel to Kilkenny to help Fiona, a teenager girl suffering from an unexplained curse. But Fiona is also subject to attention by a mysterious ecclesiastic sect that attempt to kidnap her … read the conclusion of this intriguing story.
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Cover Artists
AND new adventure of
Publisher DieGo Comics Publishing Ltd 9 Seagrave Road SW61RP, London, UK www.diegopublishing.com
Enchantment Agency Tap to go •••
KINGDOM OF TALES: Psychopathic Love
A man cannot accept that his beloved will soon marry another man. Love and Dreams shape along corridors inside the mind of the beloved Gwenda and her life in a surreal relationship between memories, fears and few certainties. Obsession is transformed into a new, distorted conception of love, in which all that is abstract becomes real and where dreams are the only practical way of interaction; a glimpse of reality.
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Wizard Always Cheat
Erik Ashendale is a wizard, a wizard who happens to be teaching his young pupil how to fight with magic swords. His pupil, Jack, is a quick learner, but is too dependent on magic. While training, Erik tries to teach his young student a few lessons, but one must be aware, wizards always cheat.
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KOArt: Riccardo Lo Giudice
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KOworkshop ART Marcella Pennestri’
UMBERTO GIAMPA’ ALE ALESSI A. & RICCARDO LO GIUDICE KOArt this month hosts three versatile artists, technical and expressive, which they put at the service of our magazine together with their experience and
knowledge in the artistic and fantasy. Umberto and Alessandro are respectively the penciler and colorist of the mythologic cover of this issue. In the end, two works of talented Riccardo Lo Giudice.
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MARCELLA
Marcella was born in Italy in Regio, Calabria. At an early age she had such passion for drawing; it has been described as a “sacred fire of art.” Unto which it is a passion that cannot be tamed, especially when a girl decides that as an adult, she wants to draw.
Other Contents
Marcella attended an Art and Architecture school, but her desire for free Art, with no patterns or impositions, showed that she would rather prefer the Academy of Arts than the Faculty of Architecture. She painted and studied the most important artistic techniques: incision, sculpture, foundry, followed by studies in Visual Arts and Performing Arts with an interest in photography. Ending that chapter in her life, Marcella has now embarked on a new adventure with Diego Comics Publishing, where a new world of reality within fantasy, art and pure literature, truly exists.
PIA
After graduation in Communication (2007) landed at Fantasy Magazine willing to spread the fantasy across the web 2.0. Enthusiastic of cinema, comics, and fantasy literature, she has managed to produce two thesis on semiotics about Harry Potter. Pia has also written on many online and print newspapers and is currently working with the digital magazine Speechless and as press officer for Lunatica, fantasy fair in Southern Italy. Since last Jannuary Pia started as editor for KOF.
MARCO
Marco has worked since 2006 with Fantasy Magazine, an Italian online magazine, of which is currently active editor. Moreover he’s responsible of the department for writing and communication ofof Lunatica fantasy fair.. He’s author of “Dark Rock Chronicles”, a fantasy novel, published shortly in English by DieGo Comics Publishing.
CRASH OF THE TITANS A cycle that shows how mythology and film come together in a third form of art, creating sequences of impact. From the old stop-motion animation to the last scenes in 3D, Clash of Titans becomes an art form at three hundred and sixty degrees.
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GENTLEMAN BASTARD One of the authors of Modern Fantasy, Lynch is able to bring a real breath of fresh air in a genre increasingly well-known and expanding. An example of commitment and passion that will continue in the other novels of the cycle of the Gentleman Bastard.
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SCOTT LYNCH Marco Guadalupi interviews the american fantasy author of series of novels Gentleman Bastard and the online novel Queen of the Iron Sands.
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An interesting article submitted by Peter Hollo-Vasko from Budapest, Hungary. Is Sci-Fy for boys and Fantasy for girls? Are them just librarians categories? Where is the border between the two genres?
Tap to go ••• STAR TREK: SPACE, ADVENTURE, BRAVERY: A JOURNEY ON THE ENTERPRISE
Pia Ferrara illustrate to us the epic story of Star Trek from the sixties series to the last movie, don’t forgetting the books, comics and videogames adaptation.!
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DAVID MESSINA Any statements made, expressed or implied in Kingdom of Fantasy magazine are solely those of columnists or persons begin interviewed and do not represent the editorial position of the publisher, who does not accept responsibility for such statements.
Marcella Pennestri interviews the Italian artist of Star Trek: Countdown to Darkness, prequel of the movie Into Darkness.
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KOTALES KOTales is a mysterious yet magical little corner within the Kingdom of Fantasy magazine that is dedicated to short-stories of the fantasy genre. The fantasy genre has expanded rapidly over the past few decades and with it, sub-genres have popped up like magical heliotrope coloured dragons. So if there is any story that is fantastical, be it classical or modern and that uses magic or the supernatural, you will find it here! If you wish to submit your own fantasy short story, please follow the submission guidelines on the Kingdom of Fantasy website. Happy reading! Guidelines on www.diegopublishing.com/kingdom-of-tales.html
ABI
Hello readers of fantasy. My little column, within the Kingdom of Fantasy, addresses all sorts of questions within the fantasy genre, its sub-genres, its relations to books, most preferably, and also films. Within the magazine I shall examine the themes of each edition and procure a suitable question to discuss. Or if you wish for me to discuss a question or issue for you, just drop me a line. I hope you find my column entertaining.
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MYTHOLOGY TO THE CINEMA, CLASHES OF THE TITANS AND HISTORICAL FILMS by Marco Guadalupi
I
n the course of its long history, the mythological genre on the big screen, has experienced a series of ups and downs. Although, as we know it, it is to be considered as the genesis of modern fantasy, at least with regard to the movie production. What better source of mythology to inspire and amaze viewers with fantastic adventures? On the big screen, mythology has been a Pandora’s box. Once open it has changed the visual and narrative techniques of movies, both for the better and the worse. However, it has known contamination and speculation, going as far as a sort of “abuse” against the original myths. Mythology’s first appearance dates back to the early twentieth century. Silent European cinema was the pioneer, showing such films as Odissea (1911) and Helena (1924). In America, however, it was changed into something more in terms of aesthetic rather than narrative. In the 1950’s/60’s movies such as Jason and the Argonauts by Don Chaffey (1963) started the developing of several experiments for the production of special and visual effects. If one looks at the productions of the past (but also the most recent), the charm of mythology has been altered due to cultural and artistic needs. Too often moviemakers have not been faithful in their reconstruction of historical and mythological settings, and it is this characteristic that defines and recognizes mythologies on the big screen as more of a cultural mass phenomenon rather than a means to tell stories. However studios and directors have continued to produce projects freely drawing from classical mythology, often radically changing the authentic source. And despite various interpretations they have made the history of cinema pursuing an evolving trend.
The 1981’s mythological fantasy the Clash of the Titans, directed by Desmond Davis, inspired Louis Leterrier’s 2010 remake with Sam Worthington and Liam Neeson (and its sequel, Wrath of the Titans 2011). Both films gave a loose interpretation of the myth, where the figure Zeus, does not help Perseus. In fact, the father of the gods, with the exception of Hercules, has never reached out to any of his children by mortal women. In the original myth the protector of Perseus is instead the goddess Athena. If both films are granted several freedoms in the storytelling, the special and visual effects would be appreciated, especially the 1981 film with the artistic contribution of Ray Harryhausen, the unforgettable master of special effects who is still cited in some cameo and quotes. Harryhausen is in fact famous for having brought the technique of stop-motion animation to live action movies similar to those movies like the Corpse Bride and Nightmare Before Christmas by Tim Burton, from which Harryhausen has always wanted to keep his distance from. This technique, which has become less popular because of the use of computer graphics, has been developed by the animated movie industry. In the film, directed by Desmond Davis, Harryhausen has made wide use of stop-motion, demonstrating an exceptional mastery. The creatures in the film all ‘move’ by stop-motion technique and are inserted into scenes with real actors. Harryhausen’s stop-motion, as well as the more modern version in animation, consists in animating characters, which are puppets made of mechanical frames and modeling paste, in scale frame by frame, giving it any kind of movement. In the original Clash of the Titans this technique created characters and creatures such as the mythical winged horse Pegasus, the gorgon Medusa and the Kraken, which was a Norse myth and not Greek. Ray Harryhausen and his techniques is still remembered and honored today, for example The Lord of the Rings reused stop-motion to make some digital sequences more realistic. With its stop-motion animations, Harryhausen also gave birth to another great film inspired by the mythology, even before Clash of the Titians, Jason and the Argonauts directed by Don Chaffey (1963). A film that tells the adventures of Jason and his search of the legendary Golden Fleece, the mantle capable of healing wounds. The 1981 Clash of the Titans movie is also remembered for its overlapping perspective and scale reconstructions of scenarios that are unable to be re-sized naturally, such as Olympus which today is designed largely with the use of computer graphics. Another feature of the time was the use of silhouettes of actors on a fake background; at the time it was the only way to make the sequences described in the script. The 1981 and 2010 movies differ not only with the mythology but also in other aspects. Thetis, played by a young Maggie Smith in Davis’ movie, is replaced in the Leterrier version by Hades, god of the Underworld starring by Ralf Fiennes, in a curious alternation between two actors in the saga of Harry Potter. It has to be stressed as in the original myth Thetis (a nymph not a goddess as represented on the big screen) has never felt a grudge against Perseus. The Sam Worthington remake, and its sequel, was nominated for the Razzie Awards which sadly is an award presented in recognition of being the worst. The category was for the “worst use of 3D” and “worst remake.” The movie focused on fantastic creatures however the story had produced negative results, despite a good sale at the box office that persuaded the producers to make a sequel, Wrath of the Titans. The poor performance of actors such as Fiennes and Neeson (in the role of Zeus) hadn’t helped to make this movie memorable. Myth on the big screen remains as an outpost for blockbuster, standing - for good or for worse - as a resource and obviously a starting point, of the whole fantasy genre.
Ray Harryhausen
la linea bia
SCO T T LY NCH , t he a ut hor of t he Gent lem a n Ba st a rd In the industry of fantasy publication, there is a lot of talk of possible new literary promise. Lately, both in Europe and in America, it is focusing on younger age groups. It’s a marketing strategy for true narrative skills which is apparently detrimental to the category of emerging writers who deserve more consideration. This brief introduction is to present Scott Lynch, an author who talks about the considerations and merits which in their own way, should be read and valued. Lynch was born in St. Paul, Minnesota, and is the eldest of three brothers. He wants to let people know that before becoming a writer, he worked as a dishwasher, freelancer, waiter, chef in a fast food restaurant and web designer. He loves to include these small occupations in his curriculum vitae. Currently he is volunteering as a fire-fighter in Minnesota and Wisconsin. But Scott is also an active internet user, uses Twitter (scottlynch78), has a blog (http://www.scottlynch.us/blog/) and is the author of the Gentleman Bastard series, which began with the publication of the first two novels, The Lies of Locke Lamora and Red Seas Under Red Skies. Skies. From what transpires from the content network, this American author seems a shy and sensitive man but is willing to in-
teract with fans and a small circle of enthusiasts that does not fail to support him when needed. Knowing that the rights of the novels were purchased by Warner Bros is misleading. At the moment there are no news about movies from its novels. It is surprising to see that an author as skilled and refined as Lynch is not acclaimed on a par with his more famous contemporaries. It is logical to believe that the skill of an artist is not measured by its level of popularity, however surprising, instead it’s the way in which the publishing universe evaluate Scott (still
about considerations). Notwithstanding these issues, the books of Lynch had a good success among readers of fantasy. The fresh and dynamic style and the ability to reinvent some of the clichés of the genre, is the basis of two novels opening of a saga that would include seven. We have to use the conditional because a series of problems led Scott Lynch and his publishers to delay subsequent releases. After the publication of two opening volumes, the author has been absorbed by personal problems, arising from feelings of depression that did not allow him to continue to take care of Locke Lamora and Gentleman Bastard. Lynch himself wanted to talk about his illness through notes published on its official journal. Currently, the author seems to have recovered. Back to the books. Volume one of the series is titled The Lies of Locke Lamora,, published in 2006 by GolLamora lancz (UK) and Bantam Doubleday Dell (USA) and nominated for World Fantasy Award as best novel. The story is set in Camorr, evidently inspired by the city’s most famous in the world of water, or Venice. In this first adventure the characters are presented through the use of flashbacks concerning children, strategically placed throughout the book. This is the case of the main character, Locke, a clever and bizarre crook who started the art of decep-
tion by Chains, a priest. Other interesting characters join Locke, as the twins Calo and Galdo Sanza, and especially Jean Tannen, his inseparable sidekick. The novel proceeds in two timelines, the present and the past. The stories have intertwined with each other to clearly outline the background of the Bastards. The peculiarity of the history and style of Lynch is all in the representation of the characters. When reading the first book it is easy to become attached to Locke, Jean, Calo and Galdo. They each demonstrate an instinctive and natural relationship, which shows the ability of the American writer. Lynch knows how to excite without being dull or rhetorical. In addition, the construction of the world of Camorr is vivid. Without overdoing it, he shows a setting that recalls the Italian Renaissance and the characteristics of the lagoon city in an exceptional manner. The choice of proper names, of political representation and the creation of specific scenes is also a reference to the Italian culture. The reader experiences a sort of alternative historical epoch with plenty of twists within the world of fantasy. During the second book Locke and Jean are forced to play a couple of pirates and sail the seas on board vessels, battling with swords and guns. In this second novel, Lynch gives a display of his narrative skill, not only as a creator of fantastic worlds, but also experienced novelist. It was in 2007 when Red Seas Under Red Skies was published. As in the first book, the style is animated by an obvious moment of inspiration. The unsettling start in medias res, the new setting and the clever and memorable dialogues, are the strong point of the second adventure. The saga of this seven book series is now waiting for the third book which has been postponed for some time. It is entitled The Republic of Thieves,, currently scheduled for a Thieves release in October 2013. According to statements by Scott Lynch, the main character of Locke Lamora was created from the desire to not be strong protagonist, but in-
stead a more vulnerable character, emotionally and physically. Locke is in fact small, indiscreet and even has poor health. In contrast, his partner, Jean Tannen, is the strongman of the group, who does not hold back when it comes to fighting. Jean fulfils Locke and vice versa. Their friendship is a seesaw of ups and downs, but is the balance of the whole story. For the group of Bastard, Lynch has said he was inspired by the company of George Clooney in Ocean’s Eleven, where each character has a spe-
cific role, so as to provide the reader with a number of ideas for identification. Delays related to the publication of the third volume, Lynch admitted that depression has affected the delivery date, adding that writing is one of the tools that allows him to move forward. In addition to the fantasy genre, Scott Lynch is also linked to fiction. You see a passion that’s show on his active blog a serial story Queen of the Iron Sands Sands..
SCOTT LYNCH
Interviewer Marco Guadalupi
room for the imagination? Hello, Scott! Welcome to Kingdom of Fantasy. Hello! Thank you for giving me the chance to be here. 1 As a published author and who is appreciated abroad, how do you introduce yourself to new readers? Who is Scott Lynch? Well, let’s see. I’m 35, I was born in the lovely state of Minnesota, in the upper midwestern United States. I’ve been a dedicated fantasy and science fiction fan all my life. I’ve been a volunteer firefighter for eight years, and I’ve written three novels so far. Although I am published in the United States, my primary publisher is in London, which is very atypical. I suppose you could call it one of the minor miracles of the internet age.
Oh, both. There’s definitely a vast amount of research involved, and that research is a lot of fun. The 14th - 18th centuries are time periods I find endlessly fascinating. There are so many fantasies with a clear basis in British or Northern European traditions, I wanted something that would have a more Mediterranean flavor. The Therin culture is an amalgamation of French, Italian, Greek, and Spanish cultures (and a few others besides). 4 In addition to the wonderful setting, you have created unique characters through their psychological characterization. Before you start writing, do you have a special lenience towards Locke, Jean and the other Bastards?
I’m trying to create plausible, realistic psychological portraits. I don’t mean for that to sound arrogant. It’s just that I’m interested in seeing flawed, multi-faceted human beings face outrageous difficulties and attempt heroic deeds. I’m not 2 A ritual question. Where did the interested in shallow, idealized idea of the ‘Gentleman Bastard’ series heroes whose virtue lives in every pure originate? fiber of their being; I find that sort of thing I wanted to write the story of a con artist in insufferable and boring. I think virtue is a choice, not an ingrained element of human a fantasy world, and after toying with the idea for some time I realized that I needed nature, and I generally find that those authors that bray the louda certain level of social and economic est about the alleged heroism and virtue of complexity to enable this sort of criminal to flourish. So, the more traditional ‘Middle their characters are the ones that write the dullest and most one-dimensional stuff. I Ages’ fantasy world was out of the picture try to show that my characters have good and a post-Renaissance sort of world was days and bad days, like all of us. They have the way to go, which suited my interests moments of strength and moments of very well. weakness. 3 The setting of your novels is in5 The series includes the publicaspired by some elements typical of Italtion of seven novels. Have you already ian history, such as the Renaissance. In planned the plots of each story? Is there Camorr there is all the charm of Venice. anything that you’ve purposely left in susHave you researched documentation for your novels or have you preferred to leave pense for each novel?
The overall arc of the story is very fully and tightly defined, but within each book there is room to maneuver. I know what the end points of the story are, but how I get there is open to many changes as the books develop. 6 In the second novel, ‘Red Seas Under Red Skies,’ you’ve admitted to have “crippled” certain features of the universe sailor. There were readers who complained directly to you about these “oversights”? There’s always a reader somewhere who will complain about something. I say that lovingly, mostly. My afterword to RED SEAS was mostly an advance plea... an admission that I could not possibly get every single detail of nautical life right, and that I was well aware of this, and that I tried to get the big picture correct even if I missed a few of the details. Just a way of playing fair with the reader rather than pretending that I know everything. 7 George Martin called you a brilliant writer. What is the opinion about other fantasy authors? Who are the authors who have influenced your style? George has been very kind to my books, for which I’m grateful. I’m a big fan of GRRM myself; I think it’s obvious that he changed the face of contemporary fantasy with A GAME OF THRONES. Changed it, most particularly, with the swing of a certain heavy sword about three-fourths of the way through the story! George helped break us out of some fairly hidebound traditions of commercial fantasy; he created a world where major characters were not only vulnerable, but unpredictably vulnerable, and sometimes -unjustly- vulnerable. George has shaken up all the traditional reader expectations; there really is no tell-
ing who’s in real danger in the SONG OF ICE AND FIRE novels, or when they’ll meet their fate. I’m also a huge fan of Ray Feist. Feist’s work was the first lengthy fantasy series I ever read... he’s not what you’d call a great prose stylist, and some of the more recent books are not on par with the earlier work, but it’s still a multi-generational epic that’s taken thirty years to tell. I respect and admire that. I also admire, with Feist, the fact that he’s another writer who doesn’t play by the strict rules of drama. Major characters meet their fates in surprising ways, sometimes anticlimactically and unfairly. Feist also has a good eye for the common men and women of his world... the farmers, the merchants, the regular soldiers sweating it out in the trenches. It’s not all rich nobles and powerful sorcerers and demi-gods; his portrait of his worlds is far more complex than that. Fritz Leiber is a major influence on me, not just an eccentric genius but a pleasure to read, a clever and funny man. Roger Zelazny, Frank Herbert... William Gibson was a powerful influence on me as a teen. I must have read NEUROMANCER, COUNT ZERO, and MONA LISA OVERDRIVE a dozen times each. Kage Baker, may she rest in peace. Robin Hobb and Emma Bull, Emma who more or less invented the contemporary urban fantasy with THE WAR FOR THE OAKS, set in and around my home town. Neil Gaiman... Michael Moorcock. Tim Powers. I’ve learned a hell of a lot from reading C.J. Cherryh and Lois McMaster Bujold. Harry Harrison’s ‘Stainless Steel Rat’ books were an old favorite. Last but not least I’d mention Matthew Woodring Stover, in my opinion one of the most unjustly under-appreciated writers of our time. HEROES DIE and BLADE OF TYSHALLE had a vast influence on THE LIES OF LOCKE LAMORA. They’re superbly constructed, very moving, and generally just brilliant books. I also read a lot of Dashiell Hammet and Elmore Leonard. 8 I remember some of your posts on Twitter and your blog and you have faced some very difficult personal situations in your life. Have you found writing helpful during these times? For a long stretch of what I think of as my really bad years, I was barely capable of it. My writing output dropped dramatically, as did my reading. At the worst point of my depression, I’d gone from reading nearly a hundred novels a year to reading about five or six. My useful writing devolved in the same proportion. Jonathan Strahan and Lou Anders managed to coax a story out of me for the SWORDS AND DARK MAGIC
anthology, but I was such a wreck I couldn’t do any editing once it had been turned in. I had to trust their judgment on it. Much of REPUBLIC OF THIEVES was initially written during this period, and later had to be discarded or rewritten entirely. 9 With the advent of blogs and selfpromotion, in the publishing market within the past ten years, what is your thought on fantasy fiction today? It’s difficult to keep perspective! The fact is, the book market is always in a state of change. This was as true in 1950, 1960, 1970, etc. as it is in 2013. Something established is always vanishing and something new is always coming on. As for blogs and self-promotion, well, it’s easier now than it ever has been to stay in relatively close and constant contact with a large number of readers, assuming that’s something a writer is good at or enthusiastic about. I don’t think the size or the hunger of the fantasy market has changed at all; what we’ve lost is some of our old assumptions about physical retail space. Making an electronic connection with readers can be a powerful means of counteracting that trend. 10 You write also science fiction. Are there any new projects on the horizon, as well as the ‘Gentleman Bastard’ series? There’s a new anthology coming out from Solaris in May of 2013 called FEARSOME JOURNEYS, edited by Jonathan
Strahan, that contains a new story of mine called “The Effigy Engine.” There are also three projects I can’t really discuss openly yet for a variety of reasons, two of which I hope to have out this year and one I can’t be certain of yet. It’s a long story for an anthology, and my part’s done, there’s just no word from the editors about a timeline. I’ve returned to something like my old productivity in recent months, and I’m hoping the result will be a lot more short stories. 11 Scott, we have heard the fantastic news on the release of your third book ‘The Republic of Thieves,’ which is going to be released in October 2013. For the UK it’s the 10th and for the US the 8th. Can you tell us a little bit about the book, does it answer questions, create new ones, are there any new characters? REPUBLIC follows directly from the events of RED SEAS, revealing what happens to Locke and Jean in the weeks after their escape from Tal Verrar. It also features extensive flashbacks, as did THE LIES OF LOCKE LAMORA, but I like to think the ones in REPUBLIC form a more coherent narrative. Certainly, some questions are answered... the Bondsmagi of Karthain feature prominently in the story, and Sabetha Belacoros, the ‘missing’ Gentleman Bastard, is revealed in full for the first time. The story this time involves politics, theater, coming-of-age, treachery, and the first hints of a major war.
Fantasy versus SCIENCE FICTION What is one of the most annoying things a fan of, say, The Lord of the Rings ccan hear? Well – someone claiming that the great novel of J. R. R R. Tolkien is a science fiction novel and therefore he or she will not read it… People – and especially those who are not even familiar with the genres – often uuse the terms “fantasy” and “sci-fi” as synonyms, as thought they meant th the same. This, we know well, is not the case. That is exactly why the anger we feel hearing this is just. But let us also make a confession at this point: do we know where sci-fi ends and fantasy begins? What work is fantasy and what is pure sf? Where is the limit? This is a really tough question. Let us consider Star Wars for example. Is Star Wars a sci-fi universe? Many would claim that yes, it is. But where is the science then? Don’t we want to have a scientifically correct story from a genre known as science fiction? And then again: can we consider Star Wars fantasy? If we say yes, then where are the plot elements and necessary tools that make up fantasy as we know it?... Some say that Star Wars is not a science fiction world (since it lacks the necessary science) and is not a fantasy universe either (since it lacks the medieval-looking setting and many other tools that are necessary for fantasy work), but it is something else: a space fantasy story. (Sounds correct, doesn’t it?) Anyway, the case of Star Wars shows well that there is a debate going on how to categorise works into the sci-fi or fantasy bubbles. We all know that The Lord of the Rings is not science fiction (unless you want to claim historical linguistics and mythology applies as “hard science”. Yet, believe me. They do not.), and we also know that 2001: A Space Odyssey by Sir Arthur C. Clarke is science fiction and not fantasy. We feel it. And while the works of Clarke are “fantasy” in the sense that they are fantastic, unreal, not many people would claim them to be fantasy. What is the reason behind this feeling we have then? To tell the difference between fantasy and science fiction is a difficult endeavour, since especially nowadays the two genres tend to use each others’ stock of imagery, symbols and tools. For example if you employ a checklist of key words for fantasy for distinguishing between the two, you might go easily astray. Elves are fantasy, right? Right. Then is Warhammer 40000 fantasy? No, even though it does have elves (“space elves” or “Eldar”)… Checklists have become useless in this sense: once you read Hyperion by Dan Simmons (or Candide by Voltaire for that matter), you would never say it is a religious book even though religion is strongly present throughout it. Or is The Book of the New Sun of Gene Wolfe fantasy or sci-fi? It is set far in our future, has robots, space travel (which are characteristic of sci-fi) but contains a great amount of magic, mythology, religion and swords (things that are clearly tools of fantasy). Is Prince of Thorns by Mark Lawrence sci-fi or fantasy? It has atom-bombs and sword-fighting brigands alike, and is also set somewhere in the coming years… Which one are these books, fantasy or sci-fi?... There is no clear cut definition for any of these two genres. Fans keep on having totally serious debates about popular works as to where they belong. Authors and critics give newer and newer definitions all the time, but eventually all of these fail at some point. (Mostly because of authors who do not want to be put into a certain category and therefore begin to mix elements of both.) The best definition I have ever encountered comes from the late American writer Joanna Russ. In an essay she once tried to present some sort of definition for the two genres, and managed to give a decent answer. What she roughly claims in her 1973 essay “Speculations: The Subjunctivity of Science Fiction.”: both are works of imagination, which did not happen in any form before. Fantasy, she claims, embodies a negative subjunctivity: it deliberately “contravenes the real and violates it”. Fantasy according to Russ is something that “could not have happened”, that cannot and will never be able to be. Sci-fi on the other hand is something that “has not happened”. It simply has not happened (yet, maybe), which means that it is not impossible, but will never happen in the described form, so it is also impossible (not bad, eh? We have found another Schrödinger’s cat here.). So what basically Russ suggests to be able to differentiate between fantasy and science fiction is to ask the question: is it possible? Could it be?
If not, because some element in the story is contradicting reality, then we have a fantasy story. If it could happen in some form or another (it does not violate our experiences of reality), then it is science fiction. Seems like a very strict system, does it not? Yet, it does not leave space for further doubts and questions, and provides an easy way to decide whether a specific work of art is fantasy or science fiction. Star Wars? Quite impossible: it goes into the fantasy category (and into its space fantasy subgenre, if you like). The Book of the New Sun? Not impossible: science fiction it is then. Deciding the fate of steampunk for example might prove difficult, though, but after some research we might see whether the technology it describes is possible or not, and be able to categorise it after all. Of course one could attack this sort of categorisation, but lacking a better definition I would suggest to either adopt it – or just forget about genres and enjoy a good book when one encounters it! But there is still an important issue. Fans of fantasy or sci-fi often claim that their genre is “better” than the other. The argument of fans of sf is usually that it takes a lot of skill, background knowledge and scientific research to write good science fiction, whereas fans of fantasy will say that the heavy chains of science burden their imagination and if they wanted that they would have read some random book on quantum mechanics instead of a novel that ought to make one’s mind fly in the sky rather than give boring technological descriptions. I may have bad news for both parties. If one reads a well-written fantasy novel, one instantly realises that good fantasy contains at least as much science as science fiction – well, science that has been invented by the author. Brandon Sanderson, best known for his Mistborn novels and the fact that he is writing the final book for Robert Jordan’s epic Wheel of Time series, said in an interview that he had much more time devising the magic system of Mistborn than he would have reading some books about a specific scientific area – because he had to make a whole new science out of nothing that is still believable! Science and background knowledge also do not make a book “good”: good writing does. Yet, if a novel contains science, it will not make it heavy and hard-to-understand: again, it is a question of the skill of the writer. A good sf-author is able to include the needed science in the text without the reader noticing a didactical explanation whatsoever. A good example for this skill is Frederik Pohl’s Gateway: psychology and astronomy are both prominent in the book, yet we do not notice any “teaching sessions” in the text. Again we must get to the conclusion: genre does not make a novel good or bad, the skill (or the lack thereof) does. On a final note, I had the luck to work in a bookshop, where concerned parents came up to me asking to suggest books for their children, a boy and a girl, aged around 14. I suggested The Lord of the Rings (remembering that I was 14 when I first read it and I was enchanted by the world of Tolkien). The father was more concerned than ever, saying that a fantasy book will do for their daughter, and we should go find something more masculine for the boy, maybe something with rockets and guns? Now, fantasy is not a genre for girls, and science fiction is not a genre for boys (although many youth sf-novels are indeed written for boys, but it is not typical: the recently published Doctor Who youth novels for example are equally excellent for both genders)! I know many girls who read science fiction (yes, the masculine thing with rockets and guns) and I myself am a big fan of fantasy works. Genders are unimportant in the fantasy vs. sci-fi issue. Of course, there are works specifically for females and books for a male audience; udience; but apart from those, both genres and genders are totally all right with each other. Which would I suggest: fantasy or science fiction? My answer is – both. Just watch out to buy the quality texts from both kinds of fiction.
/Péter Holló-Vaskó/ ó-Vaskó/
STARTREK by Pia Ferrara
SPACE, ADVENTURE, BRAVERY: A JOURNEY ON THE ENTERPRISE According to philologist Vladimir Propp (1895-1970), author of Morphology of the Folktale, the “departure” is one of the most important functions in every magical story. It’s curious how Propp studies outlined a skeleton of every type of story. Today we’re going to talk about a story in which there isn’t magic. To the contrary we have a lot of technology and even a lot of journeys, and we all know that every journey begins from a departure. Star Trek’s storyline follows the adventures of the Enterprise, lead by, Captain James Tiberius Kirk, through deep space, solar and stellar systems looking for other intelligent races through the universe, sometimes fighting with the Klingon army.
The world “trekkie” –is the official name that indicates a huge Star Trek fan. A TV series aired in 1966, everyone knows that Star Trek is not to be confused with Star Wars that was created by George Lucas. It is instead a completely different universe born from the fantasy of Gene Roddenberry which covers hundreds of characters, places and spans over hundreds of decades. It is a universe that was developed by TV, cinema, comics and even books. It’s quite difficult to track the unique storyline of Star Trek, especially from the very first pilot to the new film Star Trek Into Darkness, (which will be released on May 2013 9th in the UK, 17th in the US). However, here’s a little chronology, divided by years.
STAR TREK: A JOURNEY DECADES LONG Sixties - 1966, September 8th. On NBC channel, United States, debut the pilot of Star Trek. The TV series, know later as Star Trek the original series lasted for four years until 1969. Seventies – In 1973-74 was the airing of the animated series of 22 episodes entitled Star Trek: the Animated Series (ST:tAS) produced by Paramount. ST:tAS is chronologically situated between the original series and the first Star Trek movie, telling the last year of the five years mission of the Enterprise. The story goes on in 1979 with Star Trek: the Motion Picture. Produced by Roddenberry and directed by Robert Wise. The movie follows the main storyline and casts all the main actors and characters from the original series. Eighties – The Eighties are a true cinematographic decade for Star Trek: four
movies are produced, one every two years. Star Trek II: the Wrath of Khan (1982), Star Trek III: the Search for Spock (1984), Star Trek IV: the Voyage Home (1986) and, finally, Star Trek V: the Final Frontier (1989). Furthermore, in 1987 the new series, Star Trek: the Next Generation, began. It endured for eight years, until 1994. The series took place one hundred years after the original storyline. The Enterprise and it’s new crew is lead by Captain Jean-Luc Picard, a character who competes with Kirk for the affection of the trekkies. In this series there also is the character of Wesley Crusher portrayed by Will Wheaton, who acts as a guest star in popular sitcom The Big Bang Theory and is loved/ hated by one of the main characters, the nerd-geek physicist Sheldon Cooper (Golden Globe winner Jim Parsons). Nineties – During this decade four Star Trek movies are produced. Star Trek VI:
the Undiscovered Country (1991), Star Trek: Generations (1994), Star Trek: First Contact (1996) and Star Trek: Insurrection (1998). In 1993 the new TV series Star Trek: Deep Space Nine begins. DS9 is a spin-off of Star Trek: the Next Generation and takes place not on board of the Enterprise, but on the space station Deep Space Nine. In 1995 begins Star Trek: Voyager, which continues until 2001. The Captain of the stellar ship, Voyager, for the first time, is a woman, Kathryn Janeway (Kate Mulgrew). Naughties - From 2001 to 2005 airs the Star Trek: Enterprise, a prequel of the previous TV series. The main character is portrayed by Scott Bakula, Captain Archer. In 2002 debuted Star Trek: Nemesis, the worst ST movie according to the box office.
REASONS WHY Star Trek is one of the most influential TV series in the last fifty years. Since the beginning, in 1966, Star Trek has been an evergreen in the universe of pop and nerd culture, receiving an entirely new generation of fandom from every part of the world. In the United States there still are conventions, that are dedicated to Star Trek fans, where the fans are dressed in the original uniform of the crew of the Enterprise. But how can we explain the incredible success of Star Trek, a complete universe born from the imagination of Gene Roddenberry? Star Trek is about space travelling. The first
season came out in a period dominated by the idea of conquest of space. Only three years later, in 1969, Neil Armstrong was the first man to walk on the Moon. Moreover, the crew on board the Enterprise represents members of different nationalities (American, Japanese, Russian) working together even along with a half-human (Mister Spock). It was during the historical period where the culture was influenced by the Cold War, that was important to the popularity of the show. Star Trek was an adventurous reflection about the future, a way to exercise the fear of total destruction that followed the Second World
War. The structure of the episodes, independent one from other, united the presence of the same crew and the same cast, that was helped by the growing affection of the fans who were eager to enjoy the next journey, the richness of the crews courage and the adventures of Captain Kirk, Mister Spock and Dr. McCoy.
(Original Series: the crew) James T. Kirk (Captain): portrayed by William Shatner, Captain Kirk is the first iconic Captain of the Enterprise in the original series. Mister Spock: portrayed by cult actor Leonard Nimoy, Spock is an alien of the planet Vulcan, and is half human and half Vulcan. He does not show typical human emotions or reactions. His typical gesture, so show any emotion, is raising his eyebrows. Dr. Leonard McCoy: portrayed by DeForest Kelley, Dr. McCoy is the medical officer on board of the Enterprise. Montgomery Scott: portrayed by
James Doohan, Scott is an engineer. Hikaru Sulu: portrayed by George Takei, he is a lieutenant. Pavel Checov: portrayed by Walter Koenig, Checov is the navigator of the Enterprise and also a lieutenant. Nyota Uhura: portrayed by Nichelle Nichols, Uhura is chief communications officer. Christine Chapel: portrayed by Majel Barrett, Chapel works in the infirmary of the Enterprise. (Other series: the Captains) Jean-Luc Picard (The Next Generation): portrayed by Patrick Stewart, Picard fights with Kirk for the number one place in the hearth of the trekkies. There’s a scene in The Big
Bang Theory in which one of the main character, Leonard Hofstadter (Johnny Galecki) states that he prefers the original series over The Next Generation. Benjamin Sisko (Deep Space Nine): portrayed by Avery Brooks, he is the Commander of the station Deep Space Nine. Kathryn Janeway (Voyager): portrayed by Kate Mulgrew, Captain Janeway is the Captain of the starship Voyager. Jonathan Archer (Enterprise): portrayed by Scott Bakula, Archer is the Captain of the Enterprise in the prequel series entitled Star Trek: Enterprise.
REBOOT: J.J. ABRAMS DIRECTING In 2009 the Star Trek universe was rebooted by screenwriter, producer and director J.J. Abrams. Creator of cult TV serial as Alias, Lost and scifi Fringe (in which the unforgettable Leonard “Spock” Nimoy has a small but important role), J.J. Abrams directed Star Trek and also Star Trek – Into Darkness. The screenplay is by Roberto Orci and Alex Kurtzman, his co-producer in Fringe, and Damon Lindelof, co-screenwriter of Lost and also, recently, screenwriter of Prometheus by Ridley Scott. Star Trek – Into Darkness follows the storyline started with Star Trek (2009). The leading role of James Tiberius Kirk is assigned to Chris Pine, meanwhile Spock is portrayed by Zachary
Quinto, who acted in Heroes in the role of Sylar and in American Horror Story in both seasons – Murder House and Asylum. Dr. Leonard McCoy, also known as Bones, is portrayed by Karl Urban (Eomer in The Lord of the Rings movies), Nyota Uhura is Zoe Saldana, Neytiri in James Cameron’s Avatar. The crew is completed by Simon Pegg (Montgomery “Scotty” Scott), John Cho (Hikaru Sulu), Anton Yelchin (Checov). The cast also includes Eric Bana, Wynona Rider, Chris Hemshworth and Jennifer Morrison, with Leonard Nimoy as special guest star in the role of Spock. The main new entry in the cast of Into Darkness is John Harrison, portrayed by Benedict Cumberbatch; very well known for the leading role of British
TV series Sherlock inspired by Sir Arthur Conan Doyle books. The entrance of Cumberbatch in the cast drew the attention of the “Sherlock” fandom, adding a new target to Into Darkness. This is the official synopsis of Star Trek – Into Darkness: “After the crew of the Enterprise find an unstoppable force of terror from within their own organization, Captain Kirk leads a manhunt to a warzone world to capture a one man weapon of mass destruction”.
STAR TREK: MAIN CHARACTERS
STAR TREK FRANCHISE: BOOKS, COMIC BOOKS, VIDEOGAMES, BOOKS Star Trek is not only a cult TV series, but a fully developed franchise which covers every field of cultural industry. There are plenty of books inspired by Roddenberry’s imagination, some canon and some not. For not-so-advanced-nerds: to be canon means to bind the TV series and the movies, and in general the other products placed in the ST universe. For example, some of the books, published in US by Bantam Books, also the publishing house of George R.R. Martin, have a direct influence on what will happen with the products from the Star Trek franchise. These are the main titles of Star Trek sagas, following in general the TV series: Star Trek – Enterprise, Star Trek – The Original Series, Star Trek - The Next Generation, Star Trek – Deep Space Nine, Star Trek – Voyager, Star Trek – New Frontier, Star Trek – Starfleet Corps of Engineers, Star Trek – Stargazer, Star Trek – Titan.
GAMES AND VIDEOGAMES Star Trek has also inspired games and videogames. For what concerns videogames, since 1971 to 2010 have been developed dozens of videogames, the recent ones for the most important consoles (Ps, Xbox, Wii). There also are a Role Playing Games, printed and by chat, but if we think about “Star Trek” and “games” the first one which comes into our minds is the tridimensional chess, represented also in many episodes o f The Big Bang Theory as a normal games played by the main characters.
Interview with most appreciate Star Trek's Comics artist. David Messina (Rome, 29 August 1974) is an Italian cartoonist. His work has included: Doyle: Spotlight (Angel comic) "Unacceptable Losses" The Curse (Angel comic)
DAVIDMESSINA
Old Friends (Angel comic) Star Trek: Countdown Star Trek: Nero Wolverine (Ultimate Comics) The Bounce
Working on the Angel comic book series helped me meet wonderful people and friends such as Chris Ryall and Scott Tipton, and certainly I cannot forget Star Trek Countdown! It was my first popular comics to be published in other countries and translated into different languages. 1) Your bio lists many important experiences, but I want to ask you a trivial question 3) Star Trek Into Darkness is only the last of anyway. Who is David Messina? a long series of Star Trek movies. It is based, however, on a famous 1960s TV show, which Thank God it’s a trivial question! I be- intrigued and moved whole generations of lieve that an honest answer could be that sci-fi fans even before the movies came out. David Messina is a child, who has never How did the responsibility of living up to stopped loving comics and that has be- those expectations influence your work? come a comics artist to work with them! It deeply influenced me, but not in the way you may expect. I have never been a great Star Trek 2) As I have said before, the experience sec- fan, and therefore I tried (whenever possible) to tion in your résumé is impressive. Scrolling do everything according to my personal taste, quickly through it, which ones have been even if it meant defying the expectations of the most important for both your life and the fandom. From aliens to technology, from your job? female characters (designed to be as sexy as possible) to Klingon uniforms, made of KevSurely one of them was working on Arcana lar instead of fabric...I did everything I could Mater with Manfredi Toraldo, a friend of mine. imagine, because I wanted to work on someIt gave me the opportunity both to work with thing else! But the fandom defied my expectafriends and to work as the concept artist and tions as well: not only were they open-mindart director of the whole series. Moreover, it ed and appreciated my work, but they even helped me understand exactly what I liked to convinced J.J. Abrams, Orci and Kurtzmann do as a comics artist. to hire me for the prequel of their first movie!
and the pages, as if we were on a set. The same 4) In what I would call an outstanding meth- approach, even if a bit less detailed in regard od, where did the illustrative style we saw to the backgrounds, was used for Countdown in Star Trek, stem from? Were you inspired To Darkness. by something in particular? Did you have a chance to watch the movie before the offi- 6) Such an impressive project, with all its cial release? responsibilities (the series and the movies), surely implies a great effort on the part of Not the whole movie, but I had the opportu- the illustrator. Of course having the right nity to have a look on a good part of it! I was skills, studying and working hard should be allowed to examine some scenes and the con- part of any professional’s job. But do you cept while they were in the post-production think that cartoonists are underestimated phase. But my style derives from something nowadays? Did you find some differences more personal: my intention of viewing the between Italy and other countries? world from my point of view, without verging on photorealism. I tried to have a back- Cartoonists are always underestimated, beground in each frame, balancing the focus of cause people cannot imagine all the effort rethe different elements. As for the characters, quired to make a good comic book! Even in I wanted them to look as similar as possible, countries such as the US, where cartoonists but without forcing them into static poses. are paid and respected far more than in ItaMy belief is that in the Nero The Lost Years tie- ly, there are many readers and professionals in series, I actually achieved something simi- (especially comic book publishers, the only lar to what I wanted, but not similar enough... to have the right license a product) who have it is never enough! no idea of how much a team has to work to produce even only twenty pages for a comic 5) (For those KOF readers who are also illus- book. trators, both experts and amateurs) From a technical point of view, how did you organInterviewer: Marcella Pennestri Translator: Bianca Bressy ize all the different strips? Considering both the details of each space and the presence of more than one figure in the same strip, did you have some practical difficulties while working? While working on the different pages, all I was thinking about was to make them as readable as possible. Each scene was inspired by the frames conventionally used in American sci-fi movies. The details had to give the impression of a movie camera moving between the panels
DAVIDMESSINAGALLERY (tap the picture tu zoom it)
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Star Trek- AGeek Category, or theUltimateSci-Fi buff? The word geek is a slang term for odd or non-mainstream people, with different connotations ranging from “a computer expert or enthusiast” to “a person heavily interested in a hobby”, with a general pejorative meaning of “a peculiar or otherwise dislikeable person, especially one who is perceived to be overly intellectual” (Wiki)
I
want to start off with this as I feel, the word geek is used all the time for people who love or even like Star Trek. Once I remember someone talking about Star Trek in a horrible manner and saying “It’s for people who are sad” but then until I said I liked Star Trek and I’m not sad, did they then shut up. I hereby inform all those who love Star Trek to not ever let someone put you down and think you are sad or weird because you love sci-fi. There is nothing wrong with having some interesting science-fiction in one’s life after a hard day’s work. I shall now begin my own personal trek, on Star Trek... Now for those of you who don’t know, my surname is Kirk, as in Captain, as in James. T. Thankfully I wasn’t picked on at school for my surname, only my first name. But at the end of the day, I was and still am, proud to be a Kirk. The surname itself isn’t very famous and it’s not very popular. It means a Scottish Church but originally hails from a Nordic term coined from the word, “church.” So growing up, I’d hear my parents spell out our surname and we’d always say, even now, “Kirk, as in Captain Kirk.” We are proud of it but I wondered what it meant... then growing up I learnt of the phenomenon of Star Trek. Hands in the air, I was a Trekky nut. Obsessed with our on-screen family member Captain James Tiberius Kirk, we’d see him travel across the galaxies, flip out his communicator oh so sexily and say, “Beam me up Scotty.” I loved Captain Kirk and still do. At the time, I wasn’t aware of the term, “geek” and never found it weird that my friends didn’t watch it- to be honest, I thought I was watching something special that only I could watch because of my surname. An 80’s kid as I was I knew nothing of the Next Generation until my Nan started raving about it. So naturally my mother and I were hooked. I loved Picard and I loved the characters in it. Deanna was drop dead gorgeous, every young women fell to the floor when Riker was in the room, Data was humours and also a very lovable character for an android and people were always sympathetic
towards Geordie for his loss of sight, but my favourite character, was Worf. A Klingon! I think it was his voice that got me. Deep, rustic... he got my vote. When Deep Space Nine (DS9) came onto the television sets, I was, initially, a bit dubious. They weren’t going anywhere, no real adventures, no one fighting for their lives, keeping the ship intact, being hunted by the Borg; but when Qwark came onto the screen with his thriftiness, his massive ears and his sharp pointy teeth, I was intrigued to see where this was going. Of course one of the sub-stories with Keiko and O’Brian was lovely, Worf and his son was another lovely sub-story too, which was also brought from the Next Generation, and Odo was an appealing character. The changling was a fantastic touch but it got me thinking then if changing/shapeshifting is fantasy or sci-fi. Of course I could name all of the characters and explain some of their stories but it was the stories that kept it interesting. With the other series, the majority of them move through space and come across one alien species after another or a black hole or a nebula or the Borg and we only have time to understand bits of their lives, not anything so deep and meaning as DS9. Voyager. A brand new ship, a female captain and an unfortunate accident to be sent to the Delta Quadrant with their only wish to return home. Voyager was an interesting series and I must admit, I cried with the last episode. The characters were phenomenal, the aliens they met made their journey interesting, Neelix and Kes and Seven of Nine to name a few and after every episode, you always knew they were that little bit closer to home. I think that this series was a genius series in a sense that you have a female figure at the head of the team who acts as a captain, a mother, a protector and a Starfleet officer where everything has to be “by the book.” I got that, I did, but at the end of the day, aliens won’t be by the book, so sometimes something has to give and Janeway always had a moral and logical reason to her decisions, which made her a ruthless but intriguing character. Each episode of Star Trek, in each series, has been attention-grabbing. They have taken us on phenomenal rides, helped us explore our ways of thinking in our creativeness and have played on our emotions in a roller-coaster of happy, funny memories and sad deaths and tragedies. Though people tend to put Star Trek into the geek factory, I say piffle! I am no geek, I like something that is entertaining. We cannot place sci-fi genre into the geek factor, as with any fandom you have those who are obsessed with certain characters and will collect memorabilia until their rooms are jam-packed
from floor to ceiling with comics, magazines and the like, but I think it’s more of an eagerness to show how much they love a series that has been engaging for them for a long time. If we take the Trekky title away as well as the sci-fi part of it, you just have normal people loving something that means something to them. If it’s called Geek well then everyone has a tendency to be one. If you love Harry Potter to bits, or Twilight, aren’t you classed as a geek as you are intelligent enough to know how many paces Uncle Vernon takes throughout the Harry Potter series, or how many times Aunt Petunia gave Dudley a pet name? And what about a certain trend in clothes, are Chavs a certain type of geek wearing that typical type of clothing and knowing how to dress a certain style, is that some form of intelligence of looking and acting in that manner? If I am outing myself as being a Trekky or geek for liking Star Trek then so be it. I never saw myself as being a geek, as I don’t think I’m highly intelligent. However, if there were Star Trek conventions where I would get to see my favourite characters and dress just like them and feel even more part of this amazing phenomenon, then I would do so. My particular favourite series for me was Voyager, it was by far the best series and I loved all the characters on board, even the ones they came and went. And if you haven’t watched any Star Trek, you will, eventually, resistance is futile.
Psychopathiclove BY MARCO GUADALUPI
T
he wedding was due to take place in a month. She would soon be Mrs Tunnen, 22-year-old wife of the 25-year-old Alister Tunnen, the youthful vice president of a well-known electronic cigarette multinational. I loved Gwenda, and soon I would not see her any more.
I found myself wandering in her dreams. Literally in her dreams. It was something I wished for and it came true. At first I was scared. I was looking for a way to be near her, to love her (protect her?), to feel in touch with her at all times. As a child, I got really good at finding excuses to go to the Stuart’s house and gaze at Gwenda in her living room. “Hello, Mrs Stuart. Can I clear the snow from your driveway?” Mrs Stuart understood, or may simply have been kind enough never to say no. I cleared the snow, and Gwenda was a few yards away from me, behind the living room window, sitting at the table reading stories to her little brothers. She never raised her head from the books. I did not mind, because I was able to observe her undisturbed. My grandmother – may she rest in peace – had figured it out. “Why don’t you say something, silly boy? I’d have been alone all my life if I hadn’t plucked up the courage to talk to your grandfather”. I always listened to the advice of my father’s mother, but I never found the courage to open my heart to Gwenda. It was as if all that was enough, as if the awareness that I could only ever observe her, and from a distance, was something natural; painless and rewarding. I wanted to be near her in my own way.
I was at home in her dreams. There I could even look into her eyes without embarrassment. It happened one evening, the wedding was one week away. I was driving home from a dinner with friends. We were organising a book club – boring stuff, but I could not refuse because I had been elected chairman. Before going to bed, I stopped off in a café, at Charlotte’s place. I ordered “the usual” and after a few minutes, dear Charlotte, a spinster who nurtured many hopes but had been a waitress for too long, set down my coffee with three chocolate biscuits on the table. After the first bite of the first biscuit, I became aware of a voice behind me that was sudden, yet soft and dreamy. “Mind if I sit down?” The biscuit in my hand fell into the hot drink. I turned slightly. The owner of that voice was wearing a smart midnight blue dress, decidedly out of place in that café and at that time. “And you… you are?” I stammered. She had green eyes, a crew-cut and a striking nose piercing. She sat down at the table.
“I’m the person you’re looking for,” she answered, still speaking softly. I lowered my gaze, frozen in my perennial embarrassment. “I don’t understand. I’m not looking for anyone, I’m just here for a coffee…” “You are here because you are thinking of Gwenda,” said the mysterious woman. “You are here because this place reminds you of her. She was sitting here where I am now, wasn’t she? That day, three years ago. Your only date.” I had bought my cup up to my mouth. I set it back down on the table slowly, shaking worse than a scolded child. “You… how… WHAT?” “You want to stay close to Gwenda, but you don’t know how to go about it. And, let me guess”, she added bringing a finger up to her lush lips “you are in pieces because in two weeks she’s leaving the village for the big city!” I got up from the table with my head bowed, abandoning my coffee and biscuits. I tried to find Charlotte to pay my bill, but she wasn’t there. The café was empty. Then I turned round: the mysterious woman had gone too. That was when I decided that I would never set foot in that café again! I instinctively shouted the name of the waitress. No answer. I yelled her name outside the café as well. Nothing. I was standing motionless on the pavement when a few drops of rain began to fall. Soon it was pouring down. So I started to run and was soaking by the time I reached my car. No, the woman did not materialise on the back seat or by my side. I calmed down then, or at least tried to. The rain stopped just before I got to my front door. I parked my car in the garage and that was where she reappeared. She wasn’t wearing the smart dress now. She was wearing a black leather miniskirt, laddered stockings and a T-shirt with the name of a rock group I’d never heard of. She was barefoot. “Why did you run away?” she demanded angrily. “Go away, leave me in peace!” I yelled. I left the garage intending to go into my house and leave the mysterious woman behind, but turned instead. “How do you know Gwenda? Who are you? I… wasn’t looking for you.” “Oh yes you were,” she countered. She made a gesture, as though she was scenting the air. She closed her eyes. “I am all the times that you couldn’t tell Gwenda that you loved her. I am your remorse; the tears you shed for her. I am the bad company you kept to try to forget her. Don’t you recognise me?” she asked fiddling with the piercings in her nose. She reopened her eyes. “Face your fears. Face me.” She was no longer talking to me softly. “I… I don’t care,” was all I could answer, opening and closing my mouth without another word. “I just want Gwenda to be happy…” “Oh yeah, right. Can you hear yourself? You left her at the mercy of that electronic cigarette merchant. Do you think she will be happy with Alister Tunnen? That guy stole her life, the parents arranged everything and the wedding will go ahead but her life has been taken away from her.” I looked into her deep, green eyes. “How do
you want to help me?” “Isn’t it obvious? By taking out the cigarette merchant of course.”
Alister Tunnen was in his office. He was dressed like any vice president of a multinational. The corner of a crimson handkerchief stuck out of his jacket pocket, his hair was slicked back and his jaw lolled open. His secretary was the one who found him, with the slit in his throat still warm. I was the culprit, but when Alister Tunnen went away forever, I was in my bed. I woke from the nightmare in a cold sweat. “You did it!” Exclaimed the mysterious woman standing beside my bed. She had changed her clothes for the umpteenth time. The man’s jacket she was wearing nearly reached her knees and she must have been completely naked underneath. I screwed up my eyes to bring her into focus. “Done what? I was asleep.” “Oh well, that was the deduction I made. I’m not the one with blood on my hands.” I looked my hands I felt a sharp pain just behind my eyeballs. My vision blurred. “Take it easy,” said the woman, trying to calm my screams and jerks. “It was what you wanted. It was what you had to do. Now go and get your Gwenda.”
The day after the discovery of Tunnen’s body, I met Gwenda at the entrance of the hospital mortuary. I had gone to express my condolences. I felt like crap, but I made the effort. Somehow I managed to tell her that I was sorry, I hugged her, but she stared right through me and I doubt she recognised me. I was hurt by that cold embrace, but it wasn’t her fault. After the hospital, I hid myself away at home to think. It was me who had killed Alister. It was like witchcraft! I could feel it inside, in my soul; I couldn’t be wrong. It was me, but the police were saying it was a person or persons unknown. “How did it happen?” I asked. The mysterious woman appeared behind me as usual. I heard the rustle of her footsteps. She was wearing another smart dress, flame red this time She drew her hand over my neck. “Tell me what you dreamed the other night?” I tried to gather my thoughts. “I... don’t know. I only remember a bad feeling. I felt heat, then pain and… I woke up. I was thinking of Gwenda when…” “… when you did it. Good,” the woman said. She chuckled. “Now do you get it?” “I killed Alister Tunnen through my nightmares?” “Clever boy!” She laughed again, hugging me in congratulation. I didn’t feel her touch, only the air moving behind my sweating neck.
I crept into Gwenda’s mind at night, like a thief. Tunnen’s murder was all it took to show me the way. It was not hard. You lose all con-
tact with reality, senses and thoughts. I would describe it as a trip through a cold, clear tunnel amidst an opaque sea of uncontrolled images and sounds. Those were the dreams. That’s how I confirmed that Gwenda had never felt anything for Tunnen, even though she was distraught over his death. When the marriage date had officially passed, I managed to enter my darling’s dreams even by day, when awake. It was more complicated and more calculating, but with practice I had learned to shield my thoughts so that I could lurk in the shadows of her mind and avoid being exposed to her sleep-lulled consciousness. In my own bedroom, lying on my bed, I saw Gwenda reorganise her life and talk to her parents about her future, which was still destined to be far from our village. “Can I talk to her?” was the question I asked the mystery woman one cold night in December. I could see the Christmas lights from my bed. The window was open onto the street with its Christmas decorations.
I spent the whole day at home, neglecting all my responsibilities, even the book club. I was alone. The mysterious woman was probably hanging around somewhere, but she did not appear. I cut out photos of Gwenda and stuck them on the walls of my room. The next day I went on with my work, papering first the hall, then the kitchen and then my small living room with cut-out photos. Cut and stick, cut and stick… I spent the third day in the bathtub. My white skin, wrinkled by the water, was hidden by clouds of soap bubbles. The foam was my cocoon, under which I pleasured myself for hours thinking about Gwenda. Gwenda. I can’t sleep. Where are you? … Hello Mrs Stuart. Can I clear the snow from your driveway? “… and so Peter Pan and the Lost Boys attacked Captain Hook…”
if you know the meaning of normal. You must tell her, face to face, like everyone does.” She took off the sheet in disgust. Her skin was as white as mine, but uncut and without wrinkles. It was perfect. “Look what you’ve done to yourself. And look what you’ve done to the house! I just wanted to help you.” She closed her eyes. A tear slid from under her long lashes, rolling down her cheek. “Help me? It’s your fault. All this is your fault!” I laughed and cried. Getting out of the bathtub, ravaged by excruciating pain and burning, the bathroom was completely stained with red. The mysterious woman disappeared and I never saw her again. I dragged myself to bed down the hall. I crawled in the dark, naked and still aroused. I collapsed onto the mattress after several attempts to get back on my feet. I tried in vain to stay awake, to suppress the urge to enter Gwenda. But sleep seized me and, relieved, I let myself be taken without a struggle. Hello, Gwenda.
“In a dream? If you feel like it,” she shrugged indifferently. She had no clothes on. “Do you want to ask her to marry you, by any chance?”
“Why don’t you say something, silly boy?”
Is that you? Hello.
I… wasn’t looking for you...
“No” I answered grimly. “I’d like to ask her if she’s happy.”
Yes. Sorry for the intrusion.
“Oh yes you were...”
I’m used to it now.
“… and they lived happily ever after.”
You mean…?
The mysterious woman snorted. “You already know the answer. Don’t ask pointless questions.” All of a sudden her face was a few inches from mine. Her green eyes were cold tunnels…
My forays into Gwenda’s dreams were more and more frequent. She dreamed of reading stories to her little brothers forever; she dreamed that her future husband had never been murdered. Then came the day of her departure. Gwenda was ready to say her farewells to the village one ill-fated spring day. It was a windy day, with a few flurries of rain. Just before taking the taxi to the station, a policeman caught up with Gwenda and her mother at their door. Between sleep and waking, in my room, I saw her burst into tears and throw herself into her mother’s arms, while the policeman sent the taxi away. I killed Mr Stuart at his workplace, from my bed, in my nightmares, as I’d done with Tunnen. Another throat slit. The police were now on the trail of a serial killer.
“You really don’t want to let her go, do you?” “I’m a murderer.” “I know,” said the mysterious woman. “But why do you care? No one will know. You’ve managed to hang on to Gwenda for a bit longer. Good for you. But how long do you think she’ll be delayed by the death of her beloved father? You’ll have to get a move on if you want to tell her that you love her.” “I won’t say a thing.” The woman didn’t answer, but the echo of her last words stayed to haunt me through the night. I didn’t sleep. Gwenda was far away.
“don’t you recognise me? I am your remorse, the tears you shed for her.” Enough… “Can you hear yourself? You left her at the mercy of that electronic cigarette merchant. Do you think she will be happy with Alister Tunnen?” ENOUGH I spat water, soap and blood. Curled up in the bathtub, out of the soap cocoon, I laughed excitedly, even when I saw Alister Tunnen and Mr Stuart side by side watching me with staring eyes. I was awake. Tunnen tried to say something, but the dark blood continued to flow from his neck wound. I knew I had gone back to sleep because I was back in Gwenda. I moved about cautiously in her mind. There were no more images or memories: the cold tunnel – my home – was dark and empty.
Yes, I know you’re spying on me. I’m sorry. It doesn’t matter. I promise that from now on I’ll leave you alone. Should I thank you? I don’t know. ... Why are you here? I don’t have the courage… To do what? You know. Or you can imagine. I know. I just imagine you pleasuring yourself as you think about me.
I wanted to wake up. I opened my eyes and there she was.
I won’t do it again. I’m really sorry.
“You’re killing her.” The voice of the mystery woman scared me.
I...can’t. Will we live together? Will it all end?
“No… I don’t want to kill Gwenda!”
That’s not the point. Tell me, come on say it.
Live with my father’s murderer? You’re crazy! Come on, tell me.
“Then leave her alone. Stay out of her mind,” she exclaimed. The woman was wrapped in a silk sheet. Her shaved head had been replaced by a mop of thick curls. “You’re flooding her with nightmares. You’ll kill her like that.”
I love you, Gwenda. I’ll never see you again.
I was still in the bathtub, exhausted and covered in blood. The cuts I had made with the razor blades stretched from one side of my torso to the other. “What should I do?” I asked.
… I forgive you. Goodbye.
“Love her”. “I do love her”. “Love her like a normal person, stupid. That’s
Never again. Do you forgive me?
I was looking for a way to be near her, to love her (protect her?), to feel in touch with her at all times. I don’t dream any more.
Wiz a r d Al w a ys Che a t BY ???????????????????
There was complete stillness on the vast grassy plain we were on. This place was enthralling, quite literally a piece of magic. It was a gift, a legacy if you will, from someone very dear to me. From my position, flat on the ground, I could see the tip of what was once a straight cli . There lay my friend and mentor, dead, yet at the same time, alive in every blade of grass and every turn of the mind. I could have stayed there forever, gently resting on the soft grass, watching uneven clouds pass by and basking in the sheer peacefulness of the place. Jack was not as mesmerized. My only warning was the sound of his heavy footsteps as his boots crushed grass and propelled him towards me. My body shifted to one side and I lifted my arm in defense. The clash of metal rang loud and suddenly. We stood there, locking blades. Jack had transformed an arm into a long blade. It was a fairly basic power of his. As a metal elemental, he had complete domain over anything metallic. At first he could only manipulate the iron in his own blood, transmuting small parts of his body. When I first fought him, the kid had tired himself out after a few minutes, having exhausted all of his resources and sabotaged his own body. This worked out great for me, since he was hired to kill me. As to how he became my student; it’s a long, complicated story involving my evil twin sister, some trash cans and me having taken pity to the poor guy. He had improved a lot with just a few months’ training: recently he’d learnt how to extract some minerals from his surroundings and could hold his transformations for a lot longer. I’d like to think it’s because he’s got an awesome teacher. My name is Erik Ashendale, wizard, and I’m currently ge ing my ass handed to me by my pupil. In terms of raw power, there was no way I could
match up against Jack. I mean, the guy is iron hard; literally. But he keeps forge ing one thing: it’s the brains, the ability to think and follow through that wins ba les. That’s how I stayed alive and I had to drill this lesson in his brain: even if that meant whacking him in the head a few times. I angled my magic short sword, Djinn, slightly downwards, as if giving in to his pressure and shifted my weight. I sprung behind him as he stumbled forward by my rouse. “That’s the second time you fell for that this week,” I said as Djinn arched closer to his neck. The only warning was the glint of the sun: Jack spun and asked his blade upwards towards my extended sword arm. My speed and experience took over once more. My blade changed trajectory in the last second and drop parried his longer weapon. The kid got cocky and flashed his lopsided smile as he lunged. I deflected the strike, arcing the interlocked swords in a semicircle and suddenly retreaded. The sudden release of momentum caused Jack to fall face first into the grass. “Erik seems to be having a hard time today. Jack’s really improved.” At a safe distance sat Abi, my other apprentice. She too was going through her training phase. Abi is a hybrid, half-succubus and, through some very unfortunate events, half-witch. It’s got nothing to do with birth parents: in her case it’s more along the lines of the Sin of Lust tugging on her soul until her magic sparked into a mutated version of demon and human. None of us had any idea of what she could do: that was one of the purposes of her training. Amaymon, my familiar, deduced that her powers are more psychic and sensory based. Which was why he had made her give him telekinetic belly rubs. Every cat loves a good belly rub. The way I see it, if she succeeds, she’d have learnt finesse and control. If not, she’ll kill the cat who had lain waste in our picnic basket. Win-win, see? “Ah, it’s only cos that idiot is relying on magic,” I heard the cat purr from Abi’s lap.
“They are trying to spar. It wouldn’t be fair on Jack,” she replied as she reached down and took a swig of water. “There is no ‘fair’ here. It’s either do, or die,” said Amaymon as he rubbed himself against her chest. “You’re a pig,” she berated. “Meow.” Jack and I exchanged blow after blow and the elemental got bolder with each move. “Control yourself, kid. Use your head,” I said as I strained against another blade lock. Jack pushed back, throwing me a few feet away. “I thought I was winning,” he said with a grin. Then he charged at me. If there was something I hated, its people who are be er smart-asses than myself. He must have seen the mischievous glint in my eye because his step faltered but he couldn’t stop his momentum. With merely a thought I swung Djinn and, channeling my magic through it, the blade elongated, closing the distance between us. I swung, aiming for his forward leg and twisted the sword to hit him with the flat of the blade. No ma er the density of his metallic structure and armor, a magically enhanced sword such as Djinn could really damage Jack. He flipped in mid-air before crashing painfully on his back. Djinn’s blade, glowing a faint azure, was poised at the nape of his neck, resting on his throat cavity. “Hey, that’s cheating,” he managed to gasp. I began to walk, slowly reverting the blade to its original size, yet the tip never left his neck. He struggled to get up, but found my knee pressed against his chest. Djinn drew a small droplet of blood from his exposed neck. The elemental had stopped using his powers and held his hands apart in surrender. “The cat’s right, you know,” I finally told him. Abi and Amaymon stared at us; she looked horrified that I would passively threaten a student. The cat was amused and a li le curious. “You’ve got be er powers suited for
close combat. You’ve got virtually impenetrable skin and your physical endurance is ten times anything I could achieve, even if I was jacked up on the strongest spells out there.” I twisted the blade slightly, allowing his Adam’s apple to move up and down without fear of ge ing cut. He swallowed nervously. “So why did you lose?” He did not answer my question. I wasn’t expecting any response. This was part of learning, of demonstrating firsthand what sort of horrors lay ahead. Finally I reached down, grasped his arm and helped him up. Jack breathed a sigh of relief. “Two lessons,” I said. I held up a finger. “One: think of the most creative and unexpected ways to die. Multiply that by a hundred. That’s what the least creative monsters will do to you. God knows that the real hardcore bastards are thinking. Here’s the lesson; stop thinking in a conventional way. It reflects in the sparring. You expect a block to a strike and then strike back in response. You could pull that o for the first couple of seconds but, unless you quickly kill whatever it is, it will get smart on you. Magic is neither neat nor rational. Wizards, practitioners, demons, angels –those who use magic develop a di erent frame of mind than your average Joe. We have to think outside the box and, if you’re up against us, you’d be er start thinking like us. You too are a creature of magic and your progress would double, no triple, if you looked at things from a magical perspective rather than from a rational one. Expect the unexpected and learn to be flexible up here,” I said as I tapped him lightly on the forehead. I sheathed Djinn and walked towards my cat and apprentice. Maybe I could salvage a sandwich; playing the Mr. Miyagi role made me hungry. Jack caught up to me. “What’s the second lesson?” I gave him a lopsided grin. “Wizards always cheat.”
KINGDOM OF ART
Riccardo Lo Giudice
... is a young Sicilian artist selected by KOF editorial staff, who has choiced two images that we hope will bring you more close to the world of illustrated fantasy, with technical studies and the unfailing passion to the Kindgom of Art.
COVER ART
WORKSHOP
by umberto giampà
1
Tit a n To draw the mythical Titan I took inspiration from the old version of "Clash of the Titans" (1981), although the grandeur is clearly taken from the 2010 version. I drew a sketch without large, black areas, because the creature is so huge that it almost looks rarefied due to its grandeur and height. The Indian ink helped me draw hard-looking lines, which are perfect for this effect, because it ensures accuracy and a fine and well-defined stroke.
2
Sh iel d I had imagined Athena’s shield as something solid, metallic and rich of details, to represent the Goddess’s power and distinguish it from other shields. de The central symbol pays homage to the crest of a modern dynasty. The gloss effect on the board was m ggiven i after the inking phase through quick strokes off brush dipped in white acrylic. o
3
Sk ir t a n d c a p e I love the image of drapes and capes flowing in the wind, because it evokes dynamism and epic scenes. The chiaroscuro effects of the inner part of the drape is a mix of different shades of black and hatches, which combined give a sense of depth without overloading the image.
4 Ro c k s R To T o distinguish the close-up from the background an and to create a sense of depth, I stressed the outline of the rocks closer to the reader, and then reduced it up to a thin line near the Kraken.
5
At h en a I have always been fond of Athena, because of my passion both for Greek mythology and the Saint Seiya manga. For this reason, the armour is a mix of references to cartoons and history. I wanted an armour that didn’t cover Athena’s shape, since tthe h character is an immortal Goddess, an eternally b e beautiful woman. Therefore, as an illustrator, I lloved ov building an armour around her body, makiing ng something that can protect her but that, at the same time, enhances the soft shape of the warriorwoman.
Translated and Speach by Lara Bressy
COVER ART
WORKSHOP
by alessandro alessi anghini
(Colors) 1
a)
screenshot of my worspace PS with flat color
Th e il l u s t r a t io n w a s c o l o r ed u s in g P h o t o s h o p CS5.
I began by cutting out the Indian ink level from the white background (a method learned on www.kinart. it): everything was done on a grayscale image. Then I chose Channels from the drop-down menu and duplicated the channel. After that, I pressed the Ctrl key and clicked on the new channel: having now a selection, I proceeded to reverse it. On Levels I added a new layer, then selected the Fill command and filled the selection with black color (in "multiply" mode). After having removed first the first level (the background) and then the duplicated channel, I was left with an outlined image.
2 From this point onwards, I went on to work in CMJK mode and started by adding layers for coloring the flats: a white one, one with the colors of the background and one with Athena. Then, I separated the rocks on which the warrior supports herself and those in the foreground by creating various levels for each of them. I did the same for the Titan as well. This way, I would have been able to have a better-looking 3D image by working on its various levels.
3 The Art Director had only one request concerning the Titan: it should not have been swamp green-colored. Furthermore, I wanted the warrior to look more realistic, so I chose a battle armour, leaving out golden shades and Mediterranean, dark brown hair.
4 To make the image more realistic, I chose a color palette made of natural, slightly saturated tones: dark green for environments, gray for metallic elements. I used the colors of the rocks in the foreground as well, desaturating and lightening them for the elements in the background. Then I used a more classical, Pompeian red for the mantle to high(image_a) light the warrior.
5 b)
Then I studied the shadows and light sources. I thought of using two of them, in order to go along with the full shading made in Indian ink by the illustrator: a front light from the bottom to the left for the warrior, and an ambient light source - the sun - at the top center of the image, to backlight the warrior and the Kraken in the distance. (image_b)
c)
6 I stretched the shadows over the layers on top of the bases in "multiply" mode. After that, I added the layer "Shadows" for each level of the color flats. Finally, I adjusted the intensity and hue of the shadow according to the underlying color through the Hue/Saturation panel. (image_c)
the final shadow
8 "Dry Brush", "Dry Brush Tip Light Flow" and "Round Fan Stiff Thin Bristles" with a low opacity came to the rescue when it came to rougher surfaces. I made all the rocks in this way, by always working on different levels with a different melting and adjusting the final effect through the opacity of the layer. (image_d)
7 To create the feeling of dirtiness, the roughness of the materials, rust, the old, worn-out surfaces etc. I used the Brush tool, working on different levels and with different blendings - especially "multiply", "linear burn" and "color burn" - but also "overlay", to lighten some parts, or a stronger "screen". This is the process I used on the shield, for example. The brushes I used are the standard PS ones. I carried out most part of the work with the "Hard Round" paint brush and a hardness of 100%, and got the different line modulations by varying the size of the tip from 4% to 8%. I then lowered the opacity as I deemed it necessary and used the "multiply" mode to increase the kind of effect I wanted.
d)
e)
9 From this point onwards, I went on to work in CMJK mode and started by adding layers for coloring the flats: a white one, one with the colors of the background and one with Athena. Then, I separated the rocks on which the warrior supports herself and those in the foreground by creating various levels for each of them. I did the same for the Titan as well. This way, I would have been able to have a better-looking 3D image by working on its various levels.
the first scratch with the brushes one can see the embossment on the edge
f)
g) more scratch
h) more scratch and light effect
the final effect
10 I added light levels where I had placed the direct light strokes, exactly as I had done with the shadows, this time in the blending mode of different levels: "screen", "overlay", "soft light", according to the intensity I wanted to achieve and the type of light source I wished to suggest. I modified the percentage value of transparency of the layer to further adjust the light intensity.
11 i)
I worked on the Titan in the background on several levels as well: I added two levels on the flat base in “multiply” mode for the shadows, using “wet” brushes to reproduce the effect of the Titan’s scaly skin. Very low opacity. (image_i and image_j)
j)
the flat Titan the Titan, dirty and 3D
12
k)
On top of everything I added two levels for the mist rising from below, in order to soften the lower part of the creature: an "overlay" one and a "screen" one with two neutral and light colors to make the dust look more three(image_k) dimensional.
13 The Titan looks huge and is placed behind the warrior, therefore I added several layers to create the effect of aerial perspective. The layers were then filled with vertical gradients placed on the monster. To clear the light I used "overlay" and "soft light" levels. A further series of levels was added on the background behind the rocks to emphasize the atmospheric lighting: levels of soft pink shades, plus a "color burn", gray-blue one to change the color of the Titan and make it emerge from the background.
l)
14 Finally, I added an "overlay" level with a hint of burgundy on the right (100% opacity) and an orange one on the left (66% opacity). I used these levels to give a more personal and "fantastic" note to the illustration, by creating a chromatic contrast that surrounds the whole scene, slightly changing the underlying colors on two shades to create a counterpoint. Their overlapping gave the image the final effect. (image_l and image_m)
m)
Translated and Speach by Lara Bressy
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MOON WORSHIPPERS
ROURKE ND
2 PART
THE
ENCHANTMENT
AGENCY
GLOSSARY
WIZARDS
An individual who possesses magical abilities; also commonly referred to as a magician, mage, sorcerer, warlock, enchanter, or conjurer.
First
appearance
Today’s popular notion of a wizard—a wise elderly man, often with a trailing beard—might have derived from the famed medieval wizard Merlin, who advised King Arthur in stories that date back to the 12th century.
POWERS
A wizard’s powers can run the entire gamut of magical abilities, from summoning demons and spirits, to manipulating the elements, to spying into the future. A wizard’s power can be used for either good or evil, and many fantasy novels will set up separate schools of magic that govern a wizard’s actions. In Margaret Weis and Tracy Hickman’s Dragonlance saga, mages typically wear black, red, or white robes to represent their alignment with the gods of evil, the gods of neutrality, or the gods of good.
Common Denominator
Most wizards have innate powers but must be harnessed through study and dedication. Often, especially in literature, magicians will encounter a limit on the spells that they can cast, such as increasing fatigue or a lack of materials. Whereas some wizards cast spells without any physical aids, others might require vellum, scrolls, wands, staffs, spices, herbs, talismans, or spell books. Spells are typically uttered in a strange language of magic only understood by magic users.
Wizards in Culture
Throughout history, magic users have held a place in nearly every society. In the Mayan tradition, shamans could transcend the earthly realm and communicate with the gods and the spirit world. The Waiwai of South America believe that a magic users known as a yaskomo can send their souls into each earthly element for purposes ranging from healing wounds to naming a newborn.
Fiction and Non fiction
The presence of magic in literature can be traced back to the epics of Homer and the oral tales of indigenous cultures of many countries. Most fantasy books feature a wizard of some kind, and the more recognizable names include Merlin, Gandalf (J.R.R. Tolkien, Lord of the Rings trilogy and The Hobbit) , Raistlin Majere (Margaret Weis and Tracy Hickman, The Dragonlance Chronicles), Harry Dresden (Jim Butcher, Dresden Files), Ged (Ursula K. Le Guin, A Wizard of Earthsea), and Harry Potter (J.K. Rowling). Another interesting wizard appears in Diana Wynne Jones’ Howl’s Moving Castle; in the story, Howl is rumored to eat the hearts of beautiful women, and the door to his castle is a portal that connects to four different locations.
Interesting facts
Whereas some works of literature rely on a very traditional image of the wizard, others invent their own curious and stunning versions. In the Wayfarer Redemption series by Sara Douglass, the Icarii are winged humans whose powers derive from the Star Dance—the music of the heavens manipulated through song. Individuals who engage in New Age practices often learn shamanistic arts and holistic therapy. Some common New Age practices involve ritual drumming and dance, pilgrimages to remote parts of the world to imbibe psychoactive substances, reiki healing for reducing stress and inducing relaxation. In Hungarian mythology, a wizard known as a táltos is believed to enter a meditative trance in order to cure sickness. A táltos was often born with some physical defect, such as a sixth finger on one hand or teeth already grown in at birth. Wizards in Irish mythology were thought to be dark creatures that had made a pact with the devil. It was believed that they could engage in therianthropy, the ability to change shape, often into some form of animal or beast. In modern literature, wizards often retain this power, such as Eustace Scrubb in C.S. Lewis’ The Chronicles of Narnia, who can morph into a dragon. In J.K. Rowling’s Harry Potter, wizards who could transform into animals are known as Animagi.
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Third issue released 06.30.13
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Up on May, the third issue of KOF will be dedicated to women. Our editorial team: Abi, Marco G., Pia and Marcella will be writing charming articles that will illustrate the figures of the women warriors throughout history in various cultures. Don’t forgetting a treat in the modern media, from Xena to Buffy, not forgetting Wonder Woman. We’ll also meet Manfredi Toraldo, the author of the dreamlike fantasy comics, Arcana Mater what’s more he’ll introduce us to the secrets of Tarot cards.
Fourth issue released 07.31.13
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