Thread of Wonder, the next 5000 posts: science fiction, fantasy, speculative fiction 2021 and beyond

ha! do you mean you're struggling with it syntactically or morally?

Uh, aesthetically? The scouring of the shire is a highlight!

I'm more bothered by the lack of a comma in 5,000 than I am abt sci-fi tbh

Commas are only for numbers of five figures and up as far as I'm concerned

https://www.youtube.com/watch?v=tbNlMtqrYS0
x10

Almost posted that embed 10x ina old-school JW Noizeborad style.

I'm sure I talked about some of this in the previous thread about hanging out with horror people mostly then SFF people and then when you go back to horrorland, most people in SFF land start seeming really uptight and conversations have so many restricted areas and I have to respect what people aren't willing to discuss but I find it occasionally frustrating. And then there's this area of horror which is like the children of Dennis Cooper and it's lovely how relaxed they are and talking about what drugs they're taking all the time.

https://amphetaminesulphate.bigcartel.com/
https://www.clashbooks.com/
https://expatpress.com/shop/
https://www.apocalypse-party.com/books.html
https://www.infinitylandpress.com/books

I generally like SFF fans but I do feel like a lot of them (even a lot of the progressive ones) still want stories that are easy to swallow and are probably afraid to look at their dog's anus.

Only thing is, the blurbs for some of these authors can be completely ridiculous and leave you hanging, not knowing what it's like or about. "Britney Spears singing love songs to you while Baudelaire gives you an enema" or some nonsense like that.

Ha, exactly.

Think I started a thread about that once.

When Author X was Compared to Author Y by Author Z

nothing more riveting than people talking about their drug regimens, very transgressive

I'm a complete teetolaler and I'm not even into drug talk but my point is it's nice to hear writers talking in a more carefree way. It's probably significant that the horror genre largely escaped the culture war and there's less people out to get each other.

Like this crap is still going on in SFF land
https://dorisvsutherland.com/2021/04/06/baens-bar-the-utterly-incompetent-case-for-the-defence/

i haven't the patience to delve into what you consider 'culture war' 'crap' that's 'easy to swallow'

tbh i've seen way too much of my cat's anus, but nor have i considered cramming something up there and calling it art

honestly you are fucking creepy as hell; maybe you should stick to to 'open-minded' horror boards where you can discuss what you want to do to your waifus with no judgment

but nor have i considered cramming something up there and calling it art

Does anyone do this?

Old Lunch was asking maybe two years ago about problems with reactionary horror people but as far as the fiction/poetry side goes it's really minimal compared to SFF, it's been said they're more easy going and get on better together.
The drawback is maybe the low brow attitude, too much easy amusement with juxtaposing high and low culture and the shit eating grins (see lots of horror author photos) and it does annoy me when people feel they have to present dark or gross subject matter in a jokey way, I'm regularly guilty of it too and it's often my first instinct to joke about some of these things. I think people do this because if they keep a straight face about it, they're worried people will think they're crazy.
But I think sometimes humor and punky attitude doesn't let people process things as well, I'd rather the subject matters weren't considered so transgressive or frightening, it makes peoples lives more difficult. So it's nice when people are just more at ease with it all, but the transgression is undeniably part of the appeal of some of these writers.

There's been a lot of good buzz about this one
https://www.apocalypse-party.com/negativespace.html

Going to be weird hearing “George R.R. Martin Can Fuck Off Into the Sun, Or: The 2020 Hugo Awards Ceremony (Rageblog Edition)” read out at a ceremony.
https://www.tor.com/2021/04/13/announcing-the-2021-hugo-award-finalists/

https://www.tor.com/2021/04/13/a-brief-guide-to-the-extraordinary-fiction-of-vonda-n-mcintyre/

http://file770.com/discon-iii-declines-to-comment-on-code-of-conduct-issue-about-hugo-finalist/

A little bit heartbreaking how many SFF authors despise each other and the awards nominations intensifying it all.

How many people nominated for a Hugo alongside Isabel Fall this year celebrated the removal of her story or contributed to the harassment campaign against her?

I think I count 3 so far. I really hope she wins.

— Experiencing A Significant Poggers Shortfall (@mechanicalkurt) April 13, 2021

The entire SF/F community came out and said "if you don't write about being trans in the way we think you should, we will attempt to harm you."

This is especially angering because it was an open secret that literally all of Chuck Wendig's writer friends were sex pests.

— Qualia Redux (@QualiaRedux) April 15, 2021

and some nice animals. What's weirder than the giant bunny in the first picture, is the way that guy is holding the pilot's head

One great sub-genre of retro sci-fi art: Confusingly Placed Animals pic.twitter.com/P0rmh9WG7I

— 70s Sci-Fi Art (@70sscifi) April 15, 2021

Jess Nevins - Horror Needs No Passport

This starts with Nevins explaining his frustration that there has been very little survey or study of international horror fiction and that he did this book because nobody else had. It sticks to the 20th century (with occasional background and influential writers from further back), skips USA, UK and a few other english speaking countries but there is still a bunch of english fiction included from other countries. Nevins doesn't say which writers he has actually read himself, he quotes other scholars evaluations quite a lot but I did get the impression he was voicing his own opinions about most of the japanese writers (who are surprisingly well represented in english translation) and these were some of the most enjoyable parts.

It might have been inevitable that many of the writers end up sounding very similar and my eyes often glazed over the descriptions of their approaches (what subgenres, where the horror effects are coming from). But every once in a while there's really tantalizing or unusual sounding stories about Africa, Indonesian martial arts horror, a story about a shepherd, Tarzan starring in Israeli horror adventures, italian extreme horror and amazing sounding gothics from all around the world.

It notes a handful of comic artists, Suehiro Maruo is oddly absent but I was pleased to discover Daijiro Morohoshi who I might have seen a little of but most of what I found on search was new to me.

The political/cultural background for every country is detailed, if horror was frowned upon or even outlawed (often in soviet countries, Germany and Japan censored under post-war occupation, some people writing horror only in exile), whether what each writer was doing was considered high art or trash from the gutter. It seemed like quite a lot of the South American writers were politicians.
A few times Nevins writes about authors not pursuing just "mere fear" and it seemed as if it was his own opinion (?), I don't understand why someone so devoted to horror would feel that being scary for it's own sake wasn't enough, given how that approach can be as intense and memorable as anything else when it's done well.

It is mentioned that Ewers was a Nazi but not Strobl, somehow.

No cover credit for Utagawa Kuniyoshi.

I do wish there was some sort of guide about the availability in english of these books. Perhaps Nevins was concerned it would date the book too much and that people might not bother searching for newer books if they weren't already in an english list? I spent a while checking isfdb and amazon for many of the writers but I didn't have the patience to research every writer that sounded promising. A few were indeed published after this book.
Sad that I probably won't hear about most of these authors again. If a particular writer has sufficiently high status, there's a good chance Penguin or some other classics publisher has them in english, a good deal of this stuff goes unnoticed by most horror fans and I can't blame them too much for not catching them all.

This could and should be an important building block for the future of horror. It's pretty great and I bought Nevins' Horror Fiction In The 20th Century, which can be considered a companion to this.

I can't remember who the writer was but one of the unique ideas I came across in the above book was from a writer in exile from a dictatorship who wrote a novel in which even gods are powerless against the goverment, which just seems like a horribly depressing idea. Quite a few south american stories were mentioned in which all the characters are completely fucked and have nothing but terrifyingly bad choices available.

I didn't know that books aimed at railway travelers was such a big thing in India. Which makes me wonder about "airport novels", do publishers and even writers really spend a lot of time thinking about what people want to read at an airport?

https://locusmag.com/2021/02/paul-di-filippo-reviews-the-society-of-time-by-john-brunner/

I like the idea of Brunner but haven’t really been able to read.

Brunner’s supporting cast, including the Jesuit time-travel expert, Father Ramon

Another one for my 'Catholics in spaaaaaace!' list.

Never read any Brunner meself, sounds intriguing but this (re: Stand on Zanzibar) puts me off: Some examples of slang include "codder" (man), "shiggy" (woman), "whereinole" (where in hell?), "prowlie" (an armoured police car), "offyourass" (possessing an attitude), "bivving" (bisexuality, from "ambivalent") and "mucker" (a person running amok).

Elizabeth Moon's Remnant population: emo sf in the Le Guin mould. Good aliens and bad humans, though the humans aren't all that bad, and the dice are stacked rather heavily in favour of the aliens - not that Le Guin didn't indulge in a bit of dice stacking herself. Enjoyable but somewhat cosy and convenient.

Also for fans of (at least) 5000 posts, this Rollin Speculative looks like the first, b. 2011, and is where I came in: (hey thomp, get back here):
rolling fantasy, science fiction, speculative fiction &c. thread

Didn't mean to drop the g, sorry.

Or jump the gun on :

will jump gun for dinosaur

https://www.youtube.com/watch?v=fb8IN53dfBQ

Good Ray Bradbury rundown and intro to new exhibit at Chicago's American Writer's Museum.

There's a free talk by his autobiographer tonight:
https://www.eventbrite.com/e/sam-weller-telling-bradburys-story-tickets-149947169019?aff=CCSamWellerProgram

re: the recent KSR opening scene

The risk of a heat wave and blackout striking a major U.S. city simultaneously is growing -- and it "may be the deadliest climate-related event we can imagine."https://t.co/Iw5COIAizQ

— Christopher Flavelle (@cflav) May 3, 2021

To say something slightly more substantial about many SFF readers wanting simplistic and easy to swallow stories, see some of the commentary on hopepunk. Noblebright (another dumb genre name) is the conservative version but I don't know if there is any actual writers who call themselves that. But many people have found hopepunk stories to be deeply conservative. Katherine Addison's Goblin Emperor in particular.
https://www.goodreads.com/review/show/1268544277

Some people accused Becky Chambers of racial stereotyping in her hopepunk space operas.

Peter Watts has been very supportive of Kelly Robson but he still ridiculed the hopepunk genre because he found the idea of hope being subversive to be laughable. Hope is the default he says.

As much as I enjoy this kind of mockery, I do actually want to enjoy Goblin Emperor and Chambers if and when I read them because a lot of people genuinely loved them, so I'm kind of hyped.

Don't know about racial stereotyping but the one becky chambers thing I tried to read was so pollyanna-ish I couldn't finish it.

Peppy protagonist: hey evil space pirates, don't rape and murder us and steal all our supplies, it makes more sense for you to just take what you need and leave us in peace!
Evil space pirates: Ok sure!

I hate hate hate the -punk construction, yes even cyberpunk and steampunk. Basically if you haven't been in the pit at Agnostic Front or, er, The Exploited don't call yourself punk, whippersnappers. Hopepunk is the worst yet, although noblepunk would beat it if anyone had been mad enough to moniker the 'genre' thus.

Yes Hopepunk is particularly gross.

If you want racial stereotyping I can(not) recommend Hellspark by Janet Kagan. Not that she stereotypes any existing races or cultures, but in her humanoid diaspora every planet confirms to extremely rigid and laboured stereotypes (one lot carry knives which they obsessively polish while thinking; one lot shake bangles to make a point; one lot approach from the right to appear submissive, obviously another lot approach from the right to appear dominant!) and it's only one interplanetary traveller who helps them see that hey man underneath we're all the same!

I'll accept cyberpunk and splatterpunk but I feel that if there is no punk aesthetic at all, then I'd rather call it something else. So steampunk is steamtech to me. Dieselpunk is dieseltech, solarpunk is solar SF, mannerpunk is fantasy-of-manners, hopepunk is uuuhhhh, I dunno.

Somebody mocking it called it Copepunk.

Adding punk to everything makes the genre naming so boring too. I also find it dumb in music when someone highly individual and/or untutored like Captain Beefheart gets called punk, I don't think it makes a lot of sense.

Jess Nevins - Horror Fiction In The 20th Century

This book is a huge undertaking and it was impossible this was going to please everyone. It covers more areas of horror fiction than most surveys care to or even would consider looking at, but it's under 300 pages and Nevins is just here by himself. In addition to the expected anglosphere writers and the parts cut and paste from Horror Needs No Passport (I did wonder if there were some new entries in these parts, because there were profiles I didn't remember), there's sections on horror for children and young adults, horror written by (and largely for?) African Americans, Latinx, Native Americans, Australian Aboriginals, Gays and Lesbians that mostly never had much of an audience outside their own communities.

I had some of the same problems with this as I did with Horror Needs No Passport (profiles on writers often blur together through similarities, authors who write primarily to scare seem to be considered less worthy) but this is often a more fun read.
The parts I enjoyed the most are when Nevins makes arguments and gets opinionated. I have never heard so much about the various trends going on in the ghost story and pulp eras and the claim that women ghost story authors made advancements that unfortunately weren't built on for a long time. There's some authors profiled who seem to have been a big deal in their time who I don't recall hearing about (Harriet Prescott Spofford and John Burke). I hadn't ever heard that James Herbert, Bentley Little and Benchley's Jaws novel all had a leftist outlook. Very few authors get a bad review but I was pleased the entries on Tanith Lee and SP Somtow were so positive; oddly the opinion in Horror Needs No Passport that Koji Suzuki is a bad writer saved by great ideas is not included here. Was Rosemary Timperley really more popular than Daphne Du Maurier? Timperley is fairly obscure these days and much of her short stories are impossible to find, even hard enough to find her novels.

I wish Nevins had made it clearer which authors he had himself read extensively and which he was going more on other scholars' research. We are often told a writer uses certain subjects and approaches "to terrify the reader" and I'm generally guessing this is more the intent of the authors rather than the actual effect on most of its readers? But it's not clear. How often is anything expected to terrify an experienced horror reader?

At the end he lists a lot of authors he would like to have covered but didn't have the time to. Some were big enough to surprise me (Graham Masterton). I'm surprised he didn't mention Jessica Amanda Salmonson here because he admires her as a scholar and cites her often. Nevins given Fantastic Victoriana an enormous update so maybe this will receive some expansion years down the line too?

This book could have used another proofreading, the typos are generally minor but there's a few bigger mistakes like Julian Gracq being called "Jean Gracq", Basil Copper is called "Basil Cooper" a few times.

Some further complaints and more minor quibbles.
- Brian Eno is wrongly listed as the producer of Velvet Underground's debut album (a comparison is made about the relatively low sales of Weird Tales despite its enormous influence to what Eno said about Velvet Undergound's debut).
- Hugh B Cave's comeback is not mentioned, only his pulp era.
- Marion Zimmer Bradley is mentioned in the context of 40s ghost stories. Bradley did start publishing in the late 40s but I doubt this is who Nevins meant.
- Datlow's part of Year's Best Fantasy & Horror is mentioned but I thought it was worth mentioning how many editors came before in this type of anthology.
- I was pleased to see the section on 60s/70s paperback era gothic romances but it seems to only scratch the surface, given the enormous number of book covers I've seen from this particular era.
- The RPG section doesn't mention Worlds Of Darkness.
- Some novels are included for sheer misery and I kept expecting to see Samuel Delany's Hogg but it wasn't there.
- I wanted some elaboration on why the 80s were a golden age and why the 90s were a slump. Is this purely about sales? Nevins says (noting a rare agreement with Joshi) that the slump allowed more artistic writers to cater to a more sophisticated readership. But couldn't this still have happened within the genre if sales had been better?
- I would have liked much more opinions rather than the encyclopedia approach it takes most of the time.

Despite all this, it's a very good book, not as vital as Horror Needs No Passport but still an achievement.

3/4 of the way through a book that was recommended by both James Morrison and ledge and it is not disappointing. Can’t wait to see what will happen after the dust storm ends.

― We Jam von Economo (James Redd and the Blecchs), Thursday, 23 January 2020 01:17 (one year ago) link

So far seems to be shaping up to be an instant ILB sf classic, a worthy successor to Inverted World.

― We Jam von Economo (James Redd and the Blecchs), Thursday, 23 January 2020 01:23 (one year ago) link

Which?

― change display name (Jordan), Thursday, 23 January 2020 01:24 (one year ago) link

Theory of Bastards, by Audrey Schulman.

― We Jam von Economo (James Redd and the Blecchs), Thursday, 23 January 2020 01:29 (one year ago) link

So, this was one of the last books I bought in-person pre-pandemic, and I've just now gotten around to reading it. I'm halfway through, and I'm loving it so far!

(Also in a truly bizarre coincidence, I started reading it the day after my mom called to tell me about a Genius-grant-recipient former colleague and friend of hers, whom I met once many years ago, being written up in the New York Times for her work on endometriosis!)

> a worthy successor to Inverted World.

IW is currently 99p on kindle in the uk

Cool. Maybe the handful of stragglers here who haven’t read it can catch up. Or maybe it has already been relegated to Olde ILX/Olde SF Thread and has fallen out of favor.

> the handful of stragglers here who haven’t read it

*SOBS*

i miss shakey big-upping silverbob

Totally

Jeff VanderMeer - Hummingbird Salamander

I had only read his Area X books before. Does he write all of his books like this? It spends page after page saying how significant the hummingbird and the salamander are, but it takes ages to explain why. (Supposedly because of events in the narrator's life, but this turns out to be untrue, despite her supposedly writing the book down after she has learned that it's untrue.) Most of the novel has the form of a Dan Brown quest but the clues are obviously nonsense, and lead to another clue anyway, despite it all ending up to be irrelevant in the final pages. My least favorite piece of fiction that I've read in quite a while.

frederik pohl - 'the world at the end of time'

conventional human ark-ship colonization story + 'tau zero'-ish time dilation interspersed with the ramblings of a plasma-based superbeing roughly as old as the universe.

unfortunately the main human character is an annoying prick, and it's unclear why anyone else cares about him. at one point he's reunited with someone he thought long dead, which should have been monumental but is passed over quickly because him having truly missed them isn't believable and the returning character has no depth whatsoever.

there's some awkward sex stuff, although tbf it's not as bad as that of most of his old-school sci-fi colleagues. the superbeing, despite having every other chapter devoted to it, has no role to play other than inadvertently causing the time dilation. not only does it not actually encounter our humans, it only becomes dimly aware of them in the final pages.

not v. good. only other thing i've read by him is the first heechee book; iirc that was better

Wolfbane is a ride for sure, he was at his best in collaboration with CM Kornbluth imo

Ledge, your description of the demonacracy in Aurora Rising looks plausible these days

yes but most people don't consider that we're living in a golden age!

Now reading Ann Leckie's Translation State, which has her distinct "social mores in space!" style but also toys with body horror in parts.

body horror in parts.

picked up Elysium Fire, the book ledge mentioned, as it was cheap (replacing my paperback copy), and noticed the third part, Machine Vendetta, is also currently cheap

xp Which reminds me of my take on this anthologized treat:

George RR Martin's "Nightflyers' is a novella, the longest yard by far, and earns it. An intriguing, quest-worthy scientific expedition sets off on a strange ship, with a strange captain, and it's mystery-horror in space, gore and zombies floating through more than Special EFX, as the story develops via the dynamics of a group whose members I can actually keep straight, they have that much personality, even when dead/"dead."

God, I hated Nightflyers, just the worst writing and characterisation.

Tbf I think I’m just allergic to Martin’s writing, none of his stuff ever worked for me.

noticed the third part, Machine Vendetta, is also currently cheap

sorted! expect I'll be done with grungy sf for a while once I'm through with those.

xpost At least I got you to post--welcome back, James!

Where did he go?

Not here! Or any WAYR? that I've seen in quite a while.

ok, read xpost "True Names," cyberspace-before "cyberspace" (here it's called "The Other Plane") novella., and can see how it sets tropes, standards, but wouldn't work for me w/o that crucial Vingean conceptual x emotional resonance, here in use of fantasy imagery as analogues for tech, because of the way it suits cultural conditioning etc. and the motivations, sensibilities of all those who come to the Plane--also key is detecting difference between active realness behind avatars, vs. simulations left in place,. no matter how expert. and got Vinge momentum etc. too

Pour one out tonight for Thieves World and Heroes in Hell scribe Janet Morris, sword-and-sorcery faithful - according to her family, she has passed away. pic.twitter.com/uw7OmHyhgm

— BattlebornMag (@BattlebornMag) August 10, 2024

Ann Leckie's Translation State was something else. Her scrupulous and sensitive stories of social mores and political manoeuvering are so much more than just 'tea and gloves' (though there are tea and gloves in this one too, and I'm finally fully on board) - I mean I hope it's evidence of her intelligence, and not of my dullness, that I had to reread some parts several times in order to work out the full implications. But this one adds body horror (as mentioned above) and truly weird alien biology and behaviour. It's also very strongly concerned with gender identity - this review nails part of it: https://lareviewofbooks.org/article/your-genes-arent-your-destiny-on-ann-leckies-translation-state/

In Ancillary Justice and its sequels, Leckie thoughtfully explores an agender society (the Imperial Radch) where reproductive biology has no bearing on categories of social identity. As I have argued elsewhere, however, the Radchaai agender norm is often imposed on other cultures with staggering imperial arrogance: Leckie uses “she” as the default Radchaai agender pronoun for everyone (rather than a neutral pronoun like “they”) (...) Translation State, by contrast, clarifies Leckie’s argument that misgendering others—refusing to honor their pronouns and gender identities—is always an act of violence.

It's not just about pronouns though, in some ways the whole book feels like an intriguingly imperfect analogy to the transgender experience (I say this with some hesitation, not being trans myself). I'm sure she intentionally chose a title with those first five letters.

If I have any reservations it's that as usual she does like to tie things up rather neatly and give everyone a happy ending, and though bad things happen I didn't get any real sense of danger or violence or of the true misanthrope's understanding of the awful things that people can do to each other and that you can find in plenty of stories e.g. by Le Guin. There's just a slight sense of that YA optimism, somewhat exacerbated by the fact that all three of the main characters, even the 56 year old woman, approach the world like wide-eyed innocents (though to different extents and for quite deliberate authorial reasons).

Tbf I think I’m just allergic to Martin’s writing, none of his stuff ever worked for me.

I love Sandkings and... that's it.

How was worldcon? Someone said there wasn't many good book dealers there?

Should say that sword and sorcery was just a part of what Janet Morris did, she wrote all sorts of SFF and historical fiction. A big promoter of non-lethal weapons in the military.

Has anyone checked out those Lavie Tidhar BEST OF WORLD SF anthologies?

I bought them all but they'll be sitting unread for the foreseeable future, I have all the ones he did for Apex too

Still Vingeing--as I mentioned about the Realtime stories and The Witling, he likes to set two groups at each others' throats along w backstabbing and conniving, preferably with shot-down hostages from space as magical-seeming (beyond medieval tech) prizes)---in A Fire Upon The Deep, each side has a hostage, a boy and a girl, siblings.The girl has a working educational computer, for toddlers up through advanced secondary students, ideal for ignorant Aliens. The boy has a working sort of interstellar text link to a far-off, damaged, yet incoming craft with a few refugee-rescuers on board.
The Aliens, each group led by its breeder (one more benevolent or mild-mannered than the other, also that one is the breeder of the other), are seen by the offworld kids as dogpeople, in packs of packs: each dogperson character is a pack, in neurological synch, so eyes can see in all directions etc., but they can't get close to each other most of the time, or any other packs almost all the time, because of true cognitive dissonance, feedback etc.
If that seems too claustrophic, we also get why the refugee/rescuers are coming, updates as well as backstories, and all of that/this in a much wider perspective, the Zones of Thought---as sf-encyclopedia puts it, mostly paraphrasing one of the humans, as she explains it to a remixed hero-of-sorts, on the way to first bedding:

The galaxy as a whole is divided into four concentric Zones of Thought, as defined and circumscribed by the varying limitations (and liberations) of Physics: the Unthinking Depths of the galaxy's core, where even Intelligence cannot exist, are surrounded by the Slow Zone (Earth's location; see Fermi Paradox) which allows only limited AI and is generally bound by the speed restrictions of Relativity; further out, in the vast circumambiating expanses of the Beyond, AIs can be superhuman and Faster Than Light travel is easy (here flourish almost innumerable civilizations); at its remotest distance from the Unthinking Depths, the High Beyond merges into the unknowable Transcend (see Transcendence) where intelligence tends towards the godlike. The information webs which convey near-infinities of information among the myriad worlds of the venue amusingly reflect the telephone-linked computer nets of the 1980s and early 1990s (see Internet).

I found something really cool in a little free library today: The Compleat Dying Earth, Science Fiction Book Club edition, in hardcover. There's a sick poster of the Gerald Brom cover painting inside. I may have to get that framed.

Picture here: https://imgur.com/rCCMZvx

Don't recall seeing that edition before.

I got the smaller edition of Dian Hanson/Taschen's Masterpieces Of Fantast Art and it seems to be considerably abridged, I couldn't see any note of this in the product descriptions

I bought that and I don't know if it's abridged but it is surprisingly dull. Not a single unexpected selection.

finally read 'the saint of bright doors'

it is lovely and imaginative in a way completely foreign to the standard fantasy trilogy

that said i did not quite connect with it? it was somehow always a struggle to return to it. also the ending was less an ending than simply a stopping point. but any SF reader is no doubt used to that.

I bought that and I don't know if it's abridged but it is surprisingly dull. Not a single unexpected selection.

― Tsar Bombadil (James Morrison), Friday, September 13, 2024 3:50 AM (yesterday)

I seen a longer contents listing with much more obscure artists, but probably a lot less space for them. Still missing a few of my favorites but summing up the art of all of fantasy is no easy task.

Very true. I was just a bit disappointed.

I liked this

https://clarkesworldmagazine.com/mcmahan_06_24/

If you want to see what we're missing from the larger Taschen book, look at page 486 onwards
https://www.isfdb.org/cgi-bin/pl.cgi?836049

There's plenty of good choices in there and a bunch I don't know. Most of my top tier artists aren't there: Stephen Fabian, Mick Van Houten, Noriyoshi Ohrai, Karel Thole, Helmut Wenske, Paul Lehr and Yoshitaka Amano would have been at the top of my wishlist if I were making this; Santiago Caruso, Denis Forkas Kostromitin and the Balbusso sisters if I was allowed something newer. But I have to respect such a bold choice as prioritizing the oiled up bodybuilder side of fantasy art (Boris Vallejo, Julie Bell and Rowena Morrill, which many people find terribly cheesy and one Guardian writer said Rowena's art found in Saddam Hussein's collection was for people who were barely sentient. I think Clyde Caldwell and Larry Elmore are sort of in this category too.

I've never been into the typical body builder look but the recent body building explosion, the body building enthusiasts I know on social media, my preferring martial arts films where they show off as much skin as possible and looking back at the 90s comics I used to like has made me look at all this stuff a bit differently. And a lot of people look back at some of the cheesier fantasy artists as pretty damn good now because hardly any publishers are willing to pay good artists anymore.

We used to complain about Clyde Caldwell but he looks godly next to this
https://m.media-amazon.com/images/I/51D9jhfifmL.jpg

and there was a recent announcement that Dungeons & Dragons was going to be using AI extensively. I've never liked many of the Dungeons & Dragons artists, but I could respect that most of them were lovingly meticulous and I wonder how many table top gaming fans would accept AI dominated games.