Monthly Archives: May 2024

Crime, Reviews

Gilda (1946 Film Noire Classic) – a Review

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Given the cinematic stool samples being laid in Homowood, Commiefornia in recent times, I am frequently more willing to pay to watch an old film than to risk watching a late-model movie for free. Unfortunately, it often seems as though I’ve already seen all the good ones. Then, once in a while, I discover a film like Gilda.

Gilda was directed by Charles Vidor and stars Rita Hayworth and Glenn Ford. Were there no such genre as film noire to classify it, it would probably best be described as a character-driven drama.

What it’s About:

Johnny Farrel (Ford) is a gambler who uses loaded dice and card cutting/shuffling tricks to “make his own luck” and earn a dishonest living in Argentina. Early on, after an implausible winning streak at the blackjack table, he runs afoul of the casino’s owner: shady tungsten magnate Ballin Mundson. With no shortage of nerve, Johnny convinces Mundson to hire him to run the Casino.

(Mundson’s trust of Johnny, though not misplaced, is perhaps the least believable aspect of the story in this film.)

Soon after Johnny makes himself indispensable at the casino, Mundson surprises Johnny by introducing him to his brand new wife: the titular Gilda. By brand new, I mean the two met about a day before getting married. How could you not assume she’s a gold digger trading sex for access to Mundson’s fortune? Furthermore, it’s obvious to the audience and Mundson, right away, that Gilda and Johnny have a past, though at first they deny knowing each other.

So, there you have the classic love triangle, right? And being a film noire, you just know it will end in tragedy.

Characters/Acting:

George MacReady plays Mundson exactly like he probably should be played: gullible and petulant on the one hand while shrewd and dangerous on the other.

The Johnny Farrel role is a departure for Glenn Ford. I’ve never seen him play a devil-may-care wise guy before. And after the opening act, you won’t see that in this film, either. He reverts to the mature, responsible sort of personality we’re used to seeing Ford play. But he pulls off both sides of Johnny Farrel with aplomb.

What perhaps makes no sense is how Johnny risks his entrusted position with his boss to cover for Gilda’s frequent and casual infidelities. The two hate each other, after all.

You may have seen the now-famous shot that introduces (Rita Hayworth as) Gilda. Her head is bowed down out of the camera’s view, then she swings up into frame, flipping her long hair over and behind her to smile at Mundson’s top henchman. The smile fades as she recognizes Johnny and begins to seethe.

Rita Hayworth had a very attractive face and a killer smile, but was physically underwhelming in most other ways. For some reason, the actresses who get offered the ticket are rarely shaped like an hourglass. More like a test tube. Hayworth fits that mold.

Gilda gleefully cats around on Mundson through most of the film, but once in a while we glimpse a chink in her armor. As Mundson tells her, hate is a form of excitement. Put in modern parlance, hate can quickly boil over into lust. And boy, is there a lot of bad blood between Johnny and Gilda.

I was waiting almost from that introductory scene for Johnny to give in to an assumed obsession with (or at least lust for) Gilda, and be played for a chump by her–presumably for the umpteenth time. But the screenwriter mercifully avoids that predictable formula (possibly because it wasn’t yet the formula). Despite his ill-advised cover-ups for Gilda, he remains strong and, dare I say, honorable…up until the third act. Of course, many may disagree with me on all counts.

Dialog:

Film makers today are lauded as “edgy” or whatever for having actors spew blasphemy and F-bombs in between every other word. In the Movie biz of yesteryear, a lot was said beyond the sum total of the words spoken. Not just innuendo, though there was often plenty of that. In Gilda, we are never given a flashback, confession, or other exposition dump, but the backstory comes to us piecemeal, exclusively via implication or insinuation.

In a nutshell, Gilda hates Johnny for dumping her; while Johnny despises Gilda for cheating on him just like she is now so blatantly cheating on Mundson. It didn’t just wound his pride. It revealed to Johnny that Gilda is not even a human being, but rather a ruthless man-eating monster who belongs in the gutter or a whorehouse.

Theme:

Similar to what Alfred Hitchcock did in a couple of his suspense thrillers, Charles Vidor built this film around the duality of the three main characters. Each of them displays two opposed natures struggling within their personas. Or you could say each of them appear to be one sort of character, but are actually something else.

Twists:

There are unstable business execs accepting bribes, an omnipresent Argentine detective hovering all over casino business, two sinister Nazi agents, and a fatal plane crash.

But not everything is as it seems. In fact, very little is. I highly recommend you watch this classic and find out for yourself what is what.

Make sure you check back here every week to read Gio’s Top Five Film picks!

Action, Espionage, Reviews

Alt Hero Q to Date – a Review

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Alt Hero Q is one of the first Arkhaven projects, which preceeded the Arktoons website.

What it’s About:

It is a globe-trotting action spy thriller featuring a former Treasury agent recruited into an open source intelligence operation. He was one of the few honest agents left in the Federal Alphabets, who was nearly snuffed for noticing what should not be noticed. Now Roland Dane is tasked with investigating the blackmail of a scumbag politician, foiling the assassination attempt on a unicorn honest politician, and thwarting a plot to start a war between Russia and Ukraine.

That last plot thread was devised before the war in Ukraine began IRL. It shows you just how current and savvy the storyline can be at times.

How About that Title?

You have to be pretty sheltered to not have at least heard of Q by now.

If you still believe the Swamp Media and Uniparty scumbags, then “Qanon” is a dangerous domestic terror network which might do something horrible at any moment, meaning  American citizens need to surrender more liberty and give the traitors in Washington even more power. To keep us safe, of course.

If you bypassed the Swamp Media, researched it for yourself, and share the beliefs of the anons who followed Q, you think it is a rogue element within the Federal Leviathan which organized a counter-conspiracy to take down the traitors. They have a plan you’re supposed to trust in, which will result in mass arrests of the traitors who have hijacked our government with no, or minimal, bloodshed.

Many who once were in the latter camp are now convinced it was all just another psyop to keep us compliant. To keep us docile. To demoralize us yet again. To get us to self-identify as thoughtcriminals so we are easily targeted for the purges to come during the Great Reset.

Production Values:

Whatever the truth is behind the Q phenomenon, it is a great backdrop for an ambitious espionage/conspiracy thriller. But rather than some ludicrous formula about a unicorn honest MSM journalist chasing the story down to present the truth to the masses (who totally care about freedom, the Constitution, and our long-term future more than porn, social media and getting high), this is a story of a cellular network of patriots and just decent folks sacrificing their own time and resources trying to expose and bring down the Cabal. That’s pretty unique in the conspiracy genres.

Chuck Dixon scripted this tale (based on Vox Day’s general outline, I would guess) with a structure reminiscent of Tarantino’s Pulp Fiction, but without the vulgarity. The characters and dialog are believable. I’m not exactly sure what the page count would be at this point, but it looks like the plot is nowhere near resolution, yet. Were this an Akira Kurosawa film, I would be confident that after this methodical buildup of tension and conflict, there will be a satisfying, gratifying, rip-snorting denouement to resolve the story arc and tie off all the loose ends. If I were a betting man, I’d say Chuck Dixon is a Kurosawa fan and this is exactly what he intends to do.

The artwork is good and compliments the story well. Sometimes it looks a little rushed, but even at that, I would still say the quality is high. Notice, in the panel above, how you know at just a quick glance that this is a night time scene–and you would know that even without the black sky at the upper left corner. The artist got the shadows from multiple light sources, and everything else, just right. I’ve looked at a lot of comic panels over the years and can’t remember a night scene done this well.

As with much of the Arktoons artwork, the artist sometimes “cheated”/saved time by using mostly empty panels, or zoomed in/out on a preceding panel to form a “new” one. It doesn’t detract from the experience and I would probably do the same, in their place.

You can read everything I’ve read for free on Arkhaven, and I recommend you do–all at one sitting so you don’t lose track of all the setting jumps. If I remember correctly, there will also be a crowdfunding campaign soon for a print version of Alt-Hero Q. Which means, hopefully, that the aforementioned climax has been scripted, drawn, inked, colored, and is ready for showtime.

Reviews

Last Year at Marienbad (1961) – a Review

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(Directed by Alain Resnais)

Reviewed by

The first movie on the INFAMOUS🦀 Top-5 Movie List is a visual spectacle with no equals. Directed by French visionaire A. Resnais, this masterpiece belongs to the French New Wave movie scene which came about in the 1950s and was characterized by new and unconventional shooting and editing techniques, creating something never seen before on the big screen.

 

PLOT:

The plot is as surreal as the visuals themselves: you have a splendid yet ethereal luxury hotel resort somewhere in Europe (Austria? France? Another reality?). Guests mingle and interact; a man converses with a woman claiming they met each other the year before, though the woman seems not to recall that. Everything feels slightly Stanley Kubrick-ish: is the woman dreaming all this? Is she even alive or a wandering ghost? And why does this entire hotel feel so strange even though we can’t quite put our finger on it?

CG vs REAL LOCATIONS:

Part of the initial effect that the sets have on audiences is due to a good chunk of filming taking place at the palaces of Schleissheim and Nymphenburg, including the Amalienburg hunting lodge, and the Antiquarium of the Residenz, all of which are in and around Munich, Germany. I’ll keep saying this until the cows come home: CG has ruined modern film-making. Real locations, particularly when it comes to historical locations, have a ‘life’ of their own, for lack of better terms. The shooting locations of Last Year at Marienbad not only provide the perfect backdrop for the actors’ performances, they become an additional character themselves. Whether you roam through the halls of this majestic building, or walk around its magnificent gardens, you just sense an otherworldly atmosphere at every corner.

THE PROTAGONIST:

French actress Delphine Seyrig plays The Woman at the center of this surreal experience (and yes, characters in this movie don’t have names, they’re just The Man, The Woman, The Second Man, etc.). For a movie to be a masterpiece of this caliber you need to have a lead that can carry and embody the spirit of the movie, and Seyrig does all that and then some! She can just look at the camera without speaking a single word and enchant an entire audience! The only present day actress that even comes remotely close to her is Nicole Kidman, perhaps. But I digress…

This movie absolutely required a lead actress who could convey emotions with her eyes and her subtle gestures: over-act a scene and you look silly; under-act a scene and the audience won’t be able to connect. Seyrig accomplished that marvelously!

FROM SCRIPT TO SCREEN:

Robbe-Grillet who wrote the screenplay jotted down every detail, specifying not only the dialogue and gestures and décor, but also the placement and movement of the camera and the sequencing of shots in the editing. Director Resnais filmed the script with great fidelity, and when Robbe-Grillet, who was not present during the filming, saw the rough cut, he said he found the film just as he had intended it, while recognizing how much Resnais had added to make it work on the screen and fill out what was absent from the script…

Which brings me to the next major point I want to make: a script should be adapted to screen in all of its authenticity and with no changes as to affect the nature of its content in order to appeal to particular groups or audiences or in order to not offend somebody. When a script has to pass through 3 or 4 different hands, chances are that what ends up on screen is just a mockery of what the original story wanted to be. A good director will only use his/her talent and skills to best express what the script wants to convey. That’s it. End of story.

CLOSING REMARKS:

In closing, Last Year at Marienbad remains one of the best yet subtle visual feasts in cinema today: it’s elegant, grand, stylish; yet dark, unsettling, mysterious, ethereal. 

Who are all these elegant people? What’s their story? Well, to this day fans of the movie still come up with exciting theories to such enigmas.

Watch for yourself, and let us know what your theory is. But make sure you don’t get lost while roaming through the halls of Marienbad!

🦀

*Make sure to watch the 55th Anniversary movie trailer (above)!

Reviews

The INFAMOUS Top 5 Movie Picks

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Though books have always been my primary focus of interest, as a lover of storytelling in general, it shouldn’t come as a surprise that I would also mingle in the art of filmography.

Though I was born in the 70s, grew up in the 80s, and lived most of my young adult life in the 90s, and having witnessed the phenomena of your Star Wars Trilogy, your Godfather, your Lord of The Rings, to name a few-spanning over 3 decades of filmmaking-ultimately my heart gravitated toward a different crop of movies. These are films that precede my lifetime and yet have had the most profound effect on me and keep doing so to this day. I’m all for movies that ‘just entertain’, we need those too, but surely not at the expense of using the medium for soul-impacting, life-changing experiences.

So my top 5 picks that we will discuss in the next weeks are not just what I consider to be GOOD movies, but masterpieces that have impacted my life to one degree or another. These are movies that I can revisit over and over again, and still discover something new, or notice little hidden details which speaks volume of their richness in content.

Some of them you may have heard of…but I doubt it!

 

Top 5 Movie Picks (newer to older):

  1. Last Year at Marienbad (1961)
  2. The Earrings of Madame de… (1953)
  3. La Ronde (1950)
  4. Letter from an Unknown Woman (1948)
  5. The Passion of Joan of Arc (1928)

 

Join us next week for our first movie review and conversation (don’t forget to leave comments!):

Last Year at Marienbad (1961)

INFAMOUS🦀

Aviation, Military, Reviews

The Dawn Patrol – a Review

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What It’s About:

A British pursuit squadron suffers the attrition of air combat in WWI. Major Brand is in command, driven to drink and relentless stress by the young pilots he loses every day to enemy action. His “A Flight” Leader is Captain Courtney, who is a survivor and a skilled veteran pilot whose perspective will be forced to change before the movie is over.

Vintage:

This film was made in 1930. To put that in perspective, The Jazz Singer had been released just three years before. Audiences were no longer content with silent movies, and the Hollywood studios had been scrambling to adopt the new technology. This meant a new equipment needed to be installed in theaters, new recording equipment (capable of synching with cameras) needed to be acquired and used by every film crew, and a whole lot of expensive sound stages needed building on the studio lots.

“Talkies” were still in their infancy, but this one has got a better soundtrack than most.

Even though the entire industry now realized synchronized sound was the wave of the future, it still took a while for film makers to ditch certain practices that were no longer necessary.

Exhibit A: Intertitles. Dawn Patrol doesn’t have as many as a typical silent film–and none for dialog–but it’s got a few. The writers/directors evidently hadn’t figured out a way to give exposition without inserting text in between shots. Or they never even wondered about doing it some other way.

Exhibit B: Subtitles. They put one at the bottom of the frame whenever we see the villain in his cockpit.

Exhibit C: Acting. Some of the actors strike overly-dramatic poses, wear exaggerated expressions, and use jerky, exaggerated gestures. Many of them were veteran actors of the silent era and directors had conditioned them to emote that way. It must have been a tough habit to kick. It kind of grates, now. The film was remade in 1938 and I bet that one doesn’t suffer the same issues.

Exhibit D: Patience. This might not be directly related to silent movies or talkies. This film is just too methodical for the modern audience, in places. Folks back then were more easily entertained (not spoiled rotten with omnipresent entertainment) and had the attention span of a human being–not a gnat or a smartphone zombie.

Plot and Themes:

If you watch a lot of WWII movies, you’ll probably lose count of how many of them are built around certain tropes like individualists learning to do their part as a member of a team. This one thrums on “the loneliness of command” nine years before the invasion of Poland and 20-30 years before the trope became such a cliche` in war movies. For all I know, Dawn Patrol might be what set the precedent for several war movie tropes which are overly familiar today.

The audience is left to assume that the Germans don’t face the same problems as our heroes.  The Allies have manpower problems and material shortages, whereas the Germans don’t. In reality, it was almost exactly the opposite.

In fact, this type of story would better represent the German side. The best German aces were given such a workload that they were completely used up by 1917 or so. The constant stress, exhaustion, and requirement to accomplish much with little dulled their abilities and wracked them with sickness. Even the legendary Red Baron could barely keep his eyes open on his last few missions. (His stand-in in this movie is “Von Richter.” What movie about WWI air combat does NOT feature a portrayal of Manfred Von Richtoffen and his Flying Circus, I wonder.)

But, I mean, they’re bloody barbaric Hun savages with no appreciation for the value of human life. So who cares what problems they faced, eh wott?

Production Values:

Howard Hawks directed this. He was a prolific director who made some very memorable  films from the silent era right up until 1970. But this (his first talkie) feels like he’s just getting his sea legs.

(As a side note for the red pill and manosphere communities, his serious films depicted very masculine men and feminine women. However, in his comedies, he conformed to the mild gender confusion so popular in the postwar era that helped push our culture onto the slippery slope that led to the institutional gender insanity of today.)

The film probably had a pretty good budget. There are about three aerial combat sequences, including one in the opening scene. Aside from just a couple rear-screen projection shots, this was all real pilots in real planes doing this stuff. Considering that, some of the stunt flying is truly spectacular. I’ve watched my share of dogfight scenes in war movies, and this movie’s are better than most, and still hold up somewhat today.

But even big budgets have their limits. I wonder if that’s why most of the film involves the lonely commander and other personnel at the airfield simply worrying while waiting for the squadron to return, to find out who survived and who didn’t. That’s another popular trope in the genre. No doubt some screenwriters used it because they wanted an intense drama. But, like the stark lighting in Film Noire, budget constraints might have necessitated it in the beginning–so directors took that lemon and made lemonade.

My Take:

Considering everything I’ve mentioned, overall, Dawn Patrol doesn’t hold up that well today. I appreciate the limitations it was made under, and that it was a pioneer film that established precedents for the genre. Few others will. And the crude sound, outdated conventions, hammy acting, etc., are not justified by the story, which seems hackneyed and formulaic despite the fact that it wasn’t back in 1930.

If you have an interest in WWI air combat, you might want to also read my review of The Red Baron.

Non-Fiction/Documentary, Sci-Fi, Superhero

One Detour from the Great American Novel

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I’ve mentioned before some of the reasons I took so long to finish the rough draft for Paradox. One interruption was what appeared to be an opportunity to write graphic novels:

 

For those who don’t know, I’m a novelist. I’ve had ideas for some comics & graphic novels for a long time—including many superhero stories which take place in a “world” I built as a boy and has evolved as I sporadically brainstormed about it in subsequent years.

My first creative efforts were pictures of superheroes, and later my own comics, panels drawn on whatever scrap paper I could find, plotting and character development handled on-the-fly, and assembled slapdash with staples, Elmer’s Glue, or whatever binding method I could improvise. My writing experience began as a necessary adjunct of those efforts.

My drawing was pretty good for somebody who was self-taught and seat-of-the-pants. I can honestly say I was a better freehand artist than anyone I ever met, until I went to college. I wasn’t in the same league as any comic artist from the Bronze Age on, but had I developed better habits and techniques, maybe I could have gotten there. I’ll probably elaborate in the future.

In my late teens, I drifted away from “kid stuff” (comic books) and began aspiring to more “serious” creative efforts (text-based fiction). I gradually quit drawing and began concentrating on writing–which, at the time, was a bigger challenge.

My shift to prose solidified over the years and the old sequential art ambitions collected layers of dust on the back shelf. Even so, the seeds of that superhero saga germinated in my mind and never completely faded away.

The old dream languished, increasingly resembling a pipe dream as the years stacked up and life took me further and further away from ever having the time to make a serious effort at that partially-developed idea on the shelf.

And then…

One day on Gab, a publisher who I’d never met or heard of (he was from Europe) DM’d me out of the blue. He said he liked my prose and asked if I’d ever considered writing a graphic novel before.

Little did he know the depth of my appreciation for the medium and my abandoned dream. The dream had never completely died, though my drawing ability had.

This would have been flattering, but at first I didn’t think the dude was serious; or I must have misunderstood him or something. But no: after exchanging messages for a while, it became clear he wanted me to write a graphic novel for him. He had published a couple (illustrated) based children’s books; which I checked out. Amazon banned one of them, which is a badge of honor in my view. I did buy and read one that survived.

Anyway, I dusted off another idea I’d been nursing for years (a sci-fi aviation adventure in another galaxy) and pounded out a rough draft. I had some experience writing screenplays, and comic scripts aren’t too terribly different.

The experience effectively gave me a jump-start. I got the bug to chase that old dream.

 

Read the whole article on Substack.
Feel free to comment here, there, or both.
Action, Reviews, TEOTWAWKI

Rogue: The American Dream – a Review

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This type of story that is wildly popular with most of the male population in the West–especially the part of it which still reads comic books. There’s no reason why the eponymous character of this comic shouldn’t collect a lot of fans.

The female supremacy grrrrlboss tropes come in at least two flavors. One features the 105 pound Playboy-bunny lookalike who can easily defeat, in hand-to-hand combat, a marine battalion composed entirely of 220 pound MMA champions. Less ubiquitous is the grrrlboss with a more masculine build, bigger and more heavily muscled, who can easily defeat, in hand-to-hand combat, a marine battalion composed entirely of 220 pound MMA champions.

Just by looking at one of the many alternate covers for this comic, you know it is about a busty-yet-hypermuscular woman kicking ass.

What it’s about:

The plot is pretty much Escape from New York. The protagonist is basically Snake Plisskin with tits (but without the eye patch, though she needs one) and a penchant for addressing others with faux-affectionate (sardonic) terms like “sugar” and “honey.” Her name is Rogue, but she sometimes won’t admit it. As a standalone narrative, the confusion regarding her name felt unnecessary and poorly developed. But perhaps there is backstory in previous Rogue adventures that would cause this to make sense.

Still, she is invincible and doesn’t really need to hide from anybody by pretending to be somebody else. I would add, “Besides, how many busty-yet-hypermuscular grrrlbosses strutting through the postapocalyptic landscape, leaving a swathe of fresh destruction in their path, could there be?” But never mind that, because such is not all that uncommon in the setting of this story.

Another character referred to Rogue as a Boomer, and Rogue didn’t dispute that. Meaning Rogue is in her 60s, at the youngest–yet she’s still as agile as a squirrel in its prime. Maybe this was also explained in a previous comic.

The society in this postapocalyptic world could be described as a dystopian matriarchy. But the federal strong-arm goons are coed–that way you get to see plenty battles-of-the-sexes with the grrrlboss dominating multiple men. Straight men go down like tenpins hit by a busty-yet-hypermuscular bowling ball. The only characters who come close to giving our Womyn Warrior any challenge are other grrrlbosses, and a homosexual.

Character:

Despite all the sardonic terms of affection, Rogue’s machismo is laid on thick in the dialog. Her lines would be condemned as ridiculously over-the-top if spoken by the Rock or Jason Statham. But whatever.

The art strikes me as mostly hasty rough sketches, influenced by Manga. In most of the action sequences, I was confused about what was supposed to be happening.

Rogue: The American Dream is not my cup of tea. But if you like macho chick stories, you can probably forgive the artwork. The campaign is underway right now.

Non-Fiction/Documentary, Pet Peeves

Arguments About A.I.

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Now that “A.I.” seems to be a part of reality,* it is the source of much controversy. As an independent author who has commissioned artists for book covers, and some burgeoning graphic novel projects, I’m privy and intrigued by one facet of it: A.I. generated art.

Here are some of the arguments I’ve been observing go back and forth in my own social network, such as it is:

Stop, Thief!

Artist: Using A.I. to generate your art is abetting  the theft of intellectual property.

Writer: It’s no more theft than an artist drawing or painting something after looking at other art, photos, or the live subject in the real world. Unless A.I. simply reproduced your art, line-for-line, stroke-for-stroke, your argument doesn’t hold water.

Have You No Decency?

Artist: Shame on you! You’re putting human artists out of work by using A.I. generated art. It is morally reprehensible to make money off work that includes elements not created by a human being.

Writer #1: That’s like saying it’s immoral for you to build a website, make a flier, or advertise your art in any other way unless you or another artist (who you pay) hand-create all the text, rather than using an available font from some computer.

Writer #2: Considering your price-gouging, and your undependability, you deserve to go out of business. If you weren’t so unreasonable and flaky, I might consider paying more for your human touch.

How would YOU like it?

Artist: What if A.I. writes a cheap knock-off of your novel and somebody else cut into your profits by selling it?

Writer: That’s already happening even without A.I. From the hacks selling their junk on the Amazon Slush Pile, to downright piracy on the warrez sites. It’s something we have to live with. Welcome to our world.

Artist: You won’t be so cavalier when people start buying A.I. generated books instead of yours. Then you’ll see.

Writer: We won’t like it, but that’s already happening, too. The lion’s share of the indie market is dominated by cheap, quick, formulaic, uninspired pap generated by mediocre writers who might as well be bots. Welcome to our world.

 

My Thoughts:

I’ve seen some really impressive A.I. generated art, but in my limited experience so far, it takes just as much time and effort to make A.I. give me what I want as it would to just draw or paint it myself. No doubt it will improve, but it might always have that “Uncanny Valley” effect.

I suspect A.I. generated prose will have an even stronger Uncanny Valley factor. Granted, most Amazon shoppers will ravenously consume it anyway. But if my creativity depended on profit margins, return-on-investment, or any financial metric, I would have given up on creative pursuits long ago in lieu of something much more consistently profitable like politics, real estate, or telemarketing.

What are your thoughts on the role of artificial intelligence in creativity? Let us know in the comments.

 

*I’ve heard some tech-savvy folks say what we’re witnessing is not true artificial intelligence, but merely complex computer programming. I tend to agree, based on its performance. I don’t think it will ever truly be intelligent without imagination and probably self-awareness.

Fantasy, Reviews, TEOTWAWKI

THE GLOOM OF THE GRAVE by Kevin G. Beckman

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THE WEIRD TALES OF SILAS FLINT (THE FLINT ANTHOLOGIES BOOK 1)

~ Review by

Here we are folks: once again we get to follow Knight Templar Captain Silas Flint and his associate Supernumerary Ricardo Navarro on yet another adventure! What’s ironic is that this was the perfect occasion for our heroes to finally take some time off as no cases needed particular attention. But of course that is not bound to happen!

When Flint receives a letter from Professor Johansson he decides to go visit Johansson at a newly found air force base from before the war that ended all civilization. Being a student of history himself, he decides to take Navarro and Ms. Fletcher (you might remember her from The Witch’s Repentance) along for the ride, all three looking forward to seeing an actual military base from the old world.

Without giving any spoilers, we quickly find out that evil forces lurk at the air force base, and our power trio (Fletcher included ) is tested to their limits!

Beckman once again treats us to a fun ride that has good pace and good characters that come off as likable and relatable. Particularly, Fletcher brings a breath of fresh air, being herself a former witch. She is not allowed to use magic but life and death situations will test her to the limit. Will she be able to refrain from using her magical powers and keep her word, even though she is tempted to use them for good? Pick up a copy of The Weird Tales of Silas Flint today and find out!

This tale is fun and suspenseful, and again, it’s a clear example that a writer doesn’t have to reinvent the wheel to write 5-star stories that we can all enjoy!

 

Join us in two weeks for the next tale: The Deepest Circle

🦀