"I have claimed that Escape is one of the main functions of fairy-stories, and since I do not disapprove of them, it is plain that I do not accept the tone of scorn or pity with which 'Escape' is now so often used. Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if he cannot do so, he thinks and talks about other topics than jailers and prison-walls?" J. R. R. TOLKIEN
Gorgonmilk is the descendent of Eiglophian Press and its sister-blog Quantique. Which sounds rather incestuous when I re-read it, but oh well -- we're going with it. Yes, I've returned from my Net-sabbatical recharged and hopefully with a better sense of focus. Or perhaps I'm still reeling from the effects of that exotic mushroom wine. Perhaps I'm completely overestimating my ability to stay on task. Either way, thanks for taking the time to suffer through this awkward re-introduction. I'll try not to do it again.
Anyway, what I really want to talk to you about is (dun dun dun...)
Interplanetary fantasy & magical technology
It's not space opera exactly. It's epic fantasy with disruptor wands and floating skiffs powered by phlogiston crystals and runic engines. A place where far-flung planets are interconnected by port-gates. Where ancient, monstrous civilizations have lapsed well beyond their prime, slowly disappearing into decadence and decay. A cosmos of weird ecologies and interesting times. But perhaps most importantly a setting where there are well-defined borders (vs ambiguous territories) and a definite internal consistency (vs the anything goes approach). Key influences: Clark Ashton Smith's Xiccarph, M. A. R. Barker's Tekumel, Star Wars before it sucked, Lovecraftian xeno-cultures, the art of Philippe Druillet.