Saturday, July 31, 2010

News: Eclecticism #13 - 3rd Anniversary Issue - Out Now

Get out the party poppers, party hats, balloons, sparklers, cake, champagne, and booty-shaking music – Eclecticism E-zine’s 3rd Anniversary Issue is OUT NOW!

Issue #13 has an apt theme of ‘Superstitions’ and an all-star line-up of contributors, featuring: Brett McBean, Martin Livings, Geoffrey Maloney, Andrew J. McKiernan, Shane Jiraiya Cummings, Simon James, Nicholas Messenger, Sally Franicevich, Susan Adams, and Ian C Smith. There are also three amazing pieces of artwork from award-winning Featured Artist Vincent Chong, as well as interviews with authors Scott Sigler and Stuart MacBride. This issue is a whopping 107 pages, and it’s still free to download and read via the website (www.eclecticzine.com ). Enjoy!

Editor Craig Bezant cannot thank all the contributors and readers enough for an amazing three years. Cheers!

Also, to further celebrate such a milestone, Dark Prints Press is having a special on pre-orders for the Eclecticism print anthology, ‘An Eclectic Slice of Life’, featuring 26 works from 14 authors. For August only, POSTAGE IS FREE on all orders. Now that’s celebrating in style! Order via the publisher: www.darkprintspress.com.au

Source: Craig Bezant

Friday, July 30, 2010

Review: Mr Shivers by Robert Jackson Bennett

Great seething masses of humanity move from town to town in Great Depression America looking for jobs, most only experiencing disappointment. So far, so 'Grapes of Wrath'. Where this deviates from the Steinbeck template is that the hero, Marcus Connelly, is hunting down a mysterious scarred stranger who killed his daughter. As he tracks the man through Midwest dustbowl country he comes across others who also have the same goal. They band together in an attempt to bring down someone who they're not even sure is human. A series of encounters with various friendly and hostile fellow travellers and townspeople follow until Connelly's ultimate encounter with his nemesis.

The story starts off slowly and the pacing is deliberate but the style is easy to read and if you're patient, you'll soon settle into the author's rhythm. It's a road story and as such is episodic. Some scenes work better than others, but particularly memorable are Connelly's incarceration in a small town prison and a church harvest festival that holds a terrible secret.

As a character, Connelly is hard to warm to. Because of the trauma he suffered he's emotionally withdrawn, making some of the minor characters more interesting than he is. In particular, Pike, an ex-man of the cloth and now man of action, would make an interesting novel in himself. The true identity of the scarred man and the final fate of our 'hero' aren't that hard to figure out as they're signposted well in advance. Despite this, I still found the ending quite moving.

Bennett's strengths are in the flow of his prose, his evocative descriptive work and solid dialogue. This is a debut novel and there's a lot to like in it. It'll be interesting to see what the author's next move is as his blog describes his forthcoming book's style and voice as completely different.

Mr Shivers is published by Orbit.

Thursday, July 29, 2010

News: Macabre: A Journey through Australia's Darkest Fears available for ordering

The landmark horror anthology, Macabre: A Journey through Australia's Darkest Fears (edited by Angela Challis and Dr Marty Young) can now be ordered through Brimstone Press.

The anthology retails for $44.95 and will be available in stores in October/November, but Brimstone Press are offering Macabre for sale at $30 + postage. The anthology will be shipped from Brimstone in September.

Macabre is a snapshot of the fears that have gripped Australians for over 200 years: the isolation of the bush, monstrous fauna, supernatural terrors, violence, war, terrorism, alienation, cannibalism, and murder. From the very earliest colonial ghost stories through to grim tales of modern life, Macabre will take you on a journey through the terrifying heart of Australian horror.

Macabre includes a detailed essay on the history of Australian horror, an Australian horror fiction timeline, and 38 stories from three eras (classics, modern masters, and new era originals) – at a massive 672 pages, Macabre is, without doubt, the most significant anthology of Australian horror ever published.

Contributors in the Classics and Modern Masters sections include Henry Lawson, Marcus Clarke, Mary Fortune, Barbara Baynton, A. Bertram Chandler, Kaaron Warren, Terry Dowling, Robert Hood, Stephen Dedman, Rick Kennett, and Sean Williams.

The largest section, the New Era, includes original stories from Will Elliott, Stephen M. Irwin, Kirstyn McDermott, Richard Harland, Martin Livings, Shane Jiraiya Cummings, Kyla Ward, Paul Haines, David Conyers, and Bob Franklin (and many more!).

Macabre will be launched at Aussiecon 4, the World Science Fiction Convention, in Melbourne on the weekend of September 4-5 (exact details of the launch will be publicised when they become available). The editors and many of the contributors will be in attendance to sign copies at the launch.


Source: Brimstone Press

News: 2010 AHWA Short Story and Flash Fiction comp winners

The winners of the 2010 AHWA Short Story and Flash Fiction competition have been announced. The winners are:

SHORT STORY

Winner
"Letters of Love from the Once and Newly Dead" by Christopher Green

Honourable Mentions
"The Briefcase" by Aaron Ashley Garrison
"Rota Fortunae" by Felicity Dowker


FLASH FICTION

Winner
"Goggy" by Jason Fischer

Honourable Mentions
"Down Cellar" by Aaron Ashley Garrison
"2109" by Eugene Gramelis


The winners will be published in an upcoming issue of Midnight Echo.


Source: AHWA

News: Grants Pass launch at Dymocks Southland

Dymocks Southland in Melbourne is hosting the Australian launch of editor Amanda Pillar’s Australian Shadows Award-winning anthology, Grant’s Pass, (co-edited with Jennifer Brozek) this Sunday August 1.

"When the end of the world comes, meet me in Grants Pass, Oregon."

So writes Kayley Allard in her online journal, innocent of the fact that the end of the world is indeed coming. Within months, 99% of the world population is dead or dying, victim to a confluence of various pandemics and natural disasters, as well the accompanying civil unrest. But as civilization crumbles, many recall Kayley’s journal entry, and thus a new urban myth arises: a final oasis of humanity in a dead world, a safe refuge from the Apocalypse. And so, from all corners of the globe, the tattered remnants of humanity begin to make their way towards Grants Pass ...

Read the HorrorScope review of Grants Pass here.

Date: Sunday 1 August, 2010
Time: 12:00 Moon
Venue: Dymocks Southland, Southland
Cost: FREE


Source: Amanda Pillar

Tuesday, July 27, 2010

Review: The Phoenix Files: Contact by Chris Morphew


The Phoenix Files: Contact is the second book in Chris Morphew’s Phoenix Files young adult series. The first book, Arrival, was previously reviewed at Horrorscope here.

Phoenix is an unusual town. Built from the ground up in the Australian Outback by the Shackleton Co-operative to accommodate its employees, it has no cars and a private security force instead of police. Computers can only access the town intranet, and mobile phones cannot access any network.

The first book was written from the perspective of newcomer Luke Hunter, who came to live in Phoenix with his mother after his parents separated. The day he arrived, a countdown began. Someone was planning on destroying the human race, and only a hundred days remained.

This book’s protagonist is Peter, and follows him, Luke and their friend Jordan as they try to find a way to alert the outside world about the plans of the Shackleton Co-operative. What begins as a search for a phone line takes them deeper into the secrets of Shackleton and deeper into danger.

The first book in the series did a great job of introducing the reader to Phoenix and to Luke, Peter and Jordan, who will presumably alternate as protagonists for the span of the projected six-book series. Book two follows directly on from the cliffhanger at the end of the first book and launches into a fast-paced plot that takes Luke, Peter and Jordan into the depths of the Shackleton Co-operative as they desperately search for a way to warn the outside world.

Even as some mysteries are explained, deeper and darker ones are revealed. The town of Phoenix continues to feel very real, as do all of the characters which populate it. Morphew is especially talented at capturing his teenage characters as they worry both about the looming worldwide disaster and their own hormones.

The Phoenix Files: Contact is a fantastic continuation of an intriguing series. With four more books forthcoming, it’s going to be a wild ride as the clock continues to count down.

The Phoenix Files: Contact is published by Hardie Grant Egmont.

Sunday, July 25, 2010

News: Australian Speculative Fiction Blog Carnival (July)

Welcome to the Australian Speculative Fiction Blog Carnival for July 2010.


Events

Book Trailers

Story Craft

The Writing Life

Industry Overview


Genre On Genre

Recent and Forthcoming Publications

Interviews


This blog carnival has been compiled by Talie Helene, and is hosted at HorrorScope: The Australian Dark Fiction Blog. HorrorScope is the official news source for the Australian Horror Writers' Association.

Special thanks to Ms. Nyssa Pascoe and Dr. Gillian Polack for submission of many handy links.

Friday, July 23, 2010

Review: On Spec #79 - Winter 2009

On Spec continues to highlight the strengths of the Canadian speculative fiction writing community but also finds space to include interlopers from elsewhere. Issue 79 once again features some strong well-written stories. Melbourne's Christopher Johnstone brings us a story of a dryad hunter which is equal parts touching and creepy. Not being a great sports fan, I was pleasantly surprised by Carter Hall Judges the Lines. Marissa Lingen mixes Greek mythology and the Canadian obsession with ice-hockey to amusingly winning results. Commonplace Sacrifices is an intriguing tale of an abused woman's unlikely saviour but the ending was just a little too ambiguous for my taste. Fraser Ronald gives us For Simple Coin, a tale of 'Sword Noir' (as he describes it in this issue's author interview). Think sorcery meets film noir, though this particular story leans more toward the former. It's a solidly entertaining piece. The Meditation Machine by Jamie Mason is a slight but funny story of an omnipotent computer that turns to Zen Buddhism to alleviate its depression with calamitous results. This issue features a translation of a French language story from the Quebec sf mag Solaris. The Deer's Thorn is a free-wheeling hallucinogenic ride about one woman's attempt to connect with her muse in a magical apartment building. The final tale, Perfect Day, is a bittersweet vignette of the apocalypse.

An interesting feature of On Spec is its regular feature on the cover artists and Justin Pasieka's cover for this issue is a disturbing twist on the Alice/White Rabbit story. On Spec continues to produce a professional small press magazine that is well worth investigating. You can find their stuff right here.

Thursday, July 22, 2010

Review: The Dragon Factory by Jonathan Maberry


‘The Dragon Factory’ (Gollancz, 2010) is the second instalment in the Joe Ledger horror-thriller series by award-winning author Jonathan Maberry.

Those who have read Maberry’s first Ledger instalment, ‘Patient Zero’, will need no coercion to snap up a copy of this book – the novel was a brilliant merger of thriller and zombie tropes. However, fans expecting to see more zombie-slaying will be disappointed on one level – there are no zombies here. But the focus has always been on Joe Ledger, and he needs to face other foes in bio-terrorism. This time round, instead of dealing with re-animated corpses, Ledger faces other genetic monsters, the concept of pure evil personified, and a deadline to the threat of a eugenics nightmare. His team faces a villain who has mastered science beyond what was thought possible, who creates unicorns and hound-tiger hybrids just because he can (ala Doctor Moreau) and has twins who follow suit on their own island. Said villain wants to ‘cleanse’ or ‘purify’ the world, carrying forth the ideals of the Nazi Master Race Program – and that is a whole lot scarier than a walking corpse, especially when the story is backed up so well by Maberry’s in-depth scientific research (making the ‘what-ifs’ possible).

The novel starts as Ledger’s DMS (Department of Military Sciences) group immediately face being closed down, the Vice President (as acting President) corrupted enough to have them hauled in by the NSA. Ledger and others escape and survive on minimal communication as they try to make sense of what has happened, especially to another DMS team. Before Ledger knows it, he has walked into the middle of the plans of two wicked groups of scientists, complete with their own mercenaries and Russian Spetsnaz teams. Never having a chance to breathe, he must storm the scientist’s hideouts and trace down the trigger to an Extinction Clock, which sets off the ‘purification’ plans, before it is too late.

Now, if you miss the zombies, this novel still contains mutant guards named ‘Beserkers’ – human-gorilla hybrids, great masses of muscle that take a hell of a lot to be stopped. Oh, and there are dogs with scorpion tales. And, well... I can’t spoil it. Maberry has included a wonderful catalogue of transgenics gone wrong.

The POV switches between characters, both good and bad, in rapid-fire bursts (though some flashbacks are a little unnecessary, since they aren't really wrapped up in an explicit way). As with ‘Patient Zero’, the combat scenes are forever indebted to Maberry’s personal knowledge and experience with martial arts – they are so grounded in realism you can picture the crunches as they happen. Extra research also shows in the area of military weapons and technology – much cool stuff is used in this instalment (though some science-speak is a little excessive in places).

One of the best parts of Maberry’s writing in ‘The Dragon Factory’ is that he takes the Scott Sigler approach to his characters, in that no one is sacred. The majority of Ledger’s crew gets utterly f**ked by the end of this novel, and Ledger, though of course alive, doesn’t exactly fare well, either. That really strengthens the series – the reader will be left wondering what will happen to the group in the next instalment, rather than expecting everyone but the bad guys to be A-Okay. Though I won’t spoil the ending, I was reminded of a dark character turn ala James Bond, which I thoroughly enjoyed.

Much of Maberry’s writing and his construction of the narrative is reminiscent of a David Morrell thriller, and that is a damn fine thing. Maberry is rapidly ascending to a deserved place amongst the greats in his field – with ‘The Dragon Factory’ you will see why. I always feel that an indication of reading a wonderful page-turner is ignoring the usual sleep time and staying up to the early hours of the morning until reaching the end. I lost plenty of sleep over this one, and now eagerly await the third instalment (‘The King of Plagues’). Get this now!

Note: For those needing their zombie fix, Jonathan Maberry also kicks off a young adult series with ‘Rot & Ruin’, a post-apocalyptic zombie thriller, later this year.

Review by Craig Bezant

News: Volunteers needed for AHWA's Nightmare Ball

The Nightmare Ball, an official Australian Horror Writers Association (AHWA) event, is being held as part of Aussiecon 4 at the Melbourne Convention and Exhibition Centre on Friday, 3 September 2010. The AHWA and the ball sub-committee needs volunteers to assist with the ball's preparation and would like to hear from people (particularly in the Melbourne area or attending Aussiecon 4) who can assist in any of the following ways:
  • Anyone who is in a position to promote the ball on their website or journal.
  • Anyone driving to Melbourne from Sydney who has room in their car for some gargoyles.
  • Anyone residing in Melbourne who has a van or flatbed large enough to transport a coffin and who doesn't mind doing so before and after the ball.
  • Anyone residing in Melbourne who is available to collect and return props from and to The Prop Store in Spotswood before and after the ball.
  • Anyone who can supply the following items, to be delivered/collected as above: i) a large teddy bear of any colour. ii) an artist's easel (full-sized, triangular). iii) translucent or gauze black drapery.
  • Anyone interested in helping set up the ball from 5pm onwards on Friday. This is likely to involve a certain amount of heavy lifting, artistic fussing, and the inflation of balloons.
All help will be appreciated - even if you can only offer an hour or two.

Please contact Kyla Ward (Ball Director) on kylaw@tabula-rasa.info if you would like to help ensure the Nightmare Ball is a success!

Further information (including purchase of tickets) can be found at http://nightmareball.australianhorror.com.

Source: AHWA

News: Brisbane Zombie Walk set for October

The dead will walk again in Brisbane this October.

See NecroScope for details.

Wednesday, July 21, 2010

News: Dead Red Heart open to submissions

Ticonderoga Publications has announced submissions are open for its new vampire anthology, Dead Red Heart, edited by Russell B. Farr.

Dead Red Heart will be an anthology of Australian vampire stories, showing vampires in Australian settings. The stories may be set on the beach, the outback, suburbs, or cities. They can be historical or contemporary.

The editor is looking for stories that capture the essence of vampirism and the essence of Australia.

Any stories involving cultural borrowing from Australian indigenous cultures should be respectful of the beliefs of Australia’s traditional owners.

Length: 1,000 to 7,500 words.
Deadline: 1st December, 2010.
Payment: 1 copy of hardcover edition, 1 copy of trade edition, and Aus 2 cents/word (GST inc., maximum payment $150) on publication.

Full guidelines can be read here.

Dead Red Heart is scheduled for release in 2011.


Source: Ticonderoga Publications

Tuesday, July 20, 2010

News: After the Rain open to submissions

FableCroft Publishing seeks original speculative fiction stories between 2,000-10,000 words for an anthology on the theme “After the Rain”. The interpretation of the phrase is multi-faceted and may be literal or figurative, but stories must contain some speculative element – science fiction, fantasy, or horror, and all sub-strands of these are welcome.

The After the Rain anthology is intended for adult readers, but the editor is not looking for overt erotica or gratuitous violence that does not advance the story in some way.

Submissions are open to Australian citizens or residents. Please submit stories as rtf file, adhering to usual manuscript formatting guidelines, to fablecroft-at-gmail-dot-com. Submissions close October 31, 2010.

The anthology will be released at Swancon36/Natcon50 in Perth on the Easter weekend, 2011.

Payment will be AUD$50 plus one contributor copy.

Please inquire before sending reprints, simultaneous or multiple submissions.


Source: FableCroft Publishing

Review: Blindman's Bluff by Faye Kellerman


‘Blindman’s Bluff’ (HarperCollins, 2009) is the eighteenth instalment in Faye Kellerman’s Peter Decker/Rina Lazarus mystery series.

Sadly, as a reviewer I cannot dissect the development in the characters from one book to the next, as this is the first Kellerman novel I have read (I know, there are seventeen others, I’m a little behind).What I can do is offer my opinions to a reader, like me, picking such a novel up for the first time.

LAPD homicide detective Peter Decker is awakened at 3am to oversee a crime scene – to be woken at such a time means the crime cannot be too good. He arrives at Coyote Ranch, a mansion owned by billionaires Guy and Gilliam Kaffey. The Kaffeys have been murdered in their library, along with two bodyguards and a maid. One of their sons, Gil, was shot yet survives. Of course, none of this should have happened, because the mansion should have been secured with its state-of-the-art security system and around-the-clock guards. So from the onset, it looks obvious the murders are an inside job (especially with a missing guard), though the motive is quite unclear. As Decker begins to probe for clues, it seems that Guy’s brother, Mace, Guy’s two sons, Gil and Grant, head guard Neptune Brady (and many other people) all may have had reasons for committing the murders, on either a personal or business level.

In the interweaving story, Decker's wife, Rina, is called for jury duty. While she is on a break, a blind man, Harrigan, the court translator, approaches and asks her to describe two men (who are on trial) he has overheard discussing a murder. As the story progresses it seems these men know key evidence related to the Kaffey murders. Unfortunately, these men believe Harrigan has heard and seen them, and target him for elimination. He runs to both Decker and Rina for help. Decker initially dismisses him as an attention seeker, and so Rina, helping the stranger, is quickly dragged into the case and hence danger. Now, Decker must solve the murders before his wife is the next victim.

‘Blindman’s Bluff’ sounds wonderful on paper and is, for the most part, a great read. Kellerman is undoubtedly up there with some great thriller/mystery writers but I feel her story isn’t as fresh as work published by recent newcomers (such as one of my favourites, Chris Simms). Kellerman doesn’t initially spend too much time on the survivors/victims of the Kaffey murder, or really probe into the life of the Kaffeys beyond the obvious notes for plot points (she basically gives you some of the criminals whilst describing Guy Kaffey’s work). Therefore the book does, on one level, just read as a police procedural without much emotional investment (besides seeing justice done). However, when the story really kicks in you have the interweaving tale of Rina Lazarus and a tense back-and-forth between the surviving Kaffey’s, as they suspect each other for the murders and lose faith in family. This should keep most people reading.

If I could add another niggle, though: I found it bizarre to use a blind man for the great little plot piece of eavesdropping and legitimately dragging Rina into the case, and then use the man’s eccentricities to make him seem odd and untrustworthy. It is as if Kellerman wants you to think Harrigan is the actual killer, which could be one of the reasons for the book’s title, but I never once got this impression in the story. And, like so many bestselling authors I have been reading lately, Kellerman’s dialogue is just awful at times. Do these writers ever get outside any more and listen to other people? After churning out book after book, I think authors like Kellerman need a break to sharpen the writing skills that first made them famous. But of course, that is just my opinion – fans don’t strike me down (Faye Kellerman comes from an all-star writing household, particularly with her husband Jonathan, another thriller/mystery author, and son Jesse, an author and playwright).

As I said, I cannot provide a review on the series development of the main characters, but I did enjoy the interaction between Decker and Rina enough to want to read their back stories. ‘Blindman’s Bluff’ really is a solid read – predictable, yes, but still a page-turner. If you like such novels, you won’t be too disappointed.

Review by Craig Bezant

Monday, July 19, 2010

Review: The Sad Tale of the Brothers Grossbart by Jesse Bullington


‘The Sad Tale of the Brothers Grossbart’, by Jesse Bullington (Orbit, 2009) is going to be one of the most unique novels you will read, if you retain the desire to get through it.

‘The Brothers Grossbart’ (for short) is in the same vein as a Brothers Grimm tale, or perhaps the entire collection of tales, since there is an inclusive gathering of folklore and monsters, plague and illnesses, shifty travellers, and witchcraft. The story is (obviously) about brothers Hegel and Manfried Grossbart, grave robbers who, after a bizarre, almost-lost-me-straight-away outburst of excessive (unnecessarily descriptive) gore at the start of the novel, flee across fourteenth century Medieval Europe to Africa, on a quest to find riches in Gyptland (Egypt), where all the Grossbarts go. The world presented in the novel is a fantastic take on its era, and effortlessly blends the fantasy, Grimm-style world with the ‘real’ one. That is, perhaps, where the enjoyment ended for me as a reader.

The Brothers Grossbart themselves are perhaps the strangest part of the book to swallow. They are monsters who will snap and tear apart anything in their way, but have no idea they are doing any wrong. Which should be okay, given the slight horror lean to the story, and quirks of character, but aren’t we supposed to be reading a sad tale about these brothers? Throughout the novel the constant thought occurred that I can’t feel sad for such creatures, no matter what happens to them, no matter how witty their conversations. The Brothers partake in many strange rounds of philosophising, racked with dark humour, and this is perhaps the other strength of the book. But then, their theories are completely ignored by their amoral actions, where they won’t hesitate to kill someone or something for minimal reasons, and it is this constant see-saw of character traits that really left me unimpressed. The same setup, actions, and evasion of death are also repeated, over and over, so that I was quite bored by the final third of the novel and didn’t really care what happened to the brothers, no matter any forthcoming twists or the eventual ‘sad tale’.

Before posting this review, I checked the whispers on the Internet to read other people’s opinions, thinking that perhaps I was taking this book the wrong way. ‘The Brothers Grossbart’ seems to be one of those books that people either love or hate – one great line compared it to the morbid enthralment of watching a car crash. I think that, given the slight fantasy slant, if you prefer a very dark version of a Pratchett novel, sliced with a bit of Tarantino-esque dialogue and violence, then you will enjoy it. But then again, I dig the two comparisons, just not this book. It is by no means a terrible read, just one I feel is average. I am, however, very interested to see how the author takes their style into their next novel (they were discovered in a fantastic way, so there is something there)– maybe the kinks are just getting ironed out.

Review by Craig Bezant.

Review: Dead in the Family – Charlaine Harris


Charlaine Harris’ tenth Sookie Stackhouse series novel sees the author return to the mystery plot-driven outings of earlier novels in this entertaining effort. Struggling with the fallout of the fairy wars - from 2009’s dreadful Dead and Gone novel - Sookie is forced to mourn the death of loved one’s while trying to solve the mystery of a dead body that turns up on her doorstep.

Once again Harris relies on the reader’s investment in characters to overlook pacing problems – most of the action still builds too slowly – although the intricate weaving of several subplots, and reoccurrence of older characters - there are vampires, werewolfs and fairies in this one - make this much easier to digest than some of Harris’ later efforts.

Long time fans will find plenty to sink their teeth into, although newcomers crossing over from the True Blood TV series may find themselves a little lost.

Review: The Living Dead 2

Ed. John Jospeh Adams, 2010, Night Shade Books

Visit NecroScope to read this review.

Sunday, July 18, 2010

Review: The Things That Keep Us Here


The Things That Keep Us Here is Carla Buckley’s debut novel.

Peter Brooks, a university researcher, is performing fieldwork when he discovers a massive die off in the local bird population. His worst fears are realized when the culprit is identified as H5N1 influenza. The disease jumps to humans and begins cutting a swathe through the American population, killing fifty percent of those it infects.

As the pandemic rages, people are instructed to lock themselves in their houses for safety. With nowhere else to go, Peter and his research assistant Shazia take shelter with his ex-wife Ann and daughters Maddie and Kate. They are soon affected by food shortages, power blackouts and the fear that opening the door to a friend could mean their death. Both Ann and Peter are forced to discover just how far they will go to keep their family alive and safe.

This novel’s publication is timely, tapping into a world in fear of several recent outbreaks of deadly avian and swine flu strains. It is very easy to slip into the pages of this book and feel very much as though the events are happening in the real world.

Buckley has chosen to show this pandemic mostly through a very narrow focus, with most of the action taking place within Ann’s house, the events in the outside world revealed only in fragments. Everything that occurs to Ann and her family feels very, very real – to the point where checking the stocks of cans in the cupboard becomes a compulsion when one puts the book down.

Buckley’s writing style is very clear, making even detailed scientific explanations easy to read. Every character is finely drawn, with all of their decisions (some of which are truly heart wrenching) believable.

The only downfall of this book is the ending – it feels as though the story ends too abruptly in relation to the rest of the events. There is an epilogue which ties up all of the story threads, but it’s jarring in tone against the rest of the book, and written from the first-person point of view of one of the minor characters, which only emphasizes the disconnect between the epilogue and the rest of the book.

Despite this, The Things That Keep Us Here is gripping and emotional and all-too-possibly real.

The Things That Keep Us Here is published by Orion Books.

Review: The Hitcher


HorrorScope has seen fit to let me visit one of the older horror/thrillers of the past few years. The Hitcher was released in 2007 and is a re-make of the classic 1986 film of the same name.

It came at a time when re-makes were still a relative novelty … and seems an age ago now in terms of film-making. When viewing it, do not expect to see many similarities with its previous incarnation. This is a film that is aimed primarily at a new generation coming through … and ultimately suffers for it.

We are in comforting and familiar territory with the plot: College students Jim and Grace are on a jaunt across the United States and en route encounter the hitch-hiker who calls himself John Ryder. After initially refusing to stop, they later encounter him at a gas station and there follows a nightmare journey with the psychopath.

Things are promising at the beginning: the audience is in hackneyed territory but knows this. The Highway is a like a character – a haunted wasteland that is a playground for anything malign to find a home and go un-noticed. There is no mystery about our villain; he is unmasked in all his glory, and talented actor Sean Bean has no trouble bringing to life the vapid stance of a detached executioner. In what is perhaps a small nod to the first film, there is an undeniable gritty attention to the colors and camera-focus.   

But things quickly fall apart with lazy dialogue and unrealistic scenarios that couldn’t possibly happen … even suspending disbelief for the sake of celluloid. I won’t go into these, but at times it felt like I was reading the screenplay – a huge warning bell going off that the director’s vision was not enough to curtail what is, at its core, a bad script.

There are encouraging sign-posts: jump moments are everywhere, enough to keep you interested … and it’s the type of horror that takes no prisoners about whom is dispatched or how. The ‘game’ John Ryder is playing intrigues us, for his toying levels go beyond mere play into something else altogether. A thumping soundtrack is with us every step of the way - it sounds like the throb of a heart or the whir of a truck and intelligently mirrors the ‘highway-artery’ theme of the whole endeavor.

Unfortunately, in the end, the clichéd ‘horror film’ behavior of those being toyed is enough to have us praying for their demise. Although by no means a complete loss, keep this one for a Saturday night marathon when all the quality has been exhausted.   

Review: Matthew Tait

Friday, July 16, 2010

Review: Make Believe

Make Believe
by Terry Dowling

Reviewed by Mark Smith-Briggs

Make Believe brings together 12 hand-picked fantasy and science fiction tales from acclaimed Sydney based writer Terry Dowling. The collection serves as a highlight package to the writer’s fantasy works, with seven stories from his renowned Tom Rynosseros saga, three from his equally celebrated Wormwood story cycle, and two other stand alone award-winning tales, The Man Who Lost Red and The Last Elephant.


A companion piece to Dowling’s horror collection Basic Black, this collection is less of a ``must have'' edition. Where Basic Black contained a wide range of fiction from various sources and a few new tales, this is really just a rehash of works that have already been collated in the Tom Rynosseros and Wormwood novels.

The stories themselves show off Dowling’s flair, versatility and talent as a writer; creating wonder from realistic characters in amazing new settings both new yet familiar to our own. However, unlike Basic Black, which can be read by fans outside the horror genre, readers will need to have an appreciation of science fiction to enjoy these stories.

Make Believe works well as a snapshot of Dowling’s science fiction trappings and will serve as a good entry point for new readers. Unfortunately, the collection doesn’t really offer anything new to long-time fans.

Make Believe is available at Ticonderoga Publications.


Thursday, July 15, 2010

News: HorrorScope seeking YA and Paranormal fiction reviewers

Due to the recent paranormal romance phenomenon, HorrorScope is seeking additional volunteer reviewers with specific interest in Paranormal Romance and YA Dark Fiction.

These are volunteer positions, but reviewers can keep the books and DVDs sent to them in return for their reviews.

Young people (18 years +) with a capable vocabulary and an eye for critiquing popular culture are encourged to apply.

If you'd like to join our world-renowned team of reviewers, please send expressions of interest (stating your previous reviewing experience, if any, and your suburb/state*) to Angela Challis - ozhorrorscope@gmail.com


* Due to the expense of mailing books, we will only consider Australian-based reviewers.

Wednesday, July 14, 2010

News: Horror Comics and Censorship lecture

This Friday July 16, author and comic book expert Kevin Patrick will be presenting a lecture on censorship of horror comics entitled A Design for Depravity: Horror Comics and the Challenge of Censorship in Australia, 1950 – 1986. The lecture will be held at the Wheeler Centre in Melbourne.

In the early 1950s, the popularity of horror comic books prompted community boycotts and official sanctions against their sale and publication, both within the United States and abroad. In this keynote lecture, Kevin Patrick, curator of the Heroes and Villains: Australian Comics and their Creators exhibition, traces the history of horror comics in Australia.

  • Venue: The Wheeler Centre
  • Date and time: Friday 16 July 2010, commencing at 7.30pm.
  • Admittance is free but bookings are essential.
Further details are available at Kevin's blog, Comics Down Under.


Source: Kevin Patrick

Sunday, July 11, 2010

Review: Eden Lake (2008)

Dir. James Watkins - Starring Kelly Reilly and Michael Fassbender


Attractive middle-class couple Jenny and Steve want to get away for the weekend to a secluded lake which is earmarked for development. Unfortunately, a group of local teens come down to the water's edge for some spirited hijinks and before you can say 'Don't be goddamn stupid - haven't you seen this kind of thriller before?' Steve wanders over and asks them to turn down their music. Matters escalate inexorably to the point where the two lovers are on the run from the murderous clutches of said youths.

Such a thumbnail summary scarcely does this film justice. James Watkins has directed a taut and well-told tale that maintains its grip from beginning to end. The moments of violence when they come are confronting and the main characters are likeable enough for you to care about their eventual fate. The film benefits from employing decent actors and good production values. Kelly Reilly takes what at first appears to be a fairly thankless role of pretty victimised schoolteacher by the throat, especially in the second half where her character has to draw on all the strength at her command. She's given solid support from Michael Fassbender as a man who shows spectacularly poor judgement on at least two occasions. Thankfully, the younger cast members are also good also. Jack O'Connell as the gang leader is particularly memorable.

Some may find the plotting of the final twenty minutes or so a little convenient but if you surrender to the nightmare logic of the story, the final scene is particularly chilling. There are no easy answers. Are the parents as much, if not more, to blame than their loathsome offspring?

For those who want to dig deeper, there's an interesting subtext riffing on the fear of young people that tabloid papers and television in both Britain (where this was made) and Australia thrive on. In many ways the most disturbing character is the sole girl in the gang. She doesn't actively take part in any of the violence but she constantly films the escalating acts of terror with her mobile phone. There's also an element of class war in the conflict between the attractive middle-class couple whose vacation is ruined by working class thugs in hoodies. Or you can just sit back and enjoy a brutally effective horror film with elements of Lord of the Flies and Deliverance.

The extras are serviceable with a moderately interesting behind the scenes doco, particularly if you're interested in special effects. The cast and crew interviews are OK but a bit repetitive. Was it really necessary to ask every interviewee to recount the storyline? All in all, however, a cracking movie that will have you rethinking that next camping trip.

Friday, July 09, 2010

Review: Cthulhu's Reign

Ed. Darrell Schweitzer, Penguin Australia, 2010

The bulk of Lovecraftian fiction, old and new, generally focuses upon giving the reader dark hints of what may occur 'when the stars are right' - that dreaded day when the Elder Gods will return to our reality and...

And do what, exactly?

Cthulhu's Reign comprises fifteen original, and rather brilliant, visions of the Mythos apocalypse that seek to answer precisely this question. It's difficult to identify any stand-out tales from what is an extremely fine anthology across the board, but personal favourites include Don Webb's 'Sanctuary', Will Murray's 'What Brings the Void', John R. Fultz's 'This is How the World Ends', and Brian Stableford's 'The Holocaust of Ecstasy', each of which describe the fall of humanity in uniquely surreal terms.

Raising the bar considerably for future Mythos fiction, Cthulhu's Reign should be a mandatory addition to the private library of any fan of things Lovecraftian. Wonderful and disturbing.

Review: Solstice

Solstice (US-2008; dir. Dan Myrick)

Reviewed by Robert Hood

College student Megan is still grieving over the apparent suicide of her twin sister, Sophie, as she and her friends head off to the wilds of Louisiana to celebrate Seniors Week and the Summer solstice. Megan hopes staying with her friends in the family home of her childhood will dispel the cloud of darkness that has been hanging over her for months. But the summer solstice is a time when the wall between this world and the next is thin and Megan finds herself increasingly aware of odd noises and strange happenings -- a victim of ominous music, dream/reality jump-cuts and feelings of foreboding provoked by clichéd locals and a carefully placed camera. She as well as the viewer is soon convinced that Sophie’s spirit is in the house and trying to communicate with her. But what is her dead twin trying to say?

The definition of what makes a horror film has been hijacked and narrowed in recent times, thanks to the loud insistence of movies by the likes of Rob Zombie, Eli Roth and Alexandre Aja. Ghosts in horror films are expected to be intensely visceral and bloody, wielding axes and chainsaws borrowed from their still-living, increasingly inbred cousins. Generally speaking modern celluloid ghosts are more interested in slashing than in haunting.

There’s nothing new in this, of course, but the prevalence of such in-your-face violence makes it hard for more traditional ghosts to be heard over the din. Many fans -- with the Twitter-fostered attention spans of a thrown brick -- look for action, violence and gore from go-to-whoa. Creepiness, quiet build-up and soul-wrenching revelations are barely noticed and can expect to be expelled from the cinema until they learn how to get to level 20 of Grand Theft Auto before the popcorn hits the oven roof.

But Horror as a genre is about much more than being horrified. Horror is about the violation of social and personal norms using defined tropes, our fear that what we think is solid truth isn’t and the dark imagery of an insistent mortality. It’s about guilt and loss and despair. It’s not only about the axe that descends from nowhere but also the chill of recognition that comes when the spirit of your long-dead victim rings at midnight to whisper half heard aphorisms into the phone. To expel ethereal ghost stories, with their gothic intimations of other realities and blood culpability, from the canon of Horror is absurd. Thankfully not all filmmakers feel the necessity to join the torch- and pitchfork-waving villagers in the manhunt, even though the less genre-savvy will accuse them of being boring.

Solstice, directed by Daniel Myrick of The Blair Witch Project fame, is a supernatural drama that does not rely on violence and gore, or even intense feelings of horror. Rather it goes for slowly built eeriness and situation development, and the hope that by the time the thrills come along you’ll be in the right mood to receive them. It is, in fact, in a tradition of ghost films that are as much supernatural whodunits as they are horror thrillers. It has its moments of shock, but they tend to gather at the far end of the narrative. Most of the film is made up of interpersonal drama, intimations of immortality and subtle revelations that not everything, not even the resident ghost, is what it seems.

Not that Solstice is a great ghost film. It generally lacks distinction, the characters hovering on the border between interesting and bland -- though the capable young actors do a good job of guiding us over the stereotypes. Much of it is clichéd, or at least unremarkable. But to its credit it works its tale of grief and guilt with an intelligent willingness to use the clichés and what we deduce from them in order to lead us astray. In a few places this works very well indeed and suddenly the caricatures take on a more complex inner life.

In the meantime the film is slickly produced and cleanly photographed, well-thought-out, and, though slow to build, effectively paced for those not suffering from cinematic ADD. By the end, if you haven’t imaginatively left the cinema already, it reaches a strong conclusion -- full of rain and fear and spectral vengeance -- and may be considered a decent, if lesser, addition to the genre.

Thursday, July 08, 2010

Review: Basic Black: Tales of Appropriate Fear


Basic Black is the 2007 International Horror Guild Award (Best Collection) winning dark fiction short story collection of Australian author Terry Dowling. The book features 18 short stories spanning a 20 year writing career from the mid 1980s to the mid 2000s. Originally published by Cemetery Dance in 2006, the book makes its first Australian release with publisher Ticonderoga.

For those who have never experienced a Terry Dowling short story, Basic Black is the perfect place to start. Featuring 18 tales, spanning a professional career of more than 20 years, the collection showcases one of the country’s premier horror writers.

Dowling is a master at creating fear from the most mundane places, drawing the reader in with beautifully constructed everyday characters before peeling back the layers to reveal dark and often subtle supernatural underbelly. While many modern authors rely on shocks and twists – and Dowling does deliver a few – the stories could be better categorised as slow-burning mood pieces.

Daemon Street Ghost Trap is a riveting tale of a professor who visits a Sydney mansion to watch the unveiling of a ghost trap with shocking results, while Downloading is a wonderfully crafted supernatural PI story in the vein of classic film noir.

Other highlights include Cheat Light in which a roll of film left in a pawnshop camera reveals images of an otherworldly origin, Clownette, where a peculiar blotch on a hotel wall that proves to be something much worse than a mildew stain and Dowling’s Aurealis Award winning Jenny Come to Play about a mental patient named with a haunting relationship with her missing sister Jenny.

Basic Black is available at Indie Books Online for $35 (soft cover) or $75 (hard cover).

Wednesday, July 07, 2010

News: The Horseman opens tomorrow



After a five-year journey, Aussie revenge flick The Horseman gets a limited cinema release from tomorrow.

It's been a long ride for director Steven Kastrissios, who funded the film with his money and his family's money, only to see it rejected by 'pretty much every film festival in Australia', before finding recognition at SXSW in Texas.

Last year, he told me he could have made things easier on himself by toning down the violence.

"There's certain acts of violence in the film that are going to get us an R rating and have turned off certain territories, but ... the whole point of The Horseman is to take the very over-used revenge genre, and treat it realistically and explore how it would really happen," he said.

"Because you don't usually see that. It's usually a big cheese-fest starring Steven Seagal or Jet Li or whatever. It's not something that's treated very realistically."


Release details:

SYDNEY - Chauvel Cinema
BRISBANE - Tribal Theatre
MELBOURNE - Cinema Nova

Go see this film. It's like a punch in the face ... in a good way!

Tuesday, July 06, 2010

News: KSP Writers' Centre Writer-in-Residence positions

The Katharine Susannah Prichard Writers' Centre in Perth has two writer-in-residence positions currently available. Applications for both positions close July 30.

1. Young Writer in Residence 2010
One Young Writer, up to the age of twenty-five years, will be selected for a two-week residency at the Katharine Susannah Prichard Writers' Centre, Greenmount. The resident will receive a salary of $1,100 and be given writing space and time to concentrate on, develop, or complete a work in progress. The writer will also be invited to participate in KSP Writers' Centre activities.

2. Established Writer in Residence 2011
One position is available for full-time period of four weeks. The resident will receive a salary of $3,500 and be given writing space and time to concentrate on, develop, or complete a work in progress. The Established Writer-in-Residence should have achieved major publication and have demonstrated a commitment towards furthering the status and practice of writing among his/her peers and the community in general. Experience in preparation for and conducting of workshops and seminars is desirable.

For selection criteria, guidelines, and application forms, visit the KSP Writers Centre website.

Source: KSP Writers Centre

Review: Madigan Mine by Kirstyn McDermott


Madigan Mine is Australian dark fiction writer Kirstyn McDermott’s debut novel. McDermott’s short fiction has previously won Aurealis, Ditmar and Chronos Awards.

Alex is drifting through life, unsure of who is or what he wants to do. Then he runs into Madigan Sargood, rich, flamboyant artist and one-time sweetheart of his. With their resurrected relationship comes colour and life, and Alex quickly finds himself becoming obsessed with Madigan.

Everything is perfect until, without warning, Madigan kills herself.

And then she begins to talk to Alex inside his head.

As Alex tries to discover if Madigan really is haunting him, he begins to reveal the true darkness in Madigan’s past.

McDermott’s prose is lush, every sentence liberally daubed with colour and scent and sound, with the whole combining to create something vivid and real. McDermott is also particularly skilled at characterization – every character, even the minor ones, seem to live and breathe on the page. Madigan, in particular, is fascinating, and it is easy to see how she would attract a circle of admirers willing to do almost anything for her. In fact, she is such a compelling character that it’s almost frustrating that she doesn’t have more page time.

Anyone who is a fan of dark psychological suspense with a paranormal bent should seek this one out. McDermott proves herself to be as skilled a novel writer as she is a short fiction writer.

Review: The Complete Idiot's Guide to Zombies

Nathan Robert Brown, Penguin Australia, 2010

Visit NecroScope to read this review.

News: NecroScope rises!

HorrorScope's resident zombie expert Chuck McKenzie has been so prolific with his zombie fiction reviews that he has created a dedicated, independent zombie review blog - NecroScope!

NecroScope is the official zombie review sub-site of HorrorScope, the Australian Dark Fiction Blog. NecroScope deals specifically with all things related to zombies, revenants, and the walking dead, whether in fiction, non-fiction, cinema, comics, games, or any other media, and regardless of origin or variety (supernatural or viral, Voodoo or Romero).

Chuck is NecroScope's official 'Keeper of the Dead' (i.e. Editor).

NecroScope is now open for business. To read the dozens of reviews already on the site, or to submit material for review, visit http://zombiefictionreview.blogspot.com/

News: Australian Shadows Award offers cash prize

The Australian Horror Writers Association's (AHWA) annual literary prize, the Australian Shadows Awards, has opened to submissions, but this year, there is an important difference — a prize pool of $750 ($250 each for the winners of the three categories).

The judges seek submissions in the following categories:
  • Short Fiction (short stories up to 25,000 words)
  • Long Fiction (novellas, novels, and single-author collections)
  • Edited Publication (anthologies and magazine issues)
Works must be written or edited by Australians or New Zealanders, published in the 2010 calendar year, and have horror/dark fiction content either as a focal point or integral element.

Authors/critics Craig Bezant, Stephanie Gunn, and Jeff Ritchie comprise the preliminary judging panel, and authors Chuck McKenzie, Kaaron Warren, and Rocky Wood are the guest judges. The judges' bios are listed on the Australian Shadows Awards website.

To arrange for work to be entered, contact Awards Director Shane Jiraiya Cummings.

Full guidelines and information on the awards is available from http://australianshadows.australianhorror.com.

Source: AHWA

Monday, July 05, 2010

Competition: Centurion

Courtesy of Hopscotch Films, HorrorScope has 15 double passes available to give away for the brutal historical action film Centurion.

Opening nationally 29 July 2010, Centurion is the new film from UK director Neil Marshall (The Descent, Dog Soldiers, Doomsday) starring Michael Fassbender (Inglorious Bastards, 300) and Dominic West (300, Mona Lisa’s Smile) and is an epic historical thriller set in early AD Britain.

"History is written in blood"
Quintus, the sole survivor of a savage raid on a Roman frontier fort, joins General Virilus’ legendary Ninth Legion to march north and wipe out the terrifying tribes known as the Picts. When the legion is attacked and Virilus seized, Quintus struggles to survive behind enemy lines with a small band of soldiers in a race to save their general and evade capture, torture, and certain death.

View the trailer here.

For your chance to win a double pass, send your name and postal address to ozhorrorscope@gmail.com.

Conditions: Competition closes July 19. One entry per person. Australian residents only. Prizes drawn randomly.

Review: Heresy

S. J. Parris, HarperCollins, 2010.


In a memorable prologue we find monk Giodarno Bruno reading a heretical text in the secrecy of the monastery privy. Sprung by the abbot, he is soon on the run from the Inquisition. This is 16th century Naples and the powers that be don't take kindly to the kinds of books that Giodarno has taken an interest in. Not only that, but he's an advocate of Copernican cosmology which removes the earth, and by implication humanity, from the centre of God's creation.

Eventually he finds himself in Elizabethan England and through a combination of good luck, good contacts and not a little skill he becomes a spy in the pay of Francis Walsingham. The queen's chief spy wants to eradicate the Catholic enemy from the English countryside. It's on a trip to Oxford to take part in a public debate that Bruno finds himself embroiled in a series of murders. Scholars are being bumped off in killings apparently copied from John Foxe's influential text 'The Book of Martyrs'. The first death is the result of a dog ripping someone's throat out in the style of St Ignatius. Bruno investigates and becomes involved in religious intrigue and the shadowy underworld of clandestine Catholic church services and college authorities that just want the whole thing swept under the carpet. Along the way he manages to develop a crush on the rector's daughter, who is showing more interest in academia than a woman of her time ought to. There are mysterious messages in code, a sinister man with no ears and fiendish plots aplenty.

This is a solid book, easy to read, with an intriguing plot and well drawn characters. It doesn't stretch the boundaries of the historical thriller genre but does provide an entertaining vehicle for a protagonist based on a real life heretic. The genuine Giordano Bruno met a grisly end at the hands of the Inquisition. Not being an expert on 16th century England I can only say that the period detail seems to be well researched and inserted into the narrative unobtrusively. I would certainly welcome further installments in the adventures of this colourful Italian.

Sunday, July 04, 2010

Review: The Descent (2005)/The Descent: Part 2 (2009)

The Descent (2005)/The Descent: Part 2 (2009) – Dir Neil Marshall/Jon Harris – Starring Shauna Macdonald, Natalie Mendoza

The Descent introduces us to a group of six female friends on a weekend escape away from their everyday mundane lives. These girls are thrill seekers and every year look for another way to push it to the limit. But when these adventure types choose caving as a way to bond they get lost amidst the underground caverns and realise their real survival instincts must come into play if they want to stay alive. Not only do they have to find a way out through the labyrinth of caves but they soon understand they are not alone. Something is stalking them, watching their every move. And it’s hungry.

The Descent was a leader for its originality and horror; where else would you see death by hair pin? Claustrophobic tension had never been so good and essentially established a new trend in the genre. The director plays with the darkness wonderfully and uses it to hide the nasties just out of sight until you’re off guard. The sequel on the other hand is the polar opposite. There is a depth to the first film that is blatantly missing from the second and the character development that was so successful in the first outing is evidently lacking in the predecessor.

The Descent: Part 2 starts straight after the first, yet somehow disregards the original’s ending. The whole set-up is bad; for some reason I didn’t understand, they take a survivor of the original and put her back down in the cave with a bunch of people I had no idea who they were. Why would they send a traumatised victim back down to the scene of the crime, who knows? But it ends up being basically the same movie but with dodgier sets, worse acting and I can barely remember the ending to this one so if they ignore it for the third one (yes its coming) it won’t matter.

On the plus side, and I’m stretching here, the follow up does do everything a horror sequel should. It takes you back to that familiar place we know and are comfortable with. There is more gore, a continuing storyline and it could basically be a template for the “bad horror sequel” should you ever want one. But my advice would be to buy the original, rent the sequel.

Reviewed by Troy King.

Review: Decay #1, edited by Darren Koziol

The newest entry on the Australian horror comic book landscape, Decay #1 (from Dark Oz Productions), announces its intention upfront as a no-holds-barred collection of contemporary horror stories with a grim snapshot of the zombie apocalypse on the cover. Heads are a'flying, a blood-spatted yellow V8 is knocking zombies aside like bowling pins, and the scene is set for something bloody awesome (or awesomely bloody!) in the pages that follow.

Decay #1 features 48 black and white pages of grim and sometimes gross stories from some of Aussie comic book horror's best known names. Headlining this issue are two stories from SCAR (Steve Carter & Antoinette Rydyr), artwork by Dave Heinrich, Tanya Nicholls, Thomas Green, and Adam "Ambo" StJohn, and two stories by editor Darren "Decay" Koziol himself (as well as plenty of interstitial material - but more on this later in the review...)

The opening (and cover) story, "OzZombie", is the first installment in a serial set sometime after a zombie apocalypse has desolated Australia. Thomas Green's artwork is ragged but engaging and adds a raw ambience to Koziol's story. Not much happens in the first 7-page installment of OzZombie, although we do see a couple of zombie kills and the story ends with the promise of something sinister, giving it a 'slow burn' feel. OzZombie is one of the highlights of this issue.

SCAR's first appearance is a quick'n'dirty 4-pager, "Reap What You Sow". The art is more polished than most stories in Decay #1, but the story is a bit abrupt and heavy-handed with the sermonising on the evils of religion.

"The Skinned Man" (written by Koziol and inked/lettered by Adam StJohn) is another highlight. StJohn's deceptively simple art style complements the children's perspective of the story. The prologue jumps us straight into the action, but then Koziol's story sags in the middle pages (some of the panels could have been removed to speed things up) until we get to the nightmarish conclusion.

"Slam" is the final story written by Darren Koziol in the issue, and it is probably the weakest contribution. "Slam" is a six-page talking head story that was raised beyond its very basic artwork (also by Koziol) by glimpses of bloody black humour. The jokey premise lasted way too long and the panels were very text-heavy, making for a story that was heavy going without the visual payoff.

The monster at the back of this issue is "Carnivore", SCAR's second (and more significant) contribution. Set offworld in a spacefaring future, a group of heavily armed scientists and mercenaries seek a rare biological prize on what must be the universe's most hostile planet. There are deaths aplenty, and they zip past so quickly, you'll blink and miss them - particularly as the next panel promises a new alien nasty ready to take down a crew member. "Carnivore" is the most well-rounded story in the issue, with a clear beginning, middle, and end, but dedicated gorehounds will be more satisfied with the body count rather than the completeness of the plot. "Carnivore" is like Starship Troopers meets Aliens - it is a fun dark sci-fi romp.

There's a lot of filler material in Decay #1, but for the most part, the fillers really add to the anthology feel. Bizarre characters such as Rank the decaying ANZAC, Arachnora the Spider Queen from Circus Infinitus, "Dwayne Da Car Cwash 'Ictim" add some light-hearted (if gory) relief between stories. There's also an article about this year's zombie walk in Adelaide (with plenty of pics!), an excellent "Making of The Skinned Man" in which artist Adam StJohn explains his creative process, and even a Decay maze (like the ones once found on McDonald's placemats but with added grue!).

These extras create a carnival-like feel about Decay #1, which is its strength as an anthology. If nothing else, the issue is certainly a celebration of local talent! More importantly, it doesn't take itself too seriously. If you don't like one story, there's something different on the next page.

Decay #1 is an enthusiastic and ambitious debut, and while not all cylinders fired in this issue, the Decay series as a whole promises to be a superb showcase of Australian horror comic book talent.

Decay #1 is available in most comic book stores around Australia.

This review is part of the 2010 Australian Horror Comics review series by Shane Jiraiya Cummings. To read other reviews in this series, search for the Labels 'Oz Horror Comics'.

Saturday, July 03, 2010

Review: The Desert Spear

The Desert Spear
(Book 2 of the Demon Cycle)
by Peter V. Brett

Date Published: 2010
Publisher: HarperCollins Australia

Reviewed by Chuck McKenzie

'The sun is setting on humanity. Demons rise each night to prey upon a dwindling population. Legends tell of a Deliverer who drove the creatures away, but the return of the Deliverer is just a myth...or is it? Out of the southlands rides Ahmann Jardir, leading an invading army of desert warriors and proclaiming himself Shar'Dama Ka: the Deliverer. But the Greenlanders already claim their own Deliverer: the Painted Man, whose ward-tattooed skin makes him a match for any demon. Once, the Shar'Dama Ka and the Painted Man were brothers in arms, but betrayal has turned them into fierce adversaries. And, as various allegiances crumble and form, a new breed of demon waits in the shadows, more intelligent and deadly than any that have come before...'

The Desert Spear, the sequel to the brilliant dark fantasy The Painted Man (HorrorScope review here), is a magnificent work that delivers everything a sequel should; more narrative threads, fascinating (and often shocking) character development, higher stakes, more twists and turns than I can even hint at here, and a plot that grips the reader throughout the entire 500-page novel. Perhaps the greatest masterstroke in The Desert Spear is the dedication of the entire first third of the book to recounting the personal history of Ahmann Jardir - essentially, the 'bad guy' of the piece. Thus, the reader gains as deep and empathic an understanding of Jardir, and of his alien, fundamentalist culture as of the more familiar feudal Greenlander society; and given other developments that cast serious doubt upon the motivations of the Painted Man himself, the reader will be left questioning precisely who - if anyone - will ultimately triumph in the oncoming conflict.

For me, both of Brett's Demon Cycle books thus far published stand individually as two of the very best fantasy outings of the past decade. My pain at having to wait for the next book in the sequence is offset considerably knowing that, if he holds true to form, Brett's next offering will eclipse all that has come before. The Desert Spear is, quite simply, an absolute masterpiece, and there's no doubt in my mind that the Demon Cycke books will come to be regarded as classics of the genre.

NB: Australian fans of this extraordinary series should note that Peter V. Brett has recently confirmed that he will be attending Aussiecon4 (the 68th World Science Fiction Convention) in Melbourne this year (convention details here).