The US Horror Writers Association has announced it is now accepting non-professional members in the newly created "Supporting Membership" level.
Although the HWA is dedicated to servicing professional writers in the genre, the organisation recognises that it exists to serve those who have an interest in the genre. The new Supporting Membership will offer readers, fans, and writers who are still working towards that first professional sale the opportunity to interact with some of their favourite writers, the ability to recommend works for the organisation's prestigious Bram Stoker Award, and discounted prices on the organization's annual Bram Stoker Award Weekend (to be held June 16-19 in Long Island, and with guests including Peter Straub, David Morrell, Douglas Clegg, and many more). Supporting members also receive HWA's monthly newsletter (edited by Kathy Ptacek), internet mailers with up-to-the-minute news and special offers, and limited to access to the organisation's message board, where they can discuss their favourite books and movies, receive valuable tips from the pros, and learn more about HWA's various projects.
Current Australian Active (pro-level) members that prospective Australian Supporting members could interact with include Rocky Wood (current HWA President), Stephen Dedman, and Shane Jiraiya Cummings.
The Supporting Membership dues are offered at a special reduced rate - $45 per year. Those joining as of December 1st will also receive that month as a bonus.
For more information on HWA, visit www.horror.org.
Source: Rocky Wood, HWA President
Tuesday, November 30, 2010
News: Dymocks Southland Bestselling Horror Titles for November 2010
1. Sookie Stackhouse (series) - Charlaine Harris
2. Madigan Mine - Kirstyn McDermott
3. Anita Blake (series) - Laurell K. Hamilton
4. Fallen (series) - Lauren Kate
5. Blood Countess - Tara Moss
6. Blue Bloods (series) - Melissa de la Cruz
7. Full Dark, No Stars - Stephen King
8. The Walking Dead Vol 1 (graphic novel) - Robert Kirkman
9. The Passage - Justin Cronin
10. The Dead (The Enemy #2) - Charlie Higson
2. Madigan Mine - Kirstyn McDermott
3. Anita Blake (series) - Laurell K. Hamilton
4. Fallen (series) - Lauren Kate
5. Blood Countess - Tara Moss
6. Blue Bloods (series) - Melissa de la Cruz
7. Full Dark, No Stars - Stephen King
8. The Walking Dead Vol 1 (graphic novel) - Robert Kirkman
9. The Passage - Justin Cronin
10. The Dead (The Enemy #2) - Charlie Higson
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dymocks southland,
News
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Sunday, November 28, 2010
Review: Wake in Fright restored
Wake in Fright (Australia/US-1971; dir. Ted Kotcheff)
Reviewed by Robert Hood
A movie that is generally considered by film historians to be a classic of Australian cinema, but which has only existed in poor-quality later-generation prints for many decades and was thought lost otherwise, has just been released by Madman Entertainment, looking better than ever.
Wake in Fright (directed by Canadian Ted Kotcheff) is a grim, relentless descent into an antipodean hell, made in 1971 just as the Australian film industry was on the brink of a major revival. An intense piece of cinema, it gives a dusty, sweaty, rather confronting picture of small-town outback life that explores the violent and repressive nature of this isolated wasteland culture -- a culture that displays antagonism toward the “outsider” (that is, anyone who isn’t “a good bloke” and willing to conform to its norms), sexual segregation and domination, bizarre mateship rituals (including the infamous bloody, shocking and almost surreal kangaroo hunt), and an oppressive air of violence and debilitation.
Bonded school teacher John Grant (played by English actor Gary Bond) -- who looks and sounds a bit like a young Peter O’Toole -- leaves his one-room school in Tiboonda for the end-of-year holidays, demoralized and looking with longing toward Sydney and the coast. He doesn’t get there. Instead, a stop-over in a country town known to the locals as “The Yabba” results in his initiation and absorption into a rough, oppressively matey and ultimately brutalizing male society. Fueled by alcohol, the dominance rituals and violence drag him into nightmare -- and even his end-game attempts at redemption may come too late.
Is it a horror movie? Well, though naturalistic in approach, it replicates a classic horror trope: a civilised man who finds himself exposed to a brutal alien environment infested with monsters and demons that inexorably drag him into their maw, chew him up and spit him out -- morally broken and mortally wounded by an awareness of his own essential monstrosity. It’s Lovecraft without literal tentacles, and Wake in Fright is still, after all these years, a shocking experience for its sense of awful authenticity.
Is it an accurate depiction of Australian society? Audiences at the time didn’t think so, but now, rescued from oblivion by the fortuitous discovery of original elements and a magnificent restoration effort on the part of the National Film and Sound Archive and AtLab Deluxe, it is startling how relevent an “outsider’s” reflection on a major aspect of Australian culture it seems, with themes that have universal applicability.
From the opening panoramic 360° sweep over a flat, outback landscape -- the only sign of humanity a railway line and two small buildings -- to focus on a small railway station in the middle of nowhere, designated TIBOONDA, and a clock with no hands, to its end shot of the same locale, as the camera pans back on a scene that hasn’t changed, it looks stunning, with a visual clarity it probably never had before this. At the premiere showing of the restored version at the 2009 Sydney Film Festival, the director commented that he'd never seen the film looking so good -- ever. A brief extra comparing scenes from the original negative with those on the digital restoration clearly illustrates this.
Wake in Fright is a powerful and significant Australian film that deserves to be better known, featuring excellent and surprisingly subtle performances from the likes of Chips Rafferty (his last), Jack Thompson (his first), Donald Pleasance and John Meillon. Back in the 1970s, Wake in Fright was released overseas under the title Outback, to some critical success -- though it didn’t do well in Australia. Now it’s back. If you haven’t seen it, do so. If you saw it back then, take another look -- it might surprise you.
The high-definition Blu-ray image is superb, bright (when appropriate) and clear while retaining enough filmic grain and over-exposure to accurately capture its dusty, often sun-bleached character. Though it doesn't have the startling colours and universally clear lines of modern HD digital cinematography, it is exactly what it should be for the film and incredible for its age. The package includes an interview with Ted Kotcheff, an audio commentary from Kotcheff and editor Anthony Buckley and other features examining the film and its re-discovery. It comes with an excellent full-colour 32-page booklet about the film and its history.
Available on DVD and Blu-ray from Madman Entertainment.
Reviewed by Robert Hood
A movie that is generally considered by film historians to be a classic of Australian cinema, but which has only existed in poor-quality later-generation prints for many decades and was thought lost otherwise, has just been released by Madman Entertainment, looking better than ever.
Wake in Fright (directed by Canadian Ted Kotcheff) is a grim, relentless descent into an antipodean hell, made in 1971 just as the Australian film industry was on the brink of a major revival. An intense piece of cinema, it gives a dusty, sweaty, rather confronting picture of small-town outback life that explores the violent and repressive nature of this isolated wasteland culture -- a culture that displays antagonism toward the “outsider” (that is, anyone who isn’t “a good bloke” and willing to conform to its norms), sexual segregation and domination, bizarre mateship rituals (including the infamous bloody, shocking and almost surreal kangaroo hunt), and an oppressive air of violence and debilitation.
Bonded school teacher John Grant (played by English actor Gary Bond) -- who looks and sounds a bit like a young Peter O’Toole -- leaves his one-room school in Tiboonda for the end-of-year holidays, demoralized and looking with longing toward Sydney and the coast. He doesn’t get there. Instead, a stop-over in a country town known to the locals as “The Yabba” results in his initiation and absorption into a rough, oppressively matey and ultimately brutalizing male society. Fueled by alcohol, the dominance rituals and violence drag him into nightmare -- and even his end-game attempts at redemption may come too late.
Is it a horror movie? Well, though naturalistic in approach, it replicates a classic horror trope: a civilised man who finds himself exposed to a brutal alien environment infested with monsters and demons that inexorably drag him into their maw, chew him up and spit him out -- morally broken and mortally wounded by an awareness of his own essential monstrosity. It’s Lovecraft without literal tentacles, and Wake in Fright is still, after all these years, a shocking experience for its sense of awful authenticity.
Is it an accurate depiction of Australian society? Audiences at the time didn’t think so, but now, rescued from oblivion by the fortuitous discovery of original elements and a magnificent restoration effort on the part of the National Film and Sound Archive and AtLab Deluxe, it is startling how relevent an “outsider’s” reflection on a major aspect of Australian culture it seems, with themes that have universal applicability.
From the opening panoramic 360° sweep over a flat, outback landscape -- the only sign of humanity a railway line and two small buildings -- to focus on a small railway station in the middle of nowhere, designated TIBOONDA, and a clock with no hands, to its end shot of the same locale, as the camera pans back on a scene that hasn’t changed, it looks stunning, with a visual clarity it probably never had before this. At the premiere showing of the restored version at the 2009 Sydney Film Festival, the director commented that he'd never seen the film looking so good -- ever. A brief extra comparing scenes from the original negative with those on the digital restoration clearly illustrates this.
Wake in Fright is a powerful and significant Australian film that deserves to be better known, featuring excellent and surprisingly subtle performances from the likes of Chips Rafferty (his last), Jack Thompson (his first), Donald Pleasance and John Meillon. Back in the 1970s, Wake in Fright was released overseas under the title Outback, to some critical success -- though it didn’t do well in Australia. Now it’s back. If you haven’t seen it, do so. If you saw it back then, take another look -- it might surprise you.
The high-definition Blu-ray image is superb, bright (when appropriate) and clear while retaining enough filmic grain and over-exposure to accurately capture its dusty, often sun-bleached character. Though it doesn't have the startling colours and universally clear lines of modern HD digital cinematography, it is exactly what it should be for the film and incredible for its age. The package includes an interview with Ted Kotcheff, an audio commentary from Kotcheff and editor Anthony Buckley and other features examining the film and its re-discovery. It comes with an excellent full-colour 32-page booklet about the film and its history.
Available on DVD and Blu-ray from Madman Entertainment.
Thursday, November 25, 2010
Review: Monsters (2010)
A NASA space probe that has collected traces of alien life from within the solar system crashes in central America on its return. Six years later, the monsters have managed to grab a strong foothold in the area and a large slice of Mexico is cordoned off as an infected zone. Kaulder, a photo-journalist intent on recording the havoc wreaked by the monsters, is roped into escorting the daughter of his boss to the coast so she can flee back to the USA and safety. A series of setbacks results in their having to make their way into the infected zone - a potentially lethal journey even with an armed escort.This is a curious little movie. It's essentially a two-hander and focuses on the developing relationship between the leads, played by Scoot McNairy and Whitney Able. Initially they're not particularly likeable characters. Whiny is the word that immediately springs to mind. As the danger grows and the journey progresses though, they become more sympathetic. The supporting cast add colour and particularly memorable is the man at the ferry office who drives a hard bargain.
Director Gareth Edwards has a background in visual effects and he does a good job ramping up the tension. His monsters are effective and not overused. The scenes of carnage in the Mexican countryside are done well on what seems to have been a fairly tight budget. What some genre fans might object to is the almost background role played by the titular aliens. Then there's the sudden ending. At the screening I attended there were audible gasps, sharp intakes of breath and at least one 'You've got to be kidding!' I recommend it as a taut little thriller with the proviso that you take the title with a grain of salt. The focus is firmly on the humans here.
Monsters opens today.
Labels:
Gareth Edwards,
monsters,
movie review,
Review
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News: Aurealis Awards auction closes tonight
The Aurealis Awards fundraising auction closes tonight. Horror, fantasy, science fiction, and young adult book bundles can be bidded on, as well as a signed print from Scott Westerfeld's steampunk novel Leviathan. Proceeds will support the 2011 Aurealis Awards ceremony in Sydney.
All bid bundles can be viewed (and bidded on) here.
All bid bundles can be viewed (and bidded on) here.
Labels:
Aurealis Awards,
News,
SpecFaction NSW
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Wednesday, November 24, 2010
News: AHWA President Leigh Blackmore interviewed
AHWA President Leigh Blackmore has been interviewed by "The View From Here" literary blog. In the interview, Blackmore discusses the AHWA's role and its future.
Read the interview here.
Source: Leigh Blackmore
Read the interview here.
Source: Leigh Blackmore
Labels:
AHWA,
Leigh Blackmore,
News
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Monday, November 22, 2010
Review: Aurealis #44

Aurealis celebrates 20 years in print with issue 44, a milestone which is almost unheard of when it comes to small press Australian speculative fiction magazines.
The issue by editor Stuart Mayne continues to see the magazine go from strength to strength featuring seven new sci-fi, fantasy and horror offerings led by established authors Simon Petrie and Kirstyn McDermott.
After a slight pause for reflection - founding editor Dirk Strasser drops by to offer readers a trip into Aurealis origins and growth in the past two decades – it’s over to a relatively new crop of writers to deliver in what is sure to be a sentimental issue for readers.
Fresh from the publication of her debut novel, Kirstyn McDermott shows she hasn’t lost touch with the shorter side of fiction with We All Fall Down – a creepy ghost story about a pair of car crash victims forced to spend the night in a strange house. McDermott puts an old troupe to good use, breathing life into a familiar story with vibrant characters and a well paced narrative. Readers may pick up on the ending well before it arrives, but such is the richness of Emma and Holly that it doesn’t really matter.
Likewise Jason Fischer’s Gunning for a Tinkerman uses a blend of character and action in the highly entertaining outback tale of a former preacher hunting a man through a world of giant snakes and witchcraft. An apocalyptic style fantasy, there is a lot of fun to be had with Fischer’s free flowing prose and warped sense of humour.
KJ Taylor’s The Death of Skandar Taranisaii is a heart warming period piece about an enslaved human who learns of his son’s freedom shortly before being made to fight an arena of griffins. Borrowing from the old Gladiator tales, it is a powerful and emotive journey of a man who makes the most of his doomed life.
Christopher Snape’s Runners shows a not-to-distant future where unemployed workers are given just three months to find a new job or face exile from the civilised cities. Its poignancy comes from the realisation that Iverson’s job worries are not that far removed from our own and that with further strain on our government it is easy to see us head down the same path.
Other stories include Christopher Green’s Jumbuck - which recreates the myth of the billabong with a traditional Aussie bush yarn - Adam Ford’s A Billion Tiny Lights - a flash fiction piece about a mechanical pilot and his spacecraft trying to avoid the scrapheap - and Simon Petrie's Storm in a T-Suit - which offers an alternative theory to the extinction of the dinosaurs.
The issue by editor Stuart Mayne continues to see the magazine go from strength to strength featuring seven new sci-fi, fantasy and horror offerings led by established authors Simon Petrie and Kirstyn McDermott.
After a slight pause for reflection - founding editor Dirk Strasser drops by to offer readers a trip into Aurealis origins and growth in the past two decades – it’s over to a relatively new crop of writers to deliver in what is sure to be a sentimental issue for readers.
Fresh from the publication of her debut novel, Kirstyn McDermott shows she hasn’t lost touch with the shorter side of fiction with We All Fall Down – a creepy ghost story about a pair of car crash victims forced to spend the night in a strange house. McDermott puts an old troupe to good use, breathing life into a familiar story with vibrant characters and a well paced narrative. Readers may pick up on the ending well before it arrives, but such is the richness of Emma and Holly that it doesn’t really matter.
Likewise Jason Fischer’s Gunning for a Tinkerman uses a blend of character and action in the highly entertaining outback tale of a former preacher hunting a man through a world of giant snakes and witchcraft. An apocalyptic style fantasy, there is a lot of fun to be had with Fischer’s free flowing prose and warped sense of humour.
KJ Taylor’s The Death of Skandar Taranisaii is a heart warming period piece about an enslaved human who learns of his son’s freedom shortly before being made to fight an arena of griffins. Borrowing from the old Gladiator tales, it is a powerful and emotive journey of a man who makes the most of his doomed life.
Christopher Snape’s Runners shows a not-to-distant future where unemployed workers are given just three months to find a new job or face exile from the civilised cities. Its poignancy comes from the realisation that Iverson’s job worries are not that far removed from our own and that with further strain on our government it is easy to see us head down the same path.
Other stories include Christopher Green’s Jumbuck - which recreates the myth of the billabong with a traditional Aussie bush yarn - Adam Ford’s A Billion Tiny Lights - a flash fiction piece about a mechanical pilot and his spacecraft trying to avoid the scrapheap - and Simon Petrie's Storm in a T-Suit - which offers an alternative theory to the extinction of the dinosaurs.
Aurealis is available at $14.95 an issue or as a four-issue subscription for $46. Issues are printed twice a year.
Labels:
Aurealis,
Mark Smith-Briggs,
Review
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Review: The Loving Dead
Amelia Beamer, 2010, Night Shade Books
Visit NecroScope to read this review.
http://zombiefictionreview.blogspot.com/2010/11/review-loving-dead.html
Visit NecroScope to read this review.
http://zombiefictionreview.blogspot.com/2010/11/review-loving-dead.html
Review: ASIM 46-48
As Australia’s premier speculative fiction humour publication, Andromeda Spaceways Inflight Magazine has always had to tread a fine line between fun, entertaining light-hearted fiction and cheesy stories. With a revolving door of editors – members of the co-op are given their own issue - it has sometimes strayed into the cheesy side and felt like a vessel for its co-op to see their stories in print, but issues 46 to 48 represent some of the best of what this magazine can deliver.
Issues 46 (edited by Mark Farrugia) and 48 (Juliet Bathory) are darker in tone than most releases, driven no doubt by the pairs involvement with the Australian Horror Writer’s Association and love of horror fiction in general. The pair makes some intelligent decisions choosing stories that fit into the ASIM mould with jet-black humour, snappy plots and loveable characters.
Issue 47 delivers a more varied collection of speculative fiction. Editor Patty Jansen is upfront about her love of science fiction, and many of the stories featured have a sci-fi bent. However, Jansen also manages to dig up a few horror tales, a couple of skewered love stories and even the odd myth.
ISSUE 46
Issue 46 is lead by four outstanding horror tales. In just a few short words, Pete Kempshall’s Brave Face about a prisoner awaiting execution by a terrorist faction will have you cowering under the sheets, while Amanda J. Spedding makes full use of the eerie outback setting in her unsettling ghost story Nightmare’s Cradle.
Felicity Dowker continues to show her emergence as one of the country’s brightest new horror writers with Charlie, a sweet yet nasty tale about a young girl who befriends a reanimated skeleton bent on revenge. Beautifully constructed with easy flowing prose and rich characters, the power comes from the girl’s innocence and love for the skeleton despite its acts of horrific violence.
Jason Fischer’s The School Bus also uses the innocence and naivety of youth to construct a dark examination of an outback society trapped following the outbreak of a zombie virus. A story of layers, Fischer draws you in through the horrors of a zombie hoarde only to reveal a far more sinister underbelly from the town itself. His writing is a brilliant example where saying a little can be far more disturbing than saying too much.
Other stories of note include Linger, Christopher Green’s study of grief in a society where people can visit downloaded versions of dead loved ones, and Patty Jansen’s Metal Dragon, an urban fantasy about Asian gods who make the ultimate sacrifice to save their decaying city.
ISSUE 47
Standouts in Issue 47 include Patrick S Tomlinson’s Dig up the Vote and Debi Carroll’s Acid. Both use the speculative fiction genre to comment on society while creating an entertaining and original story. Tomlinson’s original take on the zombie genre sees a political party minder resurrecting zombies on Election Day so they can cast their vote. He paints a fresh spin on the usual blood-thirsty undead while offering some astute observations on the state of politics.
Acid uses our use of fossil fuels and themes of slave labour and oppression as the basis for a highly original dark fantasy about mermaid like creatures that use the acid in their mouths to refine oil. Carroll creates relatable characters that in a few short pages have us on their side and sympathetic to their planned upheaval.
Ferrett Steinmetz’s The Backdated Romance is a quirky sci-fi take on dating in which a time traveller ventures back in time to meet his future wife and convince her to date him. While the premise is not entirely new, Steinmetz cleverly disguises a darker tale with fluffy overtones creating a piece that creeps up on you.
Other stories of note are John Phillips’ Leeching Tinnitus about a boy made to collect leeches for his grandfather at an isolated mansion and Stephen Watts’ Dog – a sci-fi/horror about a captain who must continue a nightly offering of tobacco for the strange inhabitant that lurks in the shadow’s of the ship.
ISSUE 48
The pick of issue 48 is Amanda J. Spedding’s incredible The Whims of My Enemy. Told from the POV of a women passenger in a train carriage where prisoners must cull their numbers through murder it is a violent and claustrophobic take on the Running Man premise. By creating an innocent yet strong willed character we are drawn into the tragic nature of the crimes and just how far one will go to secure freedom.
Mark Welker’s Free Falling offers a comical commentary to the media’s push to create rating’s gold through an in progress suicide. Told at a lightening pace during the jumper’s fall, its power lies in the underlying truths about modern day media, viewer’s appetite for death and destruction, and where both might go if the technology was available.
David C Pintt offers a fresh take on the zombie troupe with a darkly comic story about a challis that grants eternal life. The catch is it just makes violent subjects that cannot be killed, no matter how mashed, mangled or splattered they become.
Other stories worth a look are Melanie Rees amusing Holding about God’s frustrations trying to navigate a hotline for a new atmosphere, Jamie Shank’s supernatural pulp noir Radioactive Gumshoe Blues, Marty Young’s dark urban fantasy Joey Blue and the Gutterbreed and Jayaprakash Satyamurthy’s To Stand and Stare about a slacker who makes a fake mobile phone to avoid job offers only to have it start working.
Andromeda Spaceways Inflight Magazine is available as a single print issue ($8.95), PDF ($4.95) or 12-month PDF subscription ($27) or two-year print subscription ($98).
Issues 46 (edited by Mark Farrugia) and 48 (Juliet Bathory) are darker in tone than most releases, driven no doubt by the pairs involvement with the Australian Horror Writer’s Association and love of horror fiction in general. The pair makes some intelligent decisions choosing stories that fit into the ASIM mould with jet-black humour, snappy plots and loveable characters.
Issue 47 delivers a more varied collection of speculative fiction. Editor Patty Jansen is upfront about her love of science fiction, and many of the stories featured have a sci-fi bent. However, Jansen also manages to dig up a few horror tales, a couple of skewered love stories and even the odd myth.
ISSUE 46
Issue 46 is lead by four outstanding horror tales. In just a few short words, Pete Kempshall’s Brave Face about a prisoner awaiting execution by a terrorist faction will have you cowering under the sheets, while Amanda J. Spedding makes full use of the eerie outback setting in her unsettling ghost story Nightmare’s Cradle.Felicity Dowker continues to show her emergence as one of the country’s brightest new horror writers with Charlie, a sweet yet nasty tale about a young girl who befriends a reanimated skeleton bent on revenge. Beautifully constructed with easy flowing prose and rich characters, the power comes from the girl’s innocence and love for the skeleton despite its acts of horrific violence.
Jason Fischer’s The School Bus also uses the innocence and naivety of youth to construct a dark examination of an outback society trapped following the outbreak of a zombie virus. A story of layers, Fischer draws you in through the horrors of a zombie hoarde only to reveal a far more sinister underbelly from the town itself. His writing is a brilliant example where saying a little can be far more disturbing than saying too much.
Other stories of note include Linger, Christopher Green’s study of grief in a society where people can visit downloaded versions of dead loved ones, and Patty Jansen’s Metal Dragon, an urban fantasy about Asian gods who make the ultimate sacrifice to save their decaying city.
ISSUE 47
Standouts in Issue 47 include Patrick S Tomlinson’s Dig up the Vote and Debi Carroll’s Acid. Both use the speculative fiction genre to comment on society while creating an entertaining and original story. Tomlinson’s original take on the zombie genre sees a political party minder resurrecting zombies on Election Day so they can cast their vote. He paints a fresh spin on the usual blood-thirsty undead while offering some astute observations on the state of politics.Acid uses our use of fossil fuels and themes of slave labour and oppression as the basis for a highly original dark fantasy about mermaid like creatures that use the acid in their mouths to refine oil. Carroll creates relatable characters that in a few short pages have us on their side and sympathetic to their planned upheaval.
Ferrett Steinmetz’s The Backdated Romance is a quirky sci-fi take on dating in which a time traveller ventures back in time to meet his future wife and convince her to date him. While the premise is not entirely new, Steinmetz cleverly disguises a darker tale with fluffy overtones creating a piece that creeps up on you.
Other stories of note are John Phillips’ Leeching Tinnitus about a boy made to collect leeches for his grandfather at an isolated mansion and Stephen Watts’ Dog – a sci-fi/horror about a captain who must continue a nightly offering of tobacco for the strange inhabitant that lurks in the shadow’s of the ship.
ISSUE 48
The pick of issue 48 is Amanda J. Spedding’s incredible The Whims of My Enemy. Told from the POV of a women passenger in a train carriage where prisoners must cull their numbers through murder it is a violent and claustrophobic take on the Running Man premise. By creating an innocent yet strong willed character we are drawn into the tragic nature of the crimes and just how far one will go to secure freedom.Mark Welker’s Free Falling offers a comical commentary to the media’s push to create rating’s gold through an in progress suicide. Told at a lightening pace during the jumper’s fall, its power lies in the underlying truths about modern day media, viewer’s appetite for death and destruction, and where both might go if the technology was available.
David C Pintt offers a fresh take on the zombie troupe with a darkly comic story about a challis that grants eternal life. The catch is it just makes violent subjects that cannot be killed, no matter how mashed, mangled or splattered they become.
Other stories worth a look are Melanie Rees amusing Holding about God’s frustrations trying to navigate a hotline for a new atmosphere, Jamie Shank’s supernatural pulp noir Radioactive Gumshoe Blues, Marty Young’s dark urban fantasy Joey Blue and the Gutterbreed and Jayaprakash Satyamurthy’s To Stand and Stare about a slacker who makes a fake mobile phone to avoid job offers only to have it start working.
Andromeda Spaceways Inflight Magazine is available as a single print issue ($8.95), PDF ($4.95) or 12-month PDF subscription ($27) or two-year print subscription ($98).
Note: As of issue 51 the magazine is switching from a bimonthly publication to a quarterly release.
Tuesday, November 16, 2010
Review: Rare Exports (2010)

In Australia, like in the UK and the US, Santa Claus is the jolly old elf who brings presents at Christmas-time.
But Christmas has a dark side.
Many European countries, such as Austria and Hungary, believe that St Nicholas was accompanied by Krampus - an evil elf who was there to punish the bad kids while Santa doled out gifts to the goody two-shoes.
Finland takes this a step further, with their version of Santa - Joulupukki - an evil Yule Goat that skulks down from Korvatunturi in the dead of winter to demand presents, not give them.
But what if Korvatunturi wasn't a mountain, but instead a funeral cairn? And what if some dumb-ass Americans on an archeological dig were about to unleash the evil Santa from his icy grave?
So begins Rare Exports, a Finnish fantasy feature that came about after two short films by Jalmari Helander became cult hits on YouTube (You can watch them here and here).
Onni Tommila plays Pietari, a young boy who unravels the true meaning of Christmas and has to act fast before evil Santa spanks his village's children back to the Stone Age.
Being the gore hound I am, I would have liked Helander to take things to an even darker place.
Rare Exports is more fun than fear, but it is well-acted, well-scripted and, let's face it, welcome relief from the usual batch of Saccharine-sweet holiday season dross.
Rare Exports opens on December 2.
Reviewed by Gary Kemble
Labels:
movie review,
rare exports,
Review
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Review: The Mammoth Book of Apocalyptic SF
Ed. Mike Ashley, 2010, Running Press
All Apocalyptic fiction - despite usually being published under the science fiction banner - is, at its core, horror fiction. In fact, you could argue that Apocalyptic tales are the ultimate in horror fiction, as they explore the end of everything that defines we humans as both a species and as individuals - our lives, society, civilisation, and even our planet. The Mammoth Book of Apocalyptic SF comprises 24 tales - some classic, some modern, and some original to this publication - dealing with the end of the world, and worse. Here you'll encounter nanotech running amok, flaming comets and suns going nova, gradual extinctions, nuclear conflagrations, viral pandemics, and massive climate changes. Some of the tales (such as Frederik Pohl's classic 'Fermi & Frost') are distressingly bleak; others introduce a sense of hope that humanity endures ('When Sysadmins Ruled the Earth', Cory Doctorow), or even take a somewhat humorous approach (as in Robert Silverberg's 'When We Went to See the End of the World'), albeit usually in order to highlight the underlying nihilism. In other words, there's something for every reader in here.
The Mammoth Book of Apocalyptic SF is by no means a pleasant read overall. But it is certainly a damned good read, and consistently engrossing and entertaining throughout. Definitely one for the bunker bookshelf.
(The Mammoth Book of Apocalyptic SF is distributed in Australia by The Scribo Group)
All Apocalyptic fiction - despite usually being published under the science fiction banner - is, at its core, horror fiction. In fact, you could argue that Apocalyptic tales are the ultimate in horror fiction, as they explore the end of everything that defines we humans as both a species and as individuals - our lives, society, civilisation, and even our planet. The Mammoth Book of Apocalyptic SF comprises 24 tales - some classic, some modern, and some original to this publication - dealing with the end of the world, and worse. Here you'll encounter nanotech running amok, flaming comets and suns going nova, gradual extinctions, nuclear conflagrations, viral pandemics, and massive climate changes. Some of the tales (such as Frederik Pohl's classic 'Fermi & Frost') are distressingly bleak; others introduce a sense of hope that humanity endures ('When Sysadmins Ruled the Earth', Cory Doctorow), or even take a somewhat humorous approach (as in Robert Silverberg's 'When We Went to See the End of the World'), albeit usually in order to highlight the underlying nihilism. In other words, there's something for every reader in here.
The Mammoth Book of Apocalyptic SF is by no means a pleasant read overall. But it is certainly a damned good read, and consistently engrossing and entertaining throughout. Definitely one for the bunker bookshelf.
(The Mammoth Book of Apocalyptic SF is distributed in Australia by The Scribo Group)
Competition: The Last Exorcism
Courtesy of Hopscotch Films and NRC Communications, HorrorScope has double passes to give away for the film The Last Exorcism.
Synopsis:
The Reverend Cotton Marcus had performed more exorcisms than he could remember before he visited the Louisiana farm of Louis Sweetzer, where he plans to film a documentary of what he hopes to be his final exorcism (for Louis' daughter Nell). But upon arriving at the blood-drenched family farm, it was soon clear that nothing could have prepared him for the true evil there. The Reverend must call upon a near-empty well of faith to protect Nell, his film crew, and ultimately, himself.
Teaser trailer: http://www.thelastexorcism.com/index.html
In cinemas November 25.
To enter:
Email your name and postal address (with 'The Last Exorcism competition' in the subject line) to ozhorrorscope@gmail.com.
Conditions:
Synopsis:
The Reverend Cotton Marcus had performed more exorcisms than he could remember before he visited the Louisiana farm of Louis Sweetzer, where he plans to film a documentary of what he hopes to be his final exorcism (for Louis' daughter Nell). But upon arriving at the blood-drenched family farm, it was soon clear that nothing could have prepared him for the true evil there. The Reverend must call upon a near-empty well of faith to protect Nell, his film crew, and ultimately, himself.
Teaser trailer: http://www.thelastexorcism.com/index.html
In cinemas November 25.
To enter:
Email your name and postal address (with 'The Last Exorcism competition' in the subject line) to ozhorrorscope@gmail.com.
Conditions:
- One entry per person.
- Open to Australian residents only.
- Competition closes November 23.
- Winners randomly drawn.
- Your personal info remains confidential.
Monday, November 15, 2010
News: Aurealis Awards fundraising auction
To raise funds for SpecFaction NSW, the new hosts of the Aurealis Awards, some of the biggest names in Australian speculative fiction have cleared out their cupboards and the contents are being sold on Ebay!
Where else can you buy an original print from Leviathan by Scott Westerfeld or a bundle of autographed fantasy, science fiction, or horror novels from a huge list of Aussie authors including; Sara Douglass, Ian Irvine, Sean Williams and Shane Dix, Traci Harding, Karen Miller, Stephen M. Irwin, Nathan Burrage, Richard Harland, Marianne De Pierres, Angela Slatter, Kate Forsyth, Isabel Merlin, Sophie Masson, Jack Dann, Kaaron Warren, Shane Jiraiya Cummings, and Kirstyn McDermott?
The autographed books are being auctioned off in five book bundles. For a complete description of the contents of each bundle, or to bid on one of these great items, refer to the list of Ebay item numbers below and make sure you place your bid between 16 and 25 November, 2010.
For more information on the 2010 Aurealis Awards go to www.aurealisawards.com
Source: SpecFaction NSW
Where else can you buy an original print from Leviathan by Scott Westerfeld or a bundle of autographed fantasy, science fiction, or horror novels from a huge list of Aussie authors including; Sara Douglass, Ian Irvine, Sean Williams and Shane Dix, Traci Harding, Karen Miller, Stephen M. Irwin, Nathan Burrage, Richard Harland, Marianne De Pierres, Angela Slatter, Kate Forsyth, Isabel Merlin, Sophie Masson, Jack Dann, Kaaron Warren, Shane Jiraiya Cummings, and Kirstyn McDermott?
The autographed books are being auctioned off in five book bundles. For a complete description of the contents of each bundle, or to bid on one of these great items, refer to the list of Ebay item numbers below and make sure you place your bid between 16 and 25 November, 2010.
- Signed short story collections: Item Number: 200542551759
- New and signed fantasy novels: Item Number: 200542236233
- New and signed fantasy novels for all ages: Item Number: 200542554272
- New and signed science fiction novels: Item Number: 200542552834
- New and signed dark fantasy, horror, and historical novels: Item Number: 200542556121
- Print from Scott Westerfeld’s novel Leviathan, signed by the artist: Item Number: 200542561373
For more information on the 2010 Aurealis Awards go to www.aurealisawards.com
Source: SpecFaction NSW
Labels:
Aurealis Awards,
News
Links to this post
Friday, November 12, 2010
Review: Dread (2009)
There is no delight the equal of dread.
So begins the opening paragraph of a pivotal short story in the illustrious career of Clive Barker. From the myriad of tales presented in his ground-breaking collection Books of Blood, Dread stood out among others of the fold as a harrowing excursion into the nature of fear.
Many years later we finally have a film adaptation from the anthology that has given rise to semi-successful outings over the years including Rawhead Rex, Candyman, Lord of Illusions, Book of Blood and The Midnight Meat Train. And it could not come at a more important time. With the expansion of the splatter-porn field now firmly entrenched in the scaffold of the genre, I feel the original architects of such tales deserve their voice to be heard before we become overly swamped in a mire of imitation and unsympathetic translations that lack metaphor. Although shocking in tone, Clive Barker’s tiny tale of Quaid and his philosophical relationship with the ‘Beast’ of fear is somewhat loftier than the usual horrors.
Jackson Rathbone plays Stephen Grace, a University cinema student who becomes acquainted with Quaid – another individual like himself with a potent story from the past detailing horrific advents: Stephen does not drive a vehicle after his sibling died at the wheel, and Quaid is still reeling from being a child eyewitness to his parent’s dismemberment. Already, we are seeing things deviate from the original story – subtle changes at fist but still keeping with the overall milieu. Quaid then proposes research into people’s fears for their first thesis, and soon they are joined by fellow-student Cheryl to work with them documenting everything on camera. What follows is a character-driven descent into psychological terror with some gut-wrenching scenes.
Initially, I thought the restrained changes and in particular the casting of Shaun Evans as Quaid would hinder the build-up. This Quaid feels far too innocent and simple - gone is the dark charisma that made this expert manipulator so enticing. But as the narrative unfolds Evans begins to exhibit all the characteristics needed to flesh out the character. We then face the conundrums associated with re-playing our fears … that if we stare directly into the eyes of the Beast for long enough will we finally be granted revelation?
Writer/Director Anthony DiBlasi has worked recently on other Barker projects and the final product of this small-budget outing is ultimately as slick and unnerving as anything released by a major studio. The ambiance has been honored; the material given a kind of dark reverence that shows both an understanding of it tempered with the need for a clever rearrangement. While not containing the dark grandiosity of previous adaptations such as Lord of Illusions or perhaps Candyman, Dread still manages to find its own shadowy niche in the legendary resume of Clive Barker.
Reviewed by Matthew Tait
Labels:
Books of Blood,
Clive Barker,
Dread
Links to this post
Tuesday, November 09, 2010
Review: Eeek! #2
Issue #2 of the new Eeek! series has something of a science fiction thread running through it, with two of the three stories (both written by guest contributors) sitting squarely within the SF genre.
Eeek! #1 was reviewed here and the US trade paperback of the earlier Eeek! series was reviewed here.
"The Harvest" (script by Jason Fischer, art by Jason Paulos) opens the issue. Jason Fischer is an author well-known to fans of Australian horror and science fiction, and this is his first foray into the comic book big leagues (well, biggish leagues!). "The Harvest" is an adaptation of Fischer's Australian Shadows Award-nominated short story "Rick Gets a Job" (first published in Andromeda Spaceways Inflight Magazine #37), and for this reviewer's money, the new title is an improvement. In fact, possibly because of the truncated nature of the graphic medium - or perhaps because of Paulos' excellent artwork - this version of Fischer's story is a superior effort.
"The Harvest" follows new recruit Rick as he begins work at a human abattoir. Humanity serves somewhat benevolent aliens known as the Raijinn, and consequently, men and women are killed in factories for the Raijinn's consumption. Life in the factory is confronting for an independent-minded guy like Rick, but he only does it for the exemption he receives from the lottery that determines who becomes the aliens' next course. A propaganda campaign convinces the human population that their fate is honourable and peaceful, but that doesn't gel with what Rick sees at the factory. When his fiance is picked in the lottery two weeks before their wedding day, Rick takes matters into his own hands ... and confronts the truth.
While clearly inspired by (and some might say derivative of) works such as Soylent Green and Shirley Jackson's "The Lottery", "The Harvest" is the highlight of this issue. Rick's motivations are powerful, offering the beacon of a sympathetic protagonist as the reader is led through a particularly dark story. The revelation at the end is grim and ultimately offers a payoff that is enlightening and frustrating at the same time. Well done to Fischer and Paulos on creating such a brilliant story together. On the strength of this story, hopefully the pair will collaborate again in the future.
"Deterrent Protocol", written by Daren White and drawn by Jason Paulos, is the other sci-fi tale, flinging the reader into a distinctly retro far-future space opera. After a quick intro (space soldiers must recover a crystal from a ship that has crashed on a world populated by secretive inhabitants), we're straight into action that puts Flash Gordon and Buck Rogers to shame. Our intrepid soldiers blast their way through waves of monstrous denizens while trying to save a particularly buxom native woman from their slimy clutches. One by one, the soldiers fall prey to the planet as they attempt to keep the native woman alive, but with her voluptuousness in their midst, their mission priority changes.
"Deterrent Protocol" is a good, action-filled romp. It's a bit of a no-brainer, but with laser swords, giant blobs, and a bikini-clad beauty, this is one for the boys!
Moving away from sci-fi is Jason Paulos' story "The Green Fairy". While perhaps the weaker of the stories in this issue in terms of plotting (this story is a recount of the rise and fall of talented Parisian artist Anton Goffrey), "The Green Fairy" is the most evocative drawn story of the three. The allure of the Green Fairy's appearance on the first page alone justifies what follows. Paulos chose an ethereal style for this story, with panels merging together as the story unfolds in flashback. Paulos has a fine sense of the female form, and his women in this story are erotically sublime. The story itself kind of trails off, but the artwork is distraction enough that you won't even notice!
Eeek! #1 is available from newsstands around Australia or directly from Black House Comics.
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'.
Eeek! #1 was reviewed here and the US trade paperback of the earlier Eeek! series was reviewed here.
"The Harvest" (script by Jason Fischer, art by Jason Paulos) opens the issue. Jason Fischer is an author well-known to fans of Australian horror and science fiction, and this is his first foray into the comic book big leagues (well, biggish leagues!). "The Harvest" is an adaptation of Fischer's Australian Shadows Award-nominated short story "Rick Gets a Job" (first published in Andromeda Spaceways Inflight Magazine #37), and for this reviewer's money, the new title is an improvement. In fact, possibly because of the truncated nature of the graphic medium - or perhaps because of Paulos' excellent artwork - this version of Fischer's story is a superior effort.
"The Harvest" follows new recruit Rick as he begins work at a human abattoir. Humanity serves somewhat benevolent aliens known as the Raijinn, and consequently, men and women are killed in factories for the Raijinn's consumption. Life in the factory is confronting for an independent-minded guy like Rick, but he only does it for the exemption he receives from the lottery that determines who becomes the aliens' next course. A propaganda campaign convinces the human population that their fate is honourable and peaceful, but that doesn't gel with what Rick sees at the factory. When his fiance is picked in the lottery two weeks before their wedding day, Rick takes matters into his own hands ... and confronts the truth.
While clearly inspired by (and some might say derivative of) works such as Soylent Green and Shirley Jackson's "The Lottery", "The Harvest" is the highlight of this issue. Rick's motivations are powerful, offering the beacon of a sympathetic protagonist as the reader is led through a particularly dark story. The revelation at the end is grim and ultimately offers a payoff that is enlightening and frustrating at the same time. Well done to Fischer and Paulos on creating such a brilliant story together. On the strength of this story, hopefully the pair will collaborate again in the future.
"Deterrent Protocol", written by Daren White and drawn by Jason Paulos, is the other sci-fi tale, flinging the reader into a distinctly retro far-future space opera. After a quick intro (space soldiers must recover a crystal from a ship that has crashed on a world populated by secretive inhabitants), we're straight into action that puts Flash Gordon and Buck Rogers to shame. Our intrepid soldiers blast their way through waves of monstrous denizens while trying to save a particularly buxom native woman from their slimy clutches. One by one, the soldiers fall prey to the planet as they attempt to keep the native woman alive, but with her voluptuousness in their midst, their mission priority changes.
"Deterrent Protocol" is a good, action-filled romp. It's a bit of a no-brainer, but with laser swords, giant blobs, and a bikini-clad beauty, this is one for the boys!
Moving away from sci-fi is Jason Paulos' story "The Green Fairy". While perhaps the weaker of the stories in this issue in terms of plotting (this story is a recount of the rise and fall of talented Parisian artist Anton Goffrey), "The Green Fairy" is the most evocative drawn story of the three. The allure of the Green Fairy's appearance on the first page alone justifies what follows. Paulos chose an ethereal style for this story, with panels merging together as the story unfolds in flashback. Paulos has a fine sense of the female form, and his women in this story are erotically sublime. The story itself kind of trails off, but the artwork is distraction enough that you won't even notice!
Eeek! #1 is available from newsstands around Australia or directly from Black House Comics.
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'.
Review: Eeek! #1
After a couple of years as a print-on-demand indie, the Eeek! Australian retro horror series has exploded in popularity in recent months. In September, US publisher Asylum Press released a trade paperback collecting 16 stories of the previous Eeek! series. That paperback was reviewed on HorrorScope here. Now, emerging Aussie comic book publishing powerhouse Black House Comics is distributing the new Eeek! series nationally. Each issue in the new series is about 22 pages and features three dark stories (often with a twist or a dash of black humour).
All three stories in Issue #1 are drawn and written by series mastermind Jason Paulos. Paulos has mastered the pulp style of retro horror art that was the hallmark of iconic horror publications such as Creepy and Eerie. While Paulos' scripts tended to lag behind the brilliance of his art in the earlier series, experience has honed his talent as a writer. The three stories in issue #1 of the revamped series are tightly written.
The series begins with "A Boy's Best Fiend", a tale of a boy, Anton, who befriends a Hell Hound, who turns out to be a lycanthropic Nazi super soldier. As Anton cares for the Hell Hound (Peter), his village is plagued by the rest of the Nazi Hell Hound pack. Defending Anton and his father from the pack, a disillusioned Peter makes a stand against the tyranny of his German superiors. "A Boy's Best Fiend" is a solid opener. The spectacular art brings the true menace of the Hell Hounds to life. The reader is also treated to an entertaining back story and a satisfying conclusion.
"Collateral Damage" is a genuine Twilight Zone-esque story, complete with a 50s sensibility. Crusading journalist Draper takes on the mob through his newspaper articles, but after his wife is murdered before his eyes, his crusade takes a more violent course. The twist in this one is abrupt and could have benefited from at least minimal, subtle foreshadowing, but otherwise, this story is one of those nifty circular pieces that makes the reader think.
"Look Who's Stalking" is a scathing critique of paranoia, mob violence, and vigilante culture. The 'demon' of the piece is a convicted paedophile released back into the community after serving his prison sentence, but Paulos takes a sympathetic view of the ex-con, West, by showing his struggle to fit back into the community and his sheltering of his disabled mother from the abuse. Concerned citizen and drunkard Renton decides to bait West online into meeting him so he can dispense a little vigilante justice, but things turn sour for the would-be vigilante when others have a similar idea. As Paulos himself suggests through his robed narrator, this is a depressing story, but it's probably the most politically scathing and poignant of the Eeek! stories published to date. This story has no weaknesses: the artwork is the equal to any of Paulos' stories, and the twist, when it inevitably arrives, is perfectly foreshadowed and the epitome of the 'just desserts' style of storytelling. Two thumbs up!
Finally, props to Dave Elsey for creating a striking cover (a realistic rendition of Jason Paulos' iconic Undertaker, who features in several Eeek! stories as narrator). It's the perfect image to relaunch the Eeek! line.
Eeek! #1 is available from newsstands around Australia or directly from Black House Comics.
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'.
All three stories in Issue #1 are drawn and written by series mastermind Jason Paulos. Paulos has mastered the pulp style of retro horror art that was the hallmark of iconic horror publications such as Creepy and Eerie. While Paulos' scripts tended to lag behind the brilliance of his art in the earlier series, experience has honed his talent as a writer. The three stories in issue #1 of the revamped series are tightly written.
The series begins with "A Boy's Best Fiend", a tale of a boy, Anton, who befriends a Hell Hound, who turns out to be a lycanthropic Nazi super soldier. As Anton cares for the Hell Hound (Peter), his village is plagued by the rest of the Nazi Hell Hound pack. Defending Anton and his father from the pack, a disillusioned Peter makes a stand against the tyranny of his German superiors. "A Boy's Best Fiend" is a solid opener. The spectacular art brings the true menace of the Hell Hounds to life. The reader is also treated to an entertaining back story and a satisfying conclusion.
"Collateral Damage" is a genuine Twilight Zone-esque story, complete with a 50s sensibility. Crusading journalist Draper takes on the mob through his newspaper articles, but after his wife is murdered before his eyes, his crusade takes a more violent course. The twist in this one is abrupt and could have benefited from at least minimal, subtle foreshadowing, but otherwise, this story is one of those nifty circular pieces that makes the reader think.
"Look Who's Stalking" is a scathing critique of paranoia, mob violence, and vigilante culture. The 'demon' of the piece is a convicted paedophile released back into the community after serving his prison sentence, but Paulos takes a sympathetic view of the ex-con, West, by showing his struggle to fit back into the community and his sheltering of his disabled mother from the abuse. Concerned citizen and drunkard Renton decides to bait West online into meeting him so he can dispense a little vigilante justice, but things turn sour for the would-be vigilante when others have a similar idea. As Paulos himself suggests through his robed narrator, this is a depressing story, but it's probably the most politically scathing and poignant of the Eeek! stories published to date. This story has no weaknesses: the artwork is the equal to any of Paulos' stories, and the twist, when it inevitably arrives, is perfectly foreshadowed and the epitome of the 'just desserts' style of storytelling. Two thumbs up!
Finally, props to Dave Elsey for creating a striking cover (a realistic rendition of Jason Paulos' iconic Undertaker, who features in several Eeek! stories as narrator). It's the perfect image to relaunch the Eeek! line.
Eeek! #1 is available from newsstands around Australia or directly from Black House Comics.
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'.
Labels:
Eeek,
Jason Paulos,
Oz Horror Comics,
Review
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Monday, November 08, 2010
Review: Sally Ann Watkins
Sally Ann Watkins is the latest film from Dave de Vries' SA-based production company, Dark Mirror Pictures, who were responsible for last year's independent Aussie thriller Carmilla Hyde. At a mere 7 minutes running time, Sally Ann could be considered Carmilla's little sister, but while short, the film tackles the sophisticated themes of identity and desperation in the face of adversity.
The action begins immediately, with upper class housewife Watkins confronted by a gunman when she answers the door. From there, the film enters a psychological game of cat and mouse as Sally Ann must negotiate her freedom from the gunman while the man himself believes Sally Ann to be 'Amber Waves', a porn star on the run with a mob boss's money.
For a thriller, the film doesn't feel particularly tense. The unnamed gunman has Sally Ann Watkins bound to a chair and menaces her, but it's clear his intentions are something other than violence, particularly when he asserts he is Amber Waves' "biggest fan". Tamara Shinners is note perfect as the desperate but haughty Watkins. Her calculated pleas are believable, but perhaps because of the film's brevity, the turning point where she plays on the (possible) mistaken identity arrives too quickly. The gunman (Terry Rogers) comes across as sleazy rather than intimidating, but as the last section of the film reveals, Rogers' earlier behaviour as the gunman is right on the money.
Dave de Vries appears to be exploring dual identities in his films. Just as he did in his career as a comic book artist, where masked superheroes have secret identities, de Vries has in his films to date presented otherwise meek women (Sally Ann Watkins and Millie Jackson) and given them rambunctious alter egos (Amber Waves and Carmilla Hyde). All the great superheroes transform from "mild mannered" personas into powerhouses: Clark Kent into Superman, Peter Parker into Spider-Man, etc. Just like Billy Batson's transformation into Captain Marvel by uttering the name "Shazam!", de Vries' first creation, Millie Jackson/Carmilla Hyde, attains her dark persona by speaking her name aloud in front of a mirror. Sally Ann Watkins' transformation from housewife into Amber Waves is more subtle, being brought on by the home invader's porn fantasies.
When Sally Ann's transformation does occur, it is highlighted by a change of scene, make-up, and hairstyle. The transition is subtle, but at the same time, Tamara Shinners almost looks like a different actress. Just as the viewer acclimatises to this change, the director plays his hand with a satisfying twist, and all the pieces fall into place. Bravo to all involved!
It's intriguing that de Vries is focussing on the dark, empowered sides of women in his films. Perhaps the dual identities of a male character may feature in a future de Vries film?
Aside from story aspects, the directing is tight, the camera work great (and used sparingly to good effect), and the score is contemporary and zips the film along. Sally Ann Watkins is about as solid a short film as one can find.
Sally Ann Watkins can be viewed on YouTube for free.
The action begins immediately, with upper class housewife Watkins confronted by a gunman when she answers the door. From there, the film enters a psychological game of cat and mouse as Sally Ann must negotiate her freedom from the gunman while the man himself believes Sally Ann to be 'Amber Waves', a porn star on the run with a mob boss's money.
For a thriller, the film doesn't feel particularly tense. The unnamed gunman has Sally Ann Watkins bound to a chair and menaces her, but it's clear his intentions are something other than violence, particularly when he asserts he is Amber Waves' "biggest fan". Tamara Shinners is note perfect as the desperate but haughty Watkins. Her calculated pleas are believable, but perhaps because of the film's brevity, the turning point where she plays on the (possible) mistaken identity arrives too quickly. The gunman (Terry Rogers) comes across as sleazy rather than intimidating, but as the last section of the film reveals, Rogers' earlier behaviour as the gunman is right on the money.
Dave de Vries appears to be exploring dual identities in his films. Just as he did in his career as a comic book artist, where masked superheroes have secret identities, de Vries has in his films to date presented otherwise meek women (Sally Ann Watkins and Millie Jackson) and given them rambunctious alter egos (Amber Waves and Carmilla Hyde). All the great superheroes transform from "mild mannered" personas into powerhouses: Clark Kent into Superman, Peter Parker into Spider-Man, etc. Just like Billy Batson's transformation into Captain Marvel by uttering the name "Shazam!", de Vries' first creation, Millie Jackson/Carmilla Hyde, attains her dark persona by speaking her name aloud in front of a mirror. Sally Ann Watkins' transformation from housewife into Amber Waves is more subtle, being brought on by the home invader's porn fantasies.
When Sally Ann's transformation does occur, it is highlighted by a change of scene, make-up, and hairstyle. The transition is subtle, but at the same time, Tamara Shinners almost looks like a different actress. Just as the viewer acclimatises to this change, the director plays his hand with a satisfying twist, and all the pieces fall into place. Bravo to all involved!
It's intriguing that de Vries is focussing on the dark, empowered sides of women in his films. Perhaps the dual identities of a male character may feature in a future de Vries film?
Aside from story aspects, the directing is tight, the camera work great (and used sparingly to good effect), and the score is contemporary and zips the film along. Sally Ann Watkins is about as solid a short film as one can find.
Sally Ann Watkins can be viewed on YouTube for free.
Sunday, November 07, 2010
Review: Frankenstein: Lost Souls
ISBN 978-0-00-735384-2
Reviewed by Robert Hood
Dean Koontz’s Frankenstein series began life as a treatment for a TV series. When best-selling horror author Koontz withdrew, citing creative differences, he took the concept with him, and turned it into a series of novels -- the first two, Prodigal Son and City of Night, co-written with Kevin J. Anderson and Ed Gorman respectively. The third, Dead and Alive, and the most recent, Lost Souls, saw Koontz taking over the reins solo.
Conceptually the series develops and extends Mary Shelley’s original novel into the present, displaying considerable original invention while incorporating into the framework ideas reminiscent (to an extent) of those that Hammer Studios introduced into their six Frankenstein films between 1957 and 1974 -- in particular, in Lost Souls, the concept that Victor Frankenstein might become his own creation. As in the Hammer films, Koontz’s Victor Frankenstein is the monster, whose arrogant, sociopathic thirst for godhood results in escalating apocalyptic horror -- for such is Victor’s evolving scientific genius that he has succeeded in extending his own life indefinitely and seeks to perfect humanity, eventually replacing the flawed variety that currently inhabits the world -- the Old Race -- with his own “perfect” creatures.
After two hundred years -- during which time he has re-enforced his old-style research into artificial life with modern genetic advances and from that base created virtual supermen in the form of bio-androids that he controls through flesh-based cybernetics -- who is there to stop him? Well, for a start there are two detectives, Carson O’Connor and her partner Michael Maddison, who in the earlier books thwart, with help, the plans of Victor Helios (as Frankenstein now calls himself). By Book 4 they have married, had a child, left the force and become private detectives -- content in the knowledge that Victor is dead. Of even greater importance is the creature known as Deucalion -- Frankenstein’s original creation, who is still, perhaps, his greatest success, despite the monstrous nature of his appearance.
Where Frankenstein’s actions have become increasingly monstrous over the years, Deucalion (named after the son of Prometheus -- Mary Shelley’s novel being subtitled “A Modern Prometheus”) has found a form of peace and has embraced his own supra-humanity without rejecting ordinary humans in the process. Totally free of his creator’s controlling influence (unlike Victor’s newest creations), Deucalion still seeks redemption for the monstrous violence of his past and focuses now on ridding the world of Frankenstein and his evil legacy. He is highly intelligent, determined, physically strong and so in tune with himself and the life-currents of the world that he is able to move instantaneously through quantum space. Deucalion is a true superman, in fact -- and a hero to boot. Like all the best superheroes, he is conflicted and troubled by the past but honorable and self-sacrificial nevertheless.
In Lost Souls O’Connor, Maddison and Deucalion learn that Victor may be dead (they saw him die in the previous book) but that somehow a new plan to rid the world of the Old Race has been set in motion in a small town in Montana. Except to say that it involves some rather horrific and grisly concepts, I won’t describe how that can be, or explain the nature of the new apocalypse, as these elements are really all that the novel offers readers. Neither are big revelations (you’ll guess them well before they arrive) but at least they’re something. Sadly, no one will confuse Lost Souls with an effective stand-alone novel. Plot-wise, the 350-page book is really just set-up for what is to come in the next volume of the saga (The Dead Town, due out in 2011) -- and this is its biggest flaw.
Now I’m aware that the novel is part of a series -- more one episode of a serial in fact -- and hence isn’t by definition complete, but these days one would expect that such a series would at least emulate current TV serial narrative structures and within the boundaries of each installment provide a climactic development that leaves the reader both satisfied and hungry to find out What It All Means and Where It Goes Next. The early books did this, offering a contained narrative sequence within the context of a larger arc -- like a good episode of Buffy, where our protagonists deal with a minor Bad that in various ways progresses our journey toward the Big Bad at season’s end. Here, Lost Souls simply stops on page 350, offering some character resolve but no resolution, not even a minor climax. It is all set-up, quite literally ending just before the action to which it has been heading is about to start. You turn the page to find an ad for the next book, but are left dissatisfied with this book’s own narrative logic. Yes, it's Part One of a two-part novel -- though this is stated nowhere on the book.
That’s not to say that Koontz doesn’t offer interesting characters and situations along the way. He does, leaping frantically from one set of characters to another and gradually creating a quite complex picture of a fascinatingly horrific situation -- bringing characters into place, putting the pieces on the board as it were. But the book, as a single entity, offers no sense of having even a minor identity of its own.
Here Koontz’s usual bestseller style is rather distended as well -- too often stylistically confusing blandness for clarity. His skill at dialogue -- particularly a type of folksy banter that helps both explain and endear the characters to us -- carries on for too long, becoming space filler rather than driving the narrative or sculpting the characters for us. We get the point and then he shows it to us again and again. The whole thing -- for all the inherent interest of its ideas, conceptual development and characters -- seems like filler and speed-dial filler at that. Once upon a time this book, as part of a serial tale (like a series of pulp books featuring Frankenstein’s monster and his adventures I recall from the 1960s), would have been 200 pages long (or less) and would have done similar things. It would probably have offered a minor climax as well. Had Lost Souls been 200 pages long, with a more structured narrative, it would have been a more satisfying book in its own right -- and a more telling link in the serial chain.
However, if Koontz’s imaginative development of the Frankenstein story and the other elements that I’ve described appeal to you, I wouldn’t hesitate to recommend that you go fetch the previous books and read them. I enjoyed them thoroughly. By the time you get to Lost Souls, Book 5 may have been released and you can simply keep reading through, ignoring the anti-climactic, rambling inadequacy of this one.
Reviewed by Robert Hood
Dean Koontz’s Frankenstein series began life as a treatment for a TV series. When best-selling horror author Koontz withdrew, citing creative differences, he took the concept with him, and turned it into a series of novels -- the first two, Prodigal Son and City of Night, co-written with Kevin J. Anderson and Ed Gorman respectively. The third, Dead and Alive, and the most recent, Lost Souls, saw Koontz taking over the reins solo.
Conceptually the series develops and extends Mary Shelley’s original novel into the present, displaying considerable original invention while incorporating into the framework ideas reminiscent (to an extent) of those that Hammer Studios introduced into their six Frankenstein films between 1957 and 1974 -- in particular, in Lost Souls, the concept that Victor Frankenstein might become his own creation. As in the Hammer films, Koontz’s Victor Frankenstein is the monster, whose arrogant, sociopathic thirst for godhood results in escalating apocalyptic horror -- for such is Victor’s evolving scientific genius that he has succeeded in extending his own life indefinitely and seeks to perfect humanity, eventually replacing the flawed variety that currently inhabits the world -- the Old Race -- with his own “perfect” creatures.
After two hundred years -- during which time he has re-enforced his old-style research into artificial life with modern genetic advances and from that base created virtual supermen in the form of bio-androids that he controls through flesh-based cybernetics -- who is there to stop him? Well, for a start there are two detectives, Carson O’Connor and her partner Michael Maddison, who in the earlier books thwart, with help, the plans of Victor Helios (as Frankenstein now calls himself). By Book 4 they have married, had a child, left the force and become private detectives -- content in the knowledge that Victor is dead. Of even greater importance is the creature known as Deucalion -- Frankenstein’s original creation, who is still, perhaps, his greatest success, despite the monstrous nature of his appearance.
Where Frankenstein’s actions have become increasingly monstrous over the years, Deucalion (named after the son of Prometheus -- Mary Shelley’s novel being subtitled “A Modern Prometheus”) has found a form of peace and has embraced his own supra-humanity without rejecting ordinary humans in the process. Totally free of his creator’s controlling influence (unlike Victor’s newest creations), Deucalion still seeks redemption for the monstrous violence of his past and focuses now on ridding the world of Frankenstein and his evil legacy. He is highly intelligent, determined, physically strong and so in tune with himself and the life-currents of the world that he is able to move instantaneously through quantum space. Deucalion is a true superman, in fact -- and a hero to boot. Like all the best superheroes, he is conflicted and troubled by the past but honorable and self-sacrificial nevertheless.
In Lost Souls O’Connor, Maddison and Deucalion learn that Victor may be dead (they saw him die in the previous book) but that somehow a new plan to rid the world of the Old Race has been set in motion in a small town in Montana. Except to say that it involves some rather horrific and grisly concepts, I won’t describe how that can be, or explain the nature of the new apocalypse, as these elements are really all that the novel offers readers. Neither are big revelations (you’ll guess them well before they arrive) but at least they’re something. Sadly, no one will confuse Lost Souls with an effective stand-alone novel. Plot-wise, the 350-page book is really just set-up for what is to come in the next volume of the saga (The Dead Town, due out in 2011) -- and this is its biggest flaw.
Now I’m aware that the novel is part of a series -- more one episode of a serial in fact -- and hence isn’t by definition complete, but these days one would expect that such a series would at least emulate current TV serial narrative structures and within the boundaries of each installment provide a climactic development that leaves the reader both satisfied and hungry to find out What It All Means and Where It Goes Next. The early books did this, offering a contained narrative sequence within the context of a larger arc -- like a good episode of Buffy, where our protagonists deal with a minor Bad that in various ways progresses our journey toward the Big Bad at season’s end. Here, Lost Souls simply stops on page 350, offering some character resolve but no resolution, not even a minor climax. It is all set-up, quite literally ending just before the action to which it has been heading is about to start. You turn the page to find an ad for the next book, but are left dissatisfied with this book’s own narrative logic. Yes, it's Part One of a two-part novel -- though this is stated nowhere on the book.
That’s not to say that Koontz doesn’t offer interesting characters and situations along the way. He does, leaping frantically from one set of characters to another and gradually creating a quite complex picture of a fascinatingly horrific situation -- bringing characters into place, putting the pieces on the board as it were. But the book, as a single entity, offers no sense of having even a minor identity of its own.
Here Koontz’s usual bestseller style is rather distended as well -- too often stylistically confusing blandness for clarity. His skill at dialogue -- particularly a type of folksy banter that helps both explain and endear the characters to us -- carries on for too long, becoming space filler rather than driving the narrative or sculpting the characters for us. We get the point and then he shows it to us again and again. The whole thing -- for all the inherent interest of its ideas, conceptual development and characters -- seems like filler and speed-dial filler at that. Once upon a time this book, as part of a serial tale (like a series of pulp books featuring Frankenstein’s monster and his adventures I recall from the 1960s), would have been 200 pages long (or less) and would have done similar things. It would probably have offered a minor climax as well. Had Lost Souls been 200 pages long, with a more structured narrative, it would have been a more satisfying book in its own right -- and a more telling link in the serial chain.
However, if Koontz’s imaginative development of the Frankenstein story and the other elements that I’ve described appeal to you, I wouldn’t hesitate to recommend that you go fetch the previous books and read them. I enjoyed them thoroughly. By the time you get to Lost Souls, Book 5 may have been released and you can simply keep reading through, ignoring the anti-climactic, rambling inadequacy of this one.
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Friday, November 05, 2010
Review: The List Volume I and II
The List is a serialised Australian graphic horror novel (in the literal and genre sense of 'graphic') that has been gathering a lot of buzz over the last two years. I have had the first (and to date, only) two published volumes in my possession for more than twelve months because until now I lacked the necessary skills to write a thorough and informed review of The List, taking into account the nuances of the genre and the graphic novel medium. Having read Australian horror comics extensively this year - and having had some of my own short works published in Australian horror comics recently - I now have a more thorough understanding of how to approach this review.
The List is published by Dog with a Bone Studios and is the brainchild of script writer Paul Bedford and pencilled by Henry Pop. Issue 1 is inked by Henry Pop and issue 2 by Tom Bonin. The lettering is done by Avi Bernshaw and Fleur Andrews. This team has combined to create a visually impressive project. The covers, both featuring sinister-looking angels - uncredited in issue 1 and from Wayne Nichols in issue 2 - are evocative of the contents and set the stage for what might be a supernatural or psychological tale of violence, depending on the reader's perception.
This ambiguity drives much of the narrative's intrigue. The reader receives almost no clues as to who the characters are (beyond their roles of 'Son', 'Father', and 'Mother'), and more importantly, their motivations in acting the way they do. Make no mistake: The List is a violent story. The Son inherits from his father the duty of maintaining a list of commandments that he carves into his flesh. Whenever the Son completes a commandment, he strikes it off with the nearest sharp object. The Father, and later, the Son, are inspired to fulfill these bloody commandments by an angel, but whether this angel is a supernatural force or a combination of psychosis and intra-family brainwashing is anyone's guess. This ambiguity is central to the story, and at times, even the Son seems confused when confronted by the ghost of his father, whom he ultimately comes to believe was sent by the angel to test him (rather than a hallucination).
The plot in the first two volumes, which cover the honouring of three commandments, is simple: following the death of his father and mother, the Son follows in his father's footsteps, carves the commandments passed onto him by his father into his torso, and then sets out into the world to honour these commandments. The honouring of these commandments (so far, anyway) seems to involve the Son finding low-lifes, beating them to a pulp, and then murdering them.
While violence is almost a requirement in the horror genre, the repetitive nature in which the commandments are honoured through murder lacks imagination. While there are still (presumably) seven more commandments to go, hopefully the writer will come up with more ingenious ways of fulfilling his protagonist's list (perhaps creative disfigurement or forced penance such as those found in films such as Seven or Saw - or even acts of contrition on the Son's behalf, such as self-mutilation or denial of desires). As it stands, although the Son is a possibly divinely-inspired serial killer, his murder spree is anything but. Of course, it's early days, so the writer may address this in future issues.
The commandments themselves are a mystery, as the only clues the reader receives are that the Son's first honouring was out of order when he was forced to fight (and kill) a nightclub bouncer, and later, the third commandment involves carving 'Justice' into a mugger's chest and then murdering him and his mate. Having a better sense of what the commandments are and how they are to be honoured would increase reader interest.
As it is, issue 1 is 48 pages and issue 2 is 72 pages, and in these 120 pages (which equate to more than 400 panels), very little actually happens to propel the story forward. Most of the action is confined to the Son coming to terms with how to honour his commandments and being tested. By the end of volume 2, the back story is beginning to be fleshed out, but it is slow going up until that point. At the very end, the reader is introduced to two intriguing developments (a possible successor to the list and the Son's first glimpse of the angel), but these mere two pages don't make up for the earlier snail's pace. Unless something abrupt happens in subsequent volumes, the arc of the story could span 500 or more pages.
The only significant female character is the Mother, shown as a corpse referred to as the 'Sacrifice'. Her two full-page, nude, mutilated appearances as the Sacrifice are reminiscent of the 'women in refridgerators' treatment of women in comic books. Although The List website says her murder as the Sacrifice was consensual, and there is a small cluster of four panels in volume 2 that show the Father and Son praying next to the woman before she is sacrificed, one has to wonder where her clothes disappeared to (in the pre-sacrifice panels, she was wearing clothes right up to the point of her murder, but even though she is later shown dead on the exact same bed, her clothes have disappeared and she lies naked). Is this simply unnecessary gratuitousness? Hopefully, future volumes will explain this discrepancy.
Although there are problems with the pacing, the depiction of the Mother, and a lack of clarity concerning the commandments, Henry Pop's pencil work is to be admired. The List is a dark, brooding story, and Pop's artwork captures the mood of the story well. Dark borders, heavy shading, and bold lines tell the story effectively, especially given the dearth of dialogue and character interaction.
While the first two volumes have their faults, there are encouraging signs that Bedford and team are improving. Volume 2 was a more rewarding read than the first, and with the developments of the last few pages, new plot lines are being introduced that should test the Son in ways that will hopefully engage the reader. After a sluggish beginning, I'm looking forward to seeing the momentum build and the mystery of The List resolved.
Volume 1 and 2 of The List can be purchased directly from the publisher's website.
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'.
The List is published by Dog with a Bone Studios and is the brainchild of script writer Paul Bedford and pencilled by Henry Pop. Issue 1 is inked by Henry Pop and issue 2 by Tom Bonin. The lettering is done by Avi Bernshaw and Fleur Andrews. This team has combined to create a visually impressive project. The covers, both featuring sinister-looking angels - uncredited in issue 1 and from Wayne Nichols in issue 2 - are evocative of the contents and set the stage for what might be a supernatural or psychological tale of violence, depending on the reader's perception.
This ambiguity drives much of the narrative's intrigue. The reader receives almost no clues as to who the characters are (beyond their roles of 'Son', 'Father', and 'Mother'), and more importantly, their motivations in acting the way they do. Make no mistake: The List is a violent story. The Son inherits from his father the duty of maintaining a list of commandments that he carves into his flesh. Whenever the Son completes a commandment, he strikes it off with the nearest sharp object. The Father, and later, the Son, are inspired to fulfill these bloody commandments by an angel, but whether this angel is a supernatural force or a combination of psychosis and intra-family brainwashing is anyone's guess. This ambiguity is central to the story, and at times, even the Son seems confused when confronted by the ghost of his father, whom he ultimately comes to believe was sent by the angel to test him (rather than a hallucination).
The plot in the first two volumes, which cover the honouring of three commandments, is simple: following the death of his father and mother, the Son follows in his father's footsteps, carves the commandments passed onto him by his father into his torso, and then sets out into the world to honour these commandments. The honouring of these commandments (so far, anyway) seems to involve the Son finding low-lifes, beating them to a pulp, and then murdering them.
While violence is almost a requirement in the horror genre, the repetitive nature in which the commandments are honoured through murder lacks imagination. While there are still (presumably) seven more commandments to go, hopefully the writer will come up with more ingenious ways of fulfilling his protagonist's list (perhaps creative disfigurement or forced penance such as those found in films such as Seven or Saw - or even acts of contrition on the Son's behalf, such as self-mutilation or denial of desires). As it stands, although the Son is a possibly divinely-inspired serial killer, his murder spree is anything but. Of course, it's early days, so the writer may address this in future issues.
The commandments themselves are a mystery, as the only clues the reader receives are that the Son's first honouring was out of order when he was forced to fight (and kill) a nightclub bouncer, and later, the third commandment involves carving 'Justice' into a mugger's chest and then murdering him and his mate. Having a better sense of what the commandments are and how they are to be honoured would increase reader interest.
As it is, issue 1 is 48 pages and issue 2 is 72 pages, and in these 120 pages (which equate to more than 400 panels), very little actually happens to propel the story forward. Most of the action is confined to the Son coming to terms with how to honour his commandments and being tested. By the end of volume 2, the back story is beginning to be fleshed out, but it is slow going up until that point. At the very end, the reader is introduced to two intriguing developments (a possible successor to the list and the Son's first glimpse of the angel), but these mere two pages don't make up for the earlier snail's pace. Unless something abrupt happens in subsequent volumes, the arc of the story could span 500 or more pages.
The only significant female character is the Mother, shown as a corpse referred to as the 'Sacrifice'. Her two full-page, nude, mutilated appearances as the Sacrifice are reminiscent of the 'women in refridgerators' treatment of women in comic books. Although The List website says her murder as the Sacrifice was consensual, and there is a small cluster of four panels in volume 2 that show the Father and Son praying next to the woman before she is sacrificed, one has to wonder where her clothes disappeared to (in the pre-sacrifice panels, she was wearing clothes right up to the point of her murder, but even though she is later shown dead on the exact same bed, her clothes have disappeared and she lies naked). Is this simply unnecessary gratuitousness? Hopefully, future volumes will explain this discrepancy.
Although there are problems with the pacing, the depiction of the Mother, and a lack of clarity concerning the commandments, Henry Pop's pencil work is to be admired. The List is a dark, brooding story, and Pop's artwork captures the mood of the story well. Dark borders, heavy shading, and bold lines tell the story effectively, especially given the dearth of dialogue and character interaction.
While the first two volumes have their faults, there are encouraging signs that Bedford and team are improving. Volume 2 was a more rewarding read than the first, and with the developments of the last few pages, new plot lines are being introduced that should test the Son in ways that will hopefully engage the reader. After a sluggish beginning, I'm looking forward to seeing the momentum build and the mystery of The List resolved.
Volume 1 and 2 of The List can be purchased directly from the publisher's website.
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'.
Thursday, November 04, 2010
News: 2010 Hello Darkness film festival opens in Melbourne
Following a successful 2009 debut, the Hello Darkness film festival returns from November 4-11 at Greater Union cinemas Melbourne.
"We feel strongly that horror is a misunderstood genre," said Festival Director Rachael Cotra. "Too many amazing films that are a little on the dark side are being overlooked because of a perception that horror cinema is incredibly formulaic and predictable, when it comes to plot, aesthetics and the devices used."
"This couldn’t be further from the truth. So the program has been designed to redefine the idea of the genre and the audience to which it appeals. There’s so much variation within and we want to shine a light on this."
Films showing at the festival include Evil Things, House of the Devil, Outcast, and Amer.
More information on the festival program can be found on the Hello Darkness website.
Source: Hello Darkness
"We feel strongly that horror is a misunderstood genre," said Festival Director Rachael Cotra. "Too many amazing films that are a little on the dark side are being overlooked because of a perception that horror cinema is incredibly formulaic and predictable, when it comes to plot, aesthetics and the devices used."
"This couldn’t be further from the truth. So the program has been designed to redefine the idea of the genre and the audience to which it appeals. There’s so much variation within and we want to shine a light on this."
Films showing at the festival include Evil Things, House of the Devil, Outcast, and Amer.
More information on the festival program can be found on the Hello Darkness website.
Source: Hello Darkness
News: Sharnoth's Spores and Other Seeds by Leigh Blackmore released
A US edition of Leigh Blackmore's debut dark poetry collection with the revised title Sharnoth's Spores and Other Seeds has been published by Rainfall Books.
The collection was first published as Spores from Sharnoth and Other Madnesses by P'rea Press, although Blackmore said the new collection "omits some poems and adds a number of newer ones. So for Blackmore completists, it's most desirable!"
Sharnoth's Spores and Other Seeds can be purchased directly from Rainfall Books.
Source: Leigh Blackmore
The collection was first published as Spores from Sharnoth and Other Madnesses by P'rea Press, although Blackmore said the new collection "omits some poems and adds a number of newer ones. So for Blackmore completists, it's most desirable!"
Sharnoth's Spores and Other Seeds can be purchased directly from Rainfall Books.
Source: Leigh Blackmore
Review: Decay #3
Decay's third issue is what I'll jokingly refer to as the severed head issue as not one but three stories feature decapitations or near decapitations.
The first of these is the opening story, "The Memory Remains", written by series editor Darren Koziol and inked by Xavier Thomas. Koziol has contributed at least one story to each issue, of variable quality, but this is his best yet. "The Memory Remains" is a poignant if gruesome trip through the ageless protagonist's memories after he has been decapitated, his head staked, and his body hacked to pieces, eaten, and the remains pulverised. Enduring all this, the near-death immortal looks back at his 1500 years of life, but as his brain is increasingly damaged, his memories become distorted. As a story, it's a great meditation on what it means to be an individual. It's also sickening to watch. The reader is left feeling both disturbed and saddened by the events of the story. The intensity of this emotional reaction made this story the highlight of the issue. The only frustration to this story was not understanding why such a great bloke was turned on by the tribe he'd been helping for two year, but this is a horror comic, so c'est la vie!
"Crime and Corruption or How to Get Ahead" by Tanya Nicholls (story and art) is another decapitation story, this time of the comeuppance variety. The high point of this story was Nicholls' art, which is of the naive style but striking. Many of the creations from the Circus Infinitus, the group upon which the plot revolves, are odd and unexplained (such as the horse with the tentacled face), but the surreal nature of the characters works. "Crime and Corruption" asks the question 'what would a murderous cad do to achieve power and immortality?'. The answer lies amongst the carnies themselves, but they're a force even a murderer shouldn't trifle with.
"OzZombie Origins" takes up the centre chunk of the issue. This time drawn and written by Darren Koziol, this section provides a newsflash-style flashback on when the zombie outbreak Down Under began, and on our heroes' first encounters with the voracious dead. "Origins" was disappointing in that it interrupted the flow of the main OzZombie story from issues #1 and #2, and Koziol's artwork - while similar to original artist Tom Green's style - needs more practice before it can match it with the professional efforts of guys like Dave Heinrich or SCAR. Otherwise, "Origins" is an amusing and gory vignette of zombie mayhem. Except for the frequent and bloody deaths in each panel, there's little to make this stand out from other zombie stories in comics.
The final story in the issue is "Waste of Time", written by Mark Hobby and Steve Colloff. It's science fiction of the absurdist variety, and while it has a cute punchline (which is fine for a short 4-pager such as this), this reader found the surrealism so ... surreal ... that I'm not really sure what happened. Visually, it's a lot of fun, though, so even if the story doesn't gel, that's not really the point.
In previous reviews, I failed to mention the six panel serial "Splatt the Zombie Cat" by Courtney Egan. Following the adventures of a newly zombiefied moggie, this issue finds Splatt going 'splat' as roadkill beneath a car tyre. This installment is good for a chuckle, but the series is still finding its feet.
Decay can be purchased from most comic book stores around Australia.
[Disclaimer: The reviewer had a story appear in this issue of Decay - "Spin the Witch Bottle", drawn by Adam "Ambo" StJohn. That story was not reviewed for obvious reasons.]
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'.
The first of these is the opening story, "The Memory Remains", written by series editor Darren Koziol and inked by Xavier Thomas. Koziol has contributed at least one story to each issue, of variable quality, but this is his best yet. "The Memory Remains" is a poignant if gruesome trip through the ageless protagonist's memories after he has been decapitated, his head staked, and his body hacked to pieces, eaten, and the remains pulverised. Enduring all this, the near-death immortal looks back at his 1500 years of life, but as his brain is increasingly damaged, his memories become distorted. As a story, it's a great meditation on what it means to be an individual. It's also sickening to watch. The reader is left feeling both disturbed and saddened by the events of the story. The intensity of this emotional reaction made this story the highlight of the issue. The only frustration to this story was not understanding why such a great bloke was turned on by the tribe he'd been helping for two year, but this is a horror comic, so c'est la vie!
"Crime and Corruption or How to Get Ahead" by Tanya Nicholls (story and art) is another decapitation story, this time of the comeuppance variety. The high point of this story was Nicholls' art, which is of the naive style but striking. Many of the creations from the Circus Infinitus, the group upon which the plot revolves, are odd and unexplained (such as the horse with the tentacled face), but the surreal nature of the characters works. "Crime and Corruption" asks the question 'what would a murderous cad do to achieve power and immortality?'. The answer lies amongst the carnies themselves, but they're a force even a murderer shouldn't trifle with.
"OzZombie Origins" takes up the centre chunk of the issue. This time drawn and written by Darren Koziol, this section provides a newsflash-style flashback on when the zombie outbreak Down Under began, and on our heroes' first encounters with the voracious dead. "Origins" was disappointing in that it interrupted the flow of the main OzZombie story from issues #1 and #2, and Koziol's artwork - while similar to original artist Tom Green's style - needs more practice before it can match it with the professional efforts of guys like Dave Heinrich or SCAR. Otherwise, "Origins" is an amusing and gory vignette of zombie mayhem. Except for the frequent and bloody deaths in each panel, there's little to make this stand out from other zombie stories in comics.
The final story in the issue is "Waste of Time", written by Mark Hobby and Steve Colloff. It's science fiction of the absurdist variety, and while it has a cute punchline (which is fine for a short 4-pager such as this), this reader found the surrealism so ... surreal ... that I'm not really sure what happened. Visually, it's a lot of fun, though, so even if the story doesn't gel, that's not really the point.
In previous reviews, I failed to mention the six panel serial "Splatt the Zombie Cat" by Courtney Egan. Following the adventures of a newly zombiefied moggie, this issue finds Splatt going 'splat' as roadkill beneath a car tyre. This installment is good for a chuckle, but the series is still finding its feet.
Decay can be purchased from most comic book stores around Australia.
[Disclaimer: The reviewer had a story appear in this issue of Decay - "Spin the Witch Bottle", drawn by Adam "Ambo" StJohn. That story was not reviewed for obvious reasons.]
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'.
Wednesday, November 03, 2010
Review: Decay #2
Issue #2 of new Aussie horror comic series Decay (ed. Darren Koziol, Dark Oz Productions) is the strongest of the issues I've read so far (#1-3), with a couple of high quality 'tentpole' stories propping the issue up. Issue #1 was reviewed on HorrorScope here.
Of note in issue #2 is "Deresolution Day", scripted and drawn by Dave Heinrich. Heinrich's experience as a comic book artist shows in this story, which is the most professionally drawn story in Decay to date. While I had trouble linking the resolution (pun intended!) to what happens early in this story of virtual reality run amok, re-reads helped bring the story together. Four Nazi zombie generals and their mechanized armies have surrounded the last bastion of freedom in VR - a primordial cathedral defended by gargoyles, demons, and melee-weapon-wielding monstrosities - but appearances (especially in VR) can be deceiving. These armies are the avatars of two expert hackers, and while it's not clear who is who (and what is what), at first, things become clearer when the perspective shifts back to the real world. Ultimately, though, the vagueness in the story doesn't matter. "Deresolution Day" is a sheer visual delight, and Decay #2 is worth purchasing for this story alone.
The other 'tentpole' story is "Amazulu" by SCAR. While not traditional horror, the story does have plenty of bloodshed and a bizarre off-world sci-fi/fantasy setting. In fact, "Amazulu" has it all. Muscle-bound Amazons: check. Zombie-like mutant Amazon beserkers: check. The strange compulsion for the Amazons to eat ugly skinks: check. Disembowelments: check. Amputations: check. Lots of fun: check! The bloodthirsty warrior chicks in "Amazulu" make Wonder Woman look like a lightweight. The characters kind of have a sameness to them (uber-muscled females), but with this much packed into a story, it's a minor complaint. Have fun reading this one!
The second installment of "OzZombie" (written by Darren Koziol and drawn by Thomas Green) is a more satisfying read than the first, with a lot more zombie fighting, head explosions, and interactions between the male and female leads. The danger is also present on every page, giving the reader little time to collect their thoughts (and breath) before another wave of zombies bursts out from the next panel. I'm looking forward to getting a better sense of where "OzZombie" is headed in future issues.
Less successful is the opener, "House of Horrors" (written by Darren Koziol and drawn by Steve Colloff). Like "OzZombie", the artwork is simplistic in places. Whereas the sketchiness of Green's art works in an off-hand kind of way in "OzZombie", Colloff's doesn't work so well in "House of Horrors". Some of the panels are excellent, but the style overall doesn't suit the ornate detail required of a story set in the 19th century. However, the real issue with this story is not the art but the plotting. As a long 8-pager with at least 6 panels per page, those ~50 panels are too long a journey for what is essentially a comeuppance story of an overconfident young woman mistaking a disfigured man for a freakshow attraction.
Of course, it wouldn't be Decay without the usual assortment of 'hosts' (disturbing half or full page oddities that break the fourth wall to chat to the reader between stories). There are also articles on an Adelaide walking tour, the Decay launch (with plenty of pics!), and a 'how to' article from artist Steve Colloff that add to the enjoyment.
This issue of Decay was an enjoyable and satisfying read (and at 48 pages, it's double the size of most comic serials), but more importantly, the series is improving! Decay flies the flag for emerging Australian horror talent (artists and writers), and is well worth seeking out.
Decay can be purchased from 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'.
Of note in issue #2 is "Deresolution Day", scripted and drawn by Dave Heinrich. Heinrich's experience as a comic book artist shows in this story, which is the most professionally drawn story in Decay to date. While I had trouble linking the resolution (pun intended!) to what happens early in this story of virtual reality run amok, re-reads helped bring the story together. Four Nazi zombie generals and their mechanized armies have surrounded the last bastion of freedom in VR - a primordial cathedral defended by gargoyles, demons, and melee-weapon-wielding monstrosities - but appearances (especially in VR) can be deceiving. These armies are the avatars of two expert hackers, and while it's not clear who is who (and what is what), at first, things become clearer when the perspective shifts back to the real world. Ultimately, though, the vagueness in the story doesn't matter. "Deresolution Day" is a sheer visual delight, and Decay #2 is worth purchasing for this story alone.
The other 'tentpole' story is "Amazulu" by SCAR. While not traditional horror, the story does have plenty of bloodshed and a bizarre off-world sci-fi/fantasy setting. In fact, "Amazulu" has it all. Muscle-bound Amazons: check. Zombie-like mutant Amazon beserkers: check. The strange compulsion for the Amazons to eat ugly skinks: check. Disembowelments: check. Amputations: check. Lots of fun: check! The bloodthirsty warrior chicks in "Amazulu" make Wonder Woman look like a lightweight. The characters kind of have a sameness to them (uber-muscled females), but with this much packed into a story, it's a minor complaint. Have fun reading this one!
The second installment of "OzZombie" (written by Darren Koziol and drawn by Thomas Green) is a more satisfying read than the first, with a lot more zombie fighting, head explosions, and interactions between the male and female leads. The danger is also present on every page, giving the reader little time to collect their thoughts (and breath) before another wave of zombies bursts out from the next panel. I'm looking forward to getting a better sense of where "OzZombie" is headed in future issues.
Less successful is the opener, "House of Horrors" (written by Darren Koziol and drawn by Steve Colloff). Like "OzZombie", the artwork is simplistic in places. Whereas the sketchiness of Green's art works in an off-hand kind of way in "OzZombie", Colloff's doesn't work so well in "House of Horrors". Some of the panels are excellent, but the style overall doesn't suit the ornate detail required of a story set in the 19th century. However, the real issue with this story is not the art but the plotting. As a long 8-pager with at least 6 panels per page, those ~50 panels are too long a journey for what is essentially a comeuppance story of an overconfident young woman mistaking a disfigured man for a freakshow attraction.
Of course, it wouldn't be Decay without the usual assortment of 'hosts' (disturbing half or full page oddities that break the fourth wall to chat to the reader between stories). There are also articles on an Adelaide walking tour, the Decay launch (with plenty of pics!), and a 'how to' article from artist Steve Colloff that add to the enjoyment.
This issue of Decay was an enjoyable and satisfying read (and at 48 pages, it's double the size of most comic serials), but more importantly, the series is improving! Decay flies the flag for emerging Australian horror talent (artists and writers), and is well worth seeking out.
Decay can be purchased from 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'.
Labels:
Darren Koziol,
Decay,
Oz Horror Comics,
Review
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Review: The Loved Ones
The Loved Ones (2009) – Dir Sean Byrne Starring Xavier Samuel, Robin McLeavy, John Brumpton.

Having played and praised in film festivals around the world for over a year, The Loved Ones is coming home. It is finally time to see this homemade Australian horror film and find out what all the hype is about. Strap yourself in, it’s going to be a wild ride.
The film blends a sadistic story of love and revenge. Lola, or Princess as her father dubs her, is a lonely outcast girl with unrequited love for school bad boy Brent. After she builds up courage to ask him to the school dance and is rejected, Lola decides to have a party of her own and lucky daddy is around to help out. He will do anything to make her dreams come true including kidnapping Brent and tying him to a chair. The father and daughter duo start on a night of twisted terror involving games to make even the hardest horror nut crack. Borrowing heavily from many horror classics the movie has an American flavour added to appeal to the mass market while still retaining a uniquely Australian heritage. A slight mismatch that seems to work.
Yet the star of the show is Princess, played by Robin McLeavy. A good psycho chick done right always goes off well. She is captivating and makes the experience that more terrifying. The other winner is the stylish special effects of gore mayhem – no noticeable CGI used to spoil the illusion.
There is a subplot to the story where Brent’s best friend scores a date with the Goth chick for the dance; however the parallel storylines don’t exactly contrast each other effectively. It does nothing to advance the story and has no doubt been used to break the immense tension of the horrific torture scenes. Fitting use of well scored music is used to create an intense melancholy mood at Princess’s party and then the scene switches to the subplot containing slapstick comedy. Can torture porn ever be blended with humour? Well you're about to find out.
In the end this is a good horror film with many strong merits. Sometimes conflicting, always extreme, you won’t come away disappointed. The future looks bright for Aussie director Sean Byrne, and we want more.
Reviewed by Troy King.

Having played and praised in film festivals around the world for over a year, The Loved Ones is coming home. It is finally time to see this homemade Australian horror film and find out what all the hype is about. Strap yourself in, it’s going to be a wild ride.
The film blends a sadistic story of love and revenge. Lola, or Princess as her father dubs her, is a lonely outcast girl with unrequited love for school bad boy Brent. After she builds up courage to ask him to the school dance and is rejected, Lola decides to have a party of her own and lucky daddy is around to help out. He will do anything to make her dreams come true including kidnapping Brent and tying him to a chair. The father and daughter duo start on a night of twisted terror involving games to make even the hardest horror nut crack. Borrowing heavily from many horror classics the movie has an American flavour added to appeal to the mass market while still retaining a uniquely Australian heritage. A slight mismatch that seems to work.
Yet the star of the show is Princess, played by Robin McLeavy. A good psycho chick done right always goes off well. She is captivating and makes the experience that more terrifying. The other winner is the stylish special effects of gore mayhem – no noticeable CGI used to spoil the illusion.
There is a subplot to the story where Brent’s best friend scores a date with the Goth chick for the dance; however the parallel storylines don’t exactly contrast each other effectively. It does nothing to advance the story and has no doubt been used to break the immense tension of the horrific torture scenes. Fitting use of well scored music is used to create an intense melancholy mood at Princess’s party and then the scene switches to the subplot containing slapstick comedy. Can torture porn ever be blended with humour? Well you're about to find out.
In the end this is a good horror film with many strong merits. Sometimes conflicting, always extreme, you won’t come away disappointed. The future looks bright for Aussie director Sean Byrne, and we want more.
Reviewed by Troy King.
Labels:
Review,
The Loved Ones
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Review: Eeek! (US trade paperback) by Jason Paulos
In my odyssey to explore independent Australian horror comic books, one name kept cropping up over and over again: Jason Paulos. Creator of the cult classic Hairbutt the Hippo, Paulos is becoming just as well known for his classically creepy horror series, Eeek!
The Eeek! series is perfectly described by Paulos as "A lovingly crafted tribute to retro horror comics from the 50s, 60s, and 70s." The latest trade paperback in the Eeek! series is 128 pages and features sixteen stories "that pack a punch(line)!". This trade paperback collects the first four issues of Eeek!, which were originally published through Lulu.
Jason Paulos' artistic style is perfectly suited to the retro horror format, and the Eeek! series shows him at his best. Although all sixteen stories are drawn by Paulos, he varies the style and tone of each tale. Some have a slicked-back 50s sensibility, while others use heavy shading, thick lines, and sharp angles. The overriding sense is retro, however, and with Eeek!, the retro is dished out in spades.
Highlights of the collection include "Deadline of Death", the opener, which details the abrupt rise and fall of a comic book artist. The usual 'deal with the Devil' plot is given a polish in this story, but the victim's revenge is sweet, ironic, and satisfying for the reader. Many of the subsequent tales follow a similar path. In many ways, these six to ten page stories are the equivalent of flash fiction. They have a setup and a twist - sometimes groanworthy or obvious, sometimes not - and when done right, they leave a lingering sense of 'eeek!' or 'eeew!' in the reader's mind.
Most of the stories involve revenge plots, or at least, the evil deeds of the flawed characters are punished when they get a well-deserved comeuppance. One such story is "Lights! Camera! Murder!", which descends into gory horror, with a film starlet driven to suicide, but she exacts a post-grave revenge. The visual flair of the final few panels will linger with you.
One of the treats about a collection like Eeek! is Jason Paulos' use of narrators who may or may not be part of the story. We see the Devil as a constant in "Deadline of Death", for example, and in "Just Desserts", we're introduced to a witch's head on a platter who discusses the obnoxious life of food critic Sol Weinstein. It is these touches - and the creative separation of panels - which elevate Paulos to the level of retro maestro. "Just Desserts" is reminiscent of Stephen King's "Survivor Type", in which the obese Weinstein eats his way through more exotic food than could be found on a Masterchef set while making and breaking restauranteurs careers (and lives) through his brutal newspaper column. A plane crash provides Sol with his final gruesome five star meal. Bon appetit!
"Witness to Evil" was another strong story. Two Jehovah's Witness-style doorknockers confront ultimate evil in the suburbs when they're invited into a situation that would make an exorcist blanch. But for these guys, supernatural evil pales into comparison to a more mundane 'evil' - homosexuality - which produced a groanworthy, tongue-in-cheek ending.
The first half of the collection feels stronger than the second, with some of the latter stories seeming less complete. Perhaps the repetitive nature of these revenge and comeuppance stories may numb the reader the deeper s/he goes into the collection?
One of the best stories in the latter half, and also one of the longest, is "The Snitch", which follows the life of Brick Maloney as he struggles from small time crook to hard man behind bars to snitch when he is forced to confront his violent life. This is one of the best executed stories in the collection (if you read the story - no pun intended), but the sudden twist at the end was jarring. Whether this was a good or bad thing is debatable, but it left an impression, which is ultimately what a good story must achieve.
"Six Digit Disaster" was a fine story to close with, and one of only two stories not written by Paulos (this script was written by Daren White). Moving events from retro Earth to the far-flung future, a space-faring rogue hijacks an alien ship and has himself a good time with a crime spree on an alien planet, only to be undone by alien mathematics. It is a fine 'gotcha' twist on which to end the collection.
This trade paperback was released by Asylum Press in the USA in September and the ongoing Eeek! series is distributed to all good newsagents in Australia by Black House Comics.
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'.
The Eeek! series is perfectly described by Paulos as "A lovingly crafted tribute to retro horror comics from the 50s, 60s, and 70s." The latest trade paperback in the Eeek! series is 128 pages and features sixteen stories "that pack a punch(line)!". This trade paperback collects the first four issues of Eeek!, which were originally published through Lulu.
Jason Paulos' artistic style is perfectly suited to the retro horror format, and the Eeek! series shows him at his best. Although all sixteen stories are drawn by Paulos, he varies the style and tone of each tale. Some have a slicked-back 50s sensibility, while others use heavy shading, thick lines, and sharp angles. The overriding sense is retro, however, and with Eeek!, the retro is dished out in spades.
Highlights of the collection include "Deadline of Death", the opener, which details the abrupt rise and fall of a comic book artist. The usual 'deal with the Devil' plot is given a polish in this story, but the victim's revenge is sweet, ironic, and satisfying for the reader. Many of the subsequent tales follow a similar path. In many ways, these six to ten page stories are the equivalent of flash fiction. They have a setup and a twist - sometimes groanworthy or obvious, sometimes not - and when done right, they leave a lingering sense of 'eeek!' or 'eeew!' in the reader's mind.
Most of the stories involve revenge plots, or at least, the evil deeds of the flawed characters are punished when they get a well-deserved comeuppance. One such story is "Lights! Camera! Murder!", which descends into gory horror, with a film starlet driven to suicide, but she exacts a post-grave revenge. The visual flair of the final few panels will linger with you.
One of the treats about a collection like Eeek! is Jason Paulos' use of narrators who may or may not be part of the story. We see the Devil as a constant in "Deadline of Death", for example, and in "Just Desserts", we're introduced to a witch's head on a platter who discusses the obnoxious life of food critic Sol Weinstein. It is these touches - and the creative separation of panels - which elevate Paulos to the level of retro maestro. "Just Desserts" is reminiscent of Stephen King's "Survivor Type", in which the obese Weinstein eats his way through more exotic food than could be found on a Masterchef set while making and breaking restauranteurs careers (and lives) through his brutal newspaper column. A plane crash provides Sol with his final gruesome five star meal. Bon appetit!
"Witness to Evil" was another strong story. Two Jehovah's Witness-style doorknockers confront ultimate evil in the suburbs when they're invited into a situation that would make an exorcist blanch. But for these guys, supernatural evil pales into comparison to a more mundane 'evil' - homosexuality - which produced a groanworthy, tongue-in-cheek ending.
The first half of the collection feels stronger than the second, with some of the latter stories seeming less complete. Perhaps the repetitive nature of these revenge and comeuppance stories may numb the reader the deeper s/he goes into the collection?
One of the best stories in the latter half, and also one of the longest, is "The Snitch", which follows the life of Brick Maloney as he struggles from small time crook to hard man behind bars to snitch when he is forced to confront his violent life. This is one of the best executed stories in the collection (if you read the story - no pun intended), but the sudden twist at the end was jarring. Whether this was a good or bad thing is debatable, but it left an impression, which is ultimately what a good story must achieve.
"Six Digit Disaster" was a fine story to close with, and one of only two stories not written by Paulos (this script was written by Daren White). Moving events from retro Earth to the far-flung future, a space-faring rogue hijacks an alien ship and has himself a good time with a crime spree on an alien planet, only to be undone by alien mathematics. It is a fine 'gotcha' twist on which to end the collection.
This trade paperback was released by Asylum Press in the USA in September and the ongoing Eeek! series is distributed to all good newsagents in Australia by Black House Comics.
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'.
Tuesday, November 02, 2010
News: Dymocks Southland Bestselling Horror Titles for October 2010
Unsurprisingly - due to the increasing interest in Halloween in Australia, the major expansion and repositioning of our Paranormal Fiction display, and our well-attended October 31st 'Halloween HorrorCon' signing (featuring five local horror authors) - this month proved a bumper month for sales of dark fiction. For this reason, the usual 'Top 10' of bestselling titles for the month has been extended to 15 titles!
1. Sookie Stackhouse (series) - Charlaine Harris
2. Vampire Academy (series) - Richelle Mead
3. Torment (Fallen #2) - Lauren Kate
4. Parasol Protectorate (series) - Gail Carriger
5. The Dead (The Enemy #2) - Charlie Higson
6. Alone (Chasers #1) - James Phelan
7. Twilight (series) - Stephanie Meyer
8. Realmshift - Alan Baxter
9. The Loving Dead - Amelia Beamer
10. Under Stones - Bob Franklin
11. The Zen of Zombie - Scott Kenemore
12. Madigan Mine - Kirstyn McDermott
13. Z - Michael Thomas Ford
14. The Darkness Within - Jason Nahrung
15. Dracula - Bram Stoker
1. Sookie Stackhouse (series) - Charlaine Harris
2. Vampire Academy (series) - Richelle Mead
3. Torment (Fallen #2) - Lauren Kate
4. Parasol Protectorate (series) - Gail Carriger
5. The Dead (The Enemy #2) - Charlie Higson
6. Alone (Chasers #1) - James Phelan
7. Twilight (series) - Stephanie Meyer
8. Realmshift - Alan Baxter
9. The Loving Dead - Amelia Beamer
10. Under Stones - Bob Franklin
11. The Zen of Zombie - Scott Kenemore
12. Madigan Mine - Kirstyn McDermott
13. Z - Michael Thomas Ford
14. The Darkness Within - Jason Nahrung
15. Dracula - Bram Stoker
Monday, November 01, 2010
Review: The Walking Dead
Dir. Frank Darabont, 2010, AMC
Visit NecroScope to read this review.
http://zombiefictionreview.blogspot.com/2010/10/review-walking-dead-amc.html
Visit NecroScope to read this review.
http://zombiefictionreview.blogspot.com/2010/10/review-walking-dead-amc.html
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