It’s a wonderful time to be alive, at least until the Mayan calendar runs out next year and the sun goes dark. The year is 2011, the internet rules, I have a magic box in my pocket that can access the
sum total of human knowledge, and a balletsploitation were-swan horror flick is a serious contender for five Academy Awards.

Part of the buzz about Black Swan is purely technical: in this film, Natalie Portman realizes the promise she showed way back in Leon (or The Professional, depending on your country of origin). As of Black Swan, she is one of the greatest actresses of our generation.

A beautiful young girl, alone in desolate Central Europe. Nightmares. Revenge. Mesmerism. Rationality eroding under the stress of supernatural evil, murder, and disease. Blood. Mere swords against the preternatural strength of the undead. And the world’s first lesbian vampire.

Got your attention? J. Sheridan LeFanu brought these elements together in 1872 — 25 years before Bram Stoker’s Dracula — in his novella “Carmilla”, a story that subtly tilts between the nightmarish Gothic terror-tale and today’s “realistic” horrors set firmly in the waking world. Generations later, Chicago’s Wildclaw Theatre company has adapted “Carmilla” for the modern stage. [Full disclosure: I wrote a short essay, pro bono, on LeFanu for the program book for this production.] Wildclaw’s Carmilla is the latest in a series of adaptations including Machen’s “The Great God Pan,” Lovecraft’s “Dreams in the Witch House,” and William Peter Blatty’s Legion that makes Wildclaw Chicago’s — and perhaps America’s — leading missionary of classic horror to contemporary theater audiences.

Anton Strout brings us more madcap mayhem in book two of the Jane chronicles (otherwise known as the Simon Canderous series, but his girlfriend, the ex-evil cultist Jane, totally steals the show). Now a member of the Department of Extraordinary Affairs after leaving her cultist ways behind, Jane is working in the Black Stacks (the scariest library in urban fantasy) and discovering that she has a talent for technomancy. In fact, she’s so good with magic and machines, she rescues her boyfriend Simon from an attempt on his life in his Oubliette test over his cell phone. Her new gig working for the ambiguously moralled Thaddeus Wesker, Director of Greater and Lesser Arcana at the DEA is going swimmingly — except for the tension it creates between her and Simon, who doesn’t like her boss.

The place of the pastiche in fiction is mixed at best: August Derleth’s Solar Pons is but a pale shadow of Sherlock Holmes, and the less said about Derleth’s “posthumous collaborations” with Lovecraft, the better. But in his collection of linked novelettes, Trail of Cthulhu, Derleth had the happy inspiration to combine the Cthulhu Mythos with Fu Manchu, and the result is a propulsive series of tales considerably above his usual mark. In Doc Wilde and the Frogs of Doom, Tim Byrd goes Derleth one better; he combines Lester Dent’s Doc Savage (as clearly as the laws of copyright will allow) and the Cthulhu Mythos – in the form of a young adult adventure mystery.

Before I go off on how wonderful I thought the season finale of AMC’s The Walking Dead was, how the series has changed television, how it may or may not be one of the most relevant social commentaries of the 21st century in media right now, I want to thank all of you who have read and shared these reviews. You make typing these little posts something to look forward to.

Now that, that is out of the way, let’s begin.

So, here we are, we’ve come to the end, that was it, for now. I hope you paid attention. because if you didn’t then this is going to be a little confusing. I want to talk about the “reality” that is portrayed in the series, especially in the the season finale. It’s a sticky subject, reality that is, as everyone produces to a certain extent their own version of it. Not in the way that they can interact with the physical world on a scientific level, you couldn’t interpret the laws of physics in your own way. Say with a suspension in the belief of Gravity, and live to tell about it. No matter how many happy thoughts you think, you’re going to plummet off the top of a building if you jump, you simply can not get around that reality.

What would you do if you found out you had been killed? Further, what if the new you had to track down the old you’s killer?

This is the odd dilemma facing Ronan Dooley, Secret Service Agent and Amortal. The Amortals Project is a program that keeps people alive long past their normal lifespan, and is a sort of insurance policy against anything lethal happening to the rich and powerful. Ronan has been granted Amortal status because of his usefulness in protecting other Amortals – including the President of the United States. So when Dooley ends up murdered, his first assignment – once his new body is up and running – is to track down the ones responsible; they may pose a threat to other Amortals, and besides, killing Dooley in such a high profile manner – broadcasting his death scene – gives the Project a black eye and unwanted bad publicity.

After the other reviews, I don’t really have much to say concerning this episode of AMC’s, The Walking Dead. In fact, I don’t know how much more I can say, which brings me at a place that I never thought I could really be. A place where zombies, walkers, shamblers, runners, etc, etc have sufficiently taken their toll on my psyche.

I know, I know-you’re thinking, “Surely Eric, you jest.”

I can assure you that I don’t, and to prove my point, well, OK, not so much to prove my point but more to keep these posts going, I will explain why. Also I may have signed a contract while drugged, you never know about such things, as they are (contracts and random druggings) arcane in nature.

Ullsaard has conquered the known world. All have fallen before his armies.

Now it is time to take the long journey home, back to the revered heart of the great Empire he had helped create for his distant masters. But when he returns to the capital, life there is so very different from what he had believed. Could it be that everything he has fought for, has conquered and killed for, has been a lie?

I’ve long been a reader of Gav’s work and consider the novels he has written for Black Library Publishing to be among the best works they have put out to date. I was excited to see that Gav had stepped out of the Games Workshop intellectual property to create something all his own. The folks at Angry Robot were nice enough to send me a copy of The Crown of the Blood several weeks ago and I happily stuck in.

White Wolf Publishing seems to have covered everything possible for Vampire the Requiem; it helps they had a previous edition of the RPG – Vampire the Masquerade – to hash out what players though was useful and what they didn’t want. Along comes a small tidbit like Invite Only, and I for one am left wondering “Why didn’t anyone think of this sooner?”

Written by David A. Hill Jr. and Chuck Wendig, Invite Only is a guide to parties — more specifically, parties hosted or attended by the Kindred. Besides giving the less combat-oriented Kindred something interesting to do, parties are also the focus of a lot of deals and surprises in the V:tR world. A Kindred who pays attention could learn a lot at a party – if she survives long enough to make use of this knowledge.

Having read some of Bentley Little’s work before (MY FATHER’S SON), I was really interested in picking up THE DISAPPEARANCE to see what twists and turns were in store for me.

The story takes place in our modern-day world, and infuses our worst fears into what should be a very fun weekend. A group of college students from UCLA travel to the world-renowned Burning Man festival, and experience a bizarre turn of events: they wake up from a drug-induced state to find that Gary’s girlfriend Joan has disappeared. Worse, when they contact the police, they don’t believe that she has ever existed because her digital identity has been wiped cleaned.

Jim Hines has a way of twisting fairy tales to let him get at bigger issues that lurk behind those stories. One of the biggest ideas he decided to take on is the traditional tale of Sleeping Beauty. One of the early versions of the tale says the the princess was not woken with a kiss, but either with intercourse or the pain of childbirth. If you follow Jim’s online writing at all, you know he’s worked very closely with rape survivors, and that talking about rape is important to him. It’s no surprise that he handles the issue with sophistication and a delicacy, which becomes even more relevant in Red Hood’s Revenge , a story that takes Talia back to her homeland to face her demons. The Lady of the Red Hood, also known as Roudette, is the most deadly assassin in the world, and she’s come after Talia. Her motives are unclear, especially when circumstances lead her to team up with the princess trio, but her hatred for fairies is obvious. When Talia wants to take out Zestan, a fairy the heroes suspect of being a deev — a very powerful evil fairy — Roudette gives every appearance of going along willingly, and only a shift in narrative technique allows readers to see that she’s up to something. (In the previous books, Jim stuck to a more limited third-person narrator; in Red Hood’s Revenge, the narration is broader, allowing peeks into several of the character’s perspectives.)

The underlying concept to this game seems simple: you set up a situation in which things will go wrong, disastrously so, and then play it out as a collaborative story-telling game, taking the part of the main protagonists. That’s straightforward enough, but bolted on is a complex resolution mechanic that jolts you out of storytelling mode to administer – while giving structure to what could otherwise dissolve into chaos around the game-table (as opposed to in the situation you’re playing, where you WANT chaos!) it detracts from the interactive no-holds-barred narrative flow of the game.

Designed for 3-5 players (no GM required) and to take about three hours to play out, even the design process is very structured. Called The Setup, you start by determining when and where the game will take place, and then insert relationships and details to engineer your situation. But it’s not done by purely throwing out ideas until your mix feels explosive enough to begin, but through a system called a Playset. As a scenario-design system, it’s quite a beautiful mix of creativity and randomization. Each Playset comes with lists, you see, and once you have chosen a published one or made up your own, you roll a whole bunch of dice and take turns to choose items from the lists, each time using a die that’s rolled the appropriate number.

So, here we are readers, another late night at the old computer, another review, but this time it is a slightly different affair. Upon completion of George Mann’s “The Affinity Bridge” published by Tor, I happened upon a realization, OK, well not really a realization, more of a revelation, and not one in the biblical sense mind you, more of a traditional something that I hadn’t seen before until I opened my eyes sort of thing. Confused? Well, it seems as if you aren’t the only ones, because I am as well. So here we go with the admission stage of feeling guilty.

Let’s get this out of the way first thing; zombies scare me. The mindless violence and relentless, insatiable hunger and lack of pain response of the George Romero-style walking dead creep me the heck out. So when Jim Lowder handed me a copy of The Best of All Flesh at GenCon to review for Flames Rising, I admit I approached it with some trepidation.

The vampires of White Wolf’s World of Darkness are consummate predators. Predators – generally speaking – don’t often suffer the company of other predators, particularly those that compete for the same food source, and rarely willingly when it does happen. One of the few things that encourages vampires to interact with each other is affiliation within a covenant. Such affiliations tend – by the very nature of their members – to be relatively loose ties, but they are not fleeting; vampires in the World of Darkness take a very dim view of those who willingly sever their connection to their covenant-mates. In The Invictus, White Wolf takes a look at the feudalistic covenant envied by many and hated by most – even by some of those within.

Hang on to your hats boys and girls; Kell’s Legend is the sort of book that grabs hold of you and does not let go. If it weren’t for the two infant children in my home, I would have read it in one sitting. If dark fantasy and balls-out action is your thing, this is the novel you have been waiting to find.

I will only describe the book in the briefest of terms to avoid any spoilers. The kingdom of Falanor is invaded by a race of clockwork vampires. Kell, an old veteran with a legendary past, is forced back into action to protect his granddaughter. The story also follows a second protagonist from the vampire side of things. I do not want to say anything that will spoil her for you, but she is an excellent character.

The book opens with a rambling foreword by the author, touching on how this is a complete rewrite – as the translation of the original I’m reading is of the 2nd edition of Rêve de Dragon – of the rules, suggesting the order and way in which it should be read and the like, before getting to the underlying philosophy of the game: that a dream exists only whilst the dreamer is dreaming… and that in similar vein, the alternate reality of a role-playing game only comes to life when someone is playing that game. The aim in creating the game is to provide a ruleset that facilitates the shared dream of the in-game reality.

The whole is divided into three books, the first of which is called Journeyers. For this game is about journeys: be they quests, searches for enlightenment or indeed actual travels. It begins with the rules for creating a character, or Journeyer. Each is described by a comprehensive list of 18 characteristics, assigned in the main by point-buy, as well as skills and other attributes. Interestingly, the details of actually acquiring skills and the like are left until later despite a fairly comprehensive outline of how a character is described mechanically, the discussion then moves on to the crux of this ruleset, the resolution table, which is brought into use whenever it is not clear whither an action will succeed or not.

Enforcer is not a typical 40k book. There are no space marines, aliens, battlefields — the standard fare for the darkness of the 41st millennium. Enforcer is also not a stand-alone novel, but an omnibus edition capturing all three novels of the Shira Calpurnia trilogy into one volume. The three novels are Crossfire, Legacy, and Blind. I somehow missed these when they were initially printed. I had heard quite a bit of positive discussion concerning them, so when I picked up my copy I dug right in.

The focus of these books is on Shira Calpurnia a senior member of the Adeptus Arbites. The Arbites are responsible for enforcing the laws of the Imperium across the galaxy. The best comparison to the arbites outside of 40k would be Judge Dredd. Depending on the situation, an arbite could be judge, jury, and executioner. Intimidation and brute force are the means by which they get the job done.

The Redemption Corps is a regiment of ultra tough storm-troopers. Led by the legendary Captain Mortensen, the Redemption Corps and its Navy support divisions drift across the Kaligari Cradle from one warzone to another on brutal missions. When the revered major comes to the attention of the deadly sorority of the Battle Sisters, he not only has to contend with an ork invasion, but these fearsome warrioress-fanatics too. Now, the regiment must fight for its survival whilst being trapped between the xenos and the dark fury of the Imperium.

I read through this one rather quickly. It sucked me in and I couldn’t put it down. It also helped that I was trapped in the passenger seat on a family road trip as my wife drove us out to the middle of nowhere. Anyway, Storm Troopers are the focus of this book and bear some explanation. The Storm Troops of Warhammer 40k are nothing like those white armored buffoons from the original Star Wars Trilogy.

Eyes Beyond is an independent short film starring, written and directed by Canadian filmmaker, Daniel Reininghaus. Many movies that share its level of independence have glaring problems; however, Eyes Beyond emerges as a surprisingly superior romp through depravity.

The film’s premise, without giving too much away, is as follows: Brothers, Adam (Evan Eisnstadt) and Gabriel Morales (Daniel Reininghaus) invite their neighbors over for dinner. As members of the Rogers family, Henry (Robert Nolan), Abigaile (Danielle Barker), and Vivian (Kelly-Marie Murtha), make themselves comfortable and conversation ensues, things quickly spin out of control – way out of control. But things are rarely as they seem.

Eyes Beyond does a lot of things very well. First and foremost, it looks and sounds fantastic. The film’s technical attributes are very polished. Cinematographer, Michael Jari Davidson capably captures dynamic shots – warm and primary colors against white backgrounds, lush green-lined yards with depth, dim natural light, bright artificial light, etc – with the same consistency and quality one expects in projects boasting much higher budgets.