Evil Within is a fairly mediocre game. The soundtrack however is pretty good and I think it might be a good fit for some horror writing. It’s a bit upbeat, which isn’t always my cup of tea, but I can see it working for the right kind of story or chapter. It has some pounding, almost industrial sounding tracks, interespersed with some quieter passages with a bit more atmosphere. You could probably eliminate some of the more hardcore tracks for an easier listening experience.
Anyway, I’m not a music critic, take a listen and judge for yourself.
Earl Tubb is an angry old man with a very big stick.
Euless Boss is a high school football coach with no more room in his office for trophies and no more room underneath the bleachers for burying bodies.
And they’re just two of the folks you’ll meet in Craw County, Alabama, home of Boss BBQ, the state champion Runnin’ Rebs and more bastards than you’ve ever seen.
A Southern fried crime comic by Jason Aaron and Jason Latour
Southern Bastards is on the Best Of lists of quite a few places and I can see why. It’s a very tight and solid narrative and the art is gorgeous; visceral even.
I’m not as taken with it, but it’s hard for me to explain why. Maybe because it failed to surprise me in any way, always calling its shots and setting up the next beat in the narrative. It reminds me a bit of the Demo series by Brian Wood, but that was back in 2003 and now it’s 2014.
Anyway, I don’t want to talk shit about the book just because it feels vaguely familiar. There’s good stuff here and I suspect the series will take off with the next few issues. Perhaps Earl Tubb’s story was a bit too archetypical for my taste, but I’m looking forward to see what happens in Vol 2.
If you’re into that whole Southern Rural Noir stuff (True Detective, maybe?), this might scratch that itch. It’s certainly southern as hell.
3.5 out of 5 Big Sticks.
Sarah (Alex Essoe) is a beautiful actress that wants to make it in the acting world. She’s willing to do whatever it takes, even at the detriment of her own personal being. When she’s scouted for the film The Silver Scream, Sarah has to decide exactly how much she’s willing to go through for fame.
Oh, aren’t you just trembling from excitement after reading that very original and not at all cliched synopsis? I know I was. Or rather, I decided to watch it because it was getting some good press and seriously, there had to be some kind of interesting twist to the plot, right? No way it would just be about a woman who desperately wants to be an actress that falls prey to some weird producers and ends up dead/monstrous/captive.
I got bad news.
Leaving the plot aside for a moment, I have to say that this is a competently made movie. The acting is mostly solid but not exceptional and it has some great photography, especially towards the end. The soundtrack didn’t really stick with me. The last five minutes of the film were pretty great and it kinda makes me wish that was the beginning of the movie. It largely felt like we got to watch the introduction to a much more interesting film. The details of the protagonist’s shitty job and shittier friends were of little interest, since it was all fairly shallow. Especially most scenes at her job were head scratching and completely differed in tone to the rest of the movie.
Sarah’s arch nemesis is another woman actor who always has something shitty to say to her, yet no one ever calls her out on her plain to see hatred of our protagonist. Why this happens is a mystery, especially after the tenth time she flat out tells Sarah she’s a huge failure and an ugly loser.
Once the plot starts rolling, we’re treated to some vaguely unsettling scenes of Sarah’s auditions for The Silver Scream that instead of making her run screaming seem to only feed her need to be successful in her acting career. Again and again she goes back for more auditions, each one worse (and more humiliating) than the last.
The movie staff seem to be grooming her for some nefarious purpose.
I guess you’ll have to watch it if you want to find out. As far as I’m concerned, the ending was very obvious. Part of that is because of the marketing material, but the plot is so completely by the numbers that you’re lulled into a false sense of security (”I bet there’s a twist! I bet the plot will lead somewhere else other than the inevitable conclusion!”) but alas, it is not to be.
2 out of 5 Starlets.
The Babadook is one of those movies that you expect to be disappointed in. A creepy, atmospheric trailer seems to be a recipe for disaster, as proved by movies like The Conjuring, Sinister, Insidious 2, Mama and so on. Your mileage may vary on those flicks, but I was ultimately disappointed in all of them, even if I didn’t outright dislike them.
I’m happy to say Babadook breaks the mold. It’s not a perfect movie, but at least it delivers on what the trailer and the marketing promises. It can be a pretty scary flick at times, but it doesn’t overplay its hand. Even at a crescendo you don’t get a really good look at the boogeyman and it avoids the usual exorcism/easy solution trick that plagues the genre.
Amelia, a widowed orderly, has raised her son Samuel alone following her husband’s tragic death. Sam begins displaying erratic behavior: he rarely sleeps through the night, and is constantly preoccupied with an imaginary monster, which he has built weapons to fight. One night, Sam asks his mother to read from a mysterious pop-up storybook he found on his shelf. The story, titled “Mister Babadook”, is about a supernatural creature that, once someone is made aware of its existence, torments that person indefinitely.
It’s a pretty great setup. Even the book is pretty scary on it’s own.
While the son is pretty irritating and irritating kids are one of my top pet peeves in horror flicks, I have to say he comes around before the halfway point and is generally very believable in his role. The mother’s slow descent into madness and violence seems a bit improbable, but I’m willing to chalk it up to actual mental illness and/or the Babadook’s influence.
The movie is essentially the tale of how mother and son become increasingly cut off from the world as they fall victims to the attention of the Babadook. She loses her job, he gets kicked out of school, her (terrible) sister doesn’t want to see her and so on and so forth. Inside the house, the mother is becoming increasingly erratic and paranoid, at times attacking her own son and at times protecting her from the monster.
The few times we get to see it, it’s fairly terrifying and the sound design is particularly creepy. Bonus points for the movie being light on jump scares. Read on after the jump for my take on the ending.
4 out of 5 ba BA ba DOOK DOOKs
I am a lazy man. My take on the movie as a whole and on the ending in particular is fairly simple: It’s a metaphor for mental illness. That’s not to say everything that happens in the movie is explained this way, I’m sure you can nitpick a few scenes that ”prove” that Babadook is real, but that’s not the point. Both mother and son are unreliable narrators and anyway, everything that happens is a metaphor as well. Amelia ignores the signs of her depression and whatever mental illness seems to be circling her and sinks deeper into it. She cuts herself off from everyone that can see what’s happening either by her actions or on purpose (pulling her kid from school). I don’t want to get too into it, but you could also argue that Sam just goes along for the ride, as kids usually do. Their parents are their compass. If mom says there’s a monster trying to kill them, who is he to argue? Especially since he has been insisting the same thing since before Amelia believed in it.
As for the ending, I take it as a (a bit on the nose) metaphor for acknowledging your problems and choosing to manage them, instead of ignoring them and letting them control you, as symbolized by her ”feeding” the Babadook, the monster (sickness) you can never get rid of.
Probably around oh…five years ago, I started working on a roleplaying game. As most misguided projects go, it ended up changing a lot from then until now. Initially it was pretty much a heartbreaker, a kitchen-sink collection of things I liked from games, cobbled together into a Frankenstein. The core was always the same though: It’s about a group of characters investigating the supernatural.
I foolishly commissioned some artwork when I was first starting out. You can see some of it below. It was called Van Dread at the time and was mostly a pulp clone of Hunter: The Reckoning, by way of Call of Cthulhu and Unknown Armies. The most damning evidence of my failures in game design were the many permutations of this game, from concept, to mechanics, to system. I’ve used the Storyteller system, Fate 2.0, and Apocalypse World, with various success. There’s been skills lists, skills and stats, just stats and so on.
At this point, I just want to dump all the work I’ve done so far in this blog post, as a way of clearing the slate. I do intend to finish Dark Days at some point, hopefully soon. I’m still not sure what system I should use for it. The mechanics can be bolted on to most systems.
Here’s bits and pieces of the game. If you’re lost, keep in mind that it’s based on Apocalypse World and the Aspects from Fate.
All artwork is copyrighted to the respective artists and has been licensed for use with the Dark Days roleplaying game.
I think the best way to explain the game is to explain what the original idea was.
If you’ve played Call of Cthulhu, or any horror investigation game, you’ve probably experienced the mayhem associated with mortals experiencing the supernatural. People go crazy, get injured, scarred, lose limbs, lose families.
Too bad those guys can’t keep doing that forever though. They already know it’s best to burn the haunted house down and shoot the neighbors in the face after the first few investigations. Everyone is out to get them.
But what if they could?
…and that’s Dark Days in a nutshell.
The characters are ex-members of an organization dedicated to destroying the supernatural threat. They got maimed, fired, disgraced or quit. But they get called back to serve the organization the left behind, as part of a special operations team.
There’s a catch though. To be part of the program, you have to let them shoot some really weird shit into your bloodstream. To make you tougher, faster, smarter, weirder. Just like the monsters you’re going to kill.
What do you do in this game?
It’s a horror investigation game, with a focus on action. The investigation part isn’t about looking for clues, it’s mostly about trying to figure out what the hell is going on and what’s the best way to end it. A shortcut to the usual investigative games, if you will.
In a run of the mill scenario, you’d be sent to a town or a city to investigate something weird that’s happening. After a few days of interviewing witnesses and snooping around, the shit will inevitably hit the fan and at that point you’re gonna want to neutralize the threat and get out alive.
The setting makes a few assumptions.
Monsters are real. The general public is unaware. There’s no grand conspiracy, just a bunch of smaller ones. When the mailman eats a lady’s face and then jumps 30 feet up into a tree in a small town, what cop is gonna say that to the news crew?
Monsters all come from the same place. The Dark. The Abyss. Hell. Whatever you want to call it, it’s another place, a different dimension. Things slip through, or are called here. When that happens, weird shit goes down and people die.
The Dark is a corrupting force. Most monsters used to be human before they were corrupted into something else.
The characters have a piece of the Dark inside of them. That’s what the project is. They have weird powers, just like their monster counterparts, but the human part is still in control. They’re the perfect weapon against monsters.
The organization is set up like the military. There are multiple player-chosen branches. Some deal with intel, some are R&D (Research and Development), some carry flamethrowers around.
● Humans can be monsters and monsters can be human.
I know this goes against the general theme of the game (kill monsters), but it fits into the character’s monstrous nature. The characters will encounter plenty of seemingly monstrous beings that end up being harmless or smart enough to use diplomacy to stay alive. That’s why there’s a Covenant move that allows you to strike deals.
● The Abyss is an alien thing, and true creatures of the Abyss are too. There is no way to understand it or pacify it. Kill it or be killed.
● The world is a fragile thing. Any one of the things that escape the Abyss can mean the downfall of our way of life.
● You kill monsters to protect the innocents, but what about you? You’re a ticking time bomb and you’re already half a monster. What the fuck are you gonna do with yourself when you find yourself becoming less human day by day?
For the way the BPRD is set up, for the interplay between human and supernatural agents, for the way they deal with the supernatural (figure out if it’s dangerous, kill it with impunity if it is). For the dozens of nameless agents that get killed in the first hours of every mission. For the way the world is threatened in the later issues.
Supernatural TV Series
For the casual nature of hunting monsters, for the occult tomes and symbols, for it’s concepts of hell.
For it’s depiction of the other place, Hell, the Abyss.
Make the world dark and real.
Make the characters’ lives interesting.
Play to find out how you die.
Blanket the world in Darkness.
Figuratively and literally. Dark Days takes place in perpetual darkness, artificial or not. The weather is shitty, rain and cloudy days. Characters live in the dark and often investigate dark places.
The Dark also represents the corruption of the Abyss. Not everything touched by the Dark turns into a monster; your neighbor might harbor some pretty horrible secrets and thus be somewhat changed. Besides, with the murder rate of most metropolitan cities being what it is, the chances of you living in or near a murder house are pretty high.
Make the human monstrous; make the monstrous sympathetic.
Evil isn’t always an effect of the Dark. Sometimes it’s plain old human evil.
On the other hand, a monster might be capable of more compassion than you.
The characters stand on the threshold. Which side are they gonna end up on?
Introduce the weird, the magical, the horrific, the unfair at every opportunity.
Nothing is sacred. Kill NPCs, destroy structures, burn everything.
Address yourself to the characters, not the players.
Make your move, but misdirect.
Make your move, but never speak its name.
Ask provocative questions and build on the answers.
Be a fan of the players’ characters.
Name everyone. Make them important.
The Stats are:
…means you are cool, calm, numb, graceful under pressure. You add this to your dice roll when you Act under pressure.
…means you are violent, skilled in combat, aggressive, mean. You add this to your dice roll when you Shed Blood.
…means you are sexy, seductive, convincing, attractive. You add this to your dice roll when you Influence/Seduce, when you Threaten Violence.
…means you are sharp, witty, quick, skilled, perceptive. You add this to your dice roll when you Read a person.
…means you are creepy, scary, dark, strange. You add this to your dice roll when you Invoke Darkness.
Stats go from -1 to +3. Higher is better. A stat can be set to 0.
Every character gets the following Moves:
Act under pressure
Invoke the Darkness
When Darkness reaches 0
Act under pressure
When you act under pressure, roll +cold.
On a 10 you do what you want.
On a 7-9, you hesitate, you get scared, you stall. The MC will offer you a difficult choice or a hard bargain.
On a miss, you fuck up.
When you invoke the Darkness, roll +Esoterica and state your subject.
On a hit, the MC will tell you something you didn’t know about.
On a 10, you may ask one clarifying question.
On a 7-9, the MC will state something.
On a miss, the Darkness reveals something dark about you.
When you asses the situation, roll +Edge.
On a hit, you can ask questions. If you act upon them, get +1 going forward.
On a 10, pick 3.
On a 7-9, pick1.
which enemy is the most dangerous?
which enemy is the weakest?
who’s in control here?
how do I get out of this?
what’s my best escape route /way in / way past?
When you threaten violence, roll +War.
On a 10+, they comply and you Shed Blood.
On a 7-9 they can choose to:
trade harm for harm
comply with your desires
When you shed blood, roll +War.
On a 10+, choose one extra effect:
take +1 forward.
You inflict terrible harm
You suffer less harm.
On a 7-9, trade harm for harm.
When you read a person, roll +edge.
On a 10+, hold 3.
On a 7–9, hold 1. While you’re interacting with
them, spend your hold to ask their player questions, 1 for 1:
is your character telling the truth?
what does your character intend to do?
how could I get your character to _?
When you help or interfere with someone, roll +Edge.
On a 10+, they get +2 forward
On a 7-9, they get +1 forward but you expose yourself to danger.
When you manipulate someone, roll +Majesty.
On a 10+, they do it.
On a 7-9, they ask for reassurances/they ask you to promise them something before they do what you ask.
On a 10+, both.
On a 7-9, choose 1:
If they do it, they mark improvement
if they refuse, they mark improvement.
When you investigate the scene, roll +Edge.
On a 10+, hold 2.
On a 7-9, hold 1.
Spend hold 1 to 1 to ask the MC questions:
What happened here?
How many of them were there?
Where did they go?
What has been concealed here?
On a miss,
When you enter a covenant, roll +Esoterica
On a 10+ pick 2.
On a 7-9 pick 1.
You include a clause or loophole for yourself.
There are no loopholes the other party can abuse.
The deal is fair.
When you intake Darkness, roll Esoterica.
On a 10, get equal to the dose +1 Darkness
On a 7-9, you do it.
When Darkness hits 0
When you treat wounds, roll +War.
On a 10, heal 2.
On 7-9, heal 1.
On a 10+, your flesh withstands.
On a 7-9, suffer Trauma.
Trade harm for harm.
Announce off screen badness
Announce future badness.
Take away their stuff.
Activate their stuff’s downside
Offer an opportunity, with or without a cost.
Make a threat move.
Make them investigate.
Back in the day, Captain Abraham Idaho Cleveland had led the Fleet into battle against an implacable machine intelligence capable of devouring entire worlds. But after saving a planet, and getting a bum robot knee in the process, he finds himself relegated to one of the most remote backwaters in Fleetspace to oversee the decommissioning of a semi-deserted space station well past its use-by date.
But all is not well aboard the U-Star Coast City. The station’s reclusive Commandant is nowhere to be seen, leaving Cleveland to deal with a hostile crew on his own. Persistent malfunctions plague the station’s systems while interference from a toxic purple star makes even ordinary communications problematic. Alien shadows and whispers seem to haunt the lonely corridors and airlocks, fraying the nerves of everyone aboard.
Isolated and friendless, Cleveland reaches out to the universe via an old-fashioned space radio, only to tune in to a strange, enigmatic signal: a woman’s voice that seems to echo across a thousand light-years of space. But is the transmission just a random bit of static from the past—or a warning of an undying menace beyond mortal comprehension?
This is the book that hates the reader. It hates you. For some reason, it starts in media res with some random woman freaking out about…something. You don’t know what. You don’t know why. The next chapter is about the protagonist in the midst of a space battle. That’s fine, though it doesn’t neglect to use some terminology you’re probably not familiar with. The chapter after that is a scene with five or six people all of whom are upset, none of whom you have ever been introduced to. They’re not described or differentiated in any way and they have nothing to do with the previous chapter. The dialogue has no tags. The dialogue has no tags.
And this is why I put this book down at least five times before bothering to slog through these first few pages. I hope the editor was fired for this crime. Only after reading the rest of the book did I realize what had been done to it. I can picture it now, some editor or suit guy reading the manuscript and going ”No! This is too slow! This is boring! It needs explosions!” and some other dude going ”Well, there’s a space battle like, at the end of the book but…” and the suit guy gets a glint in his eye: ”Perfect, cut that chapter out and put it in the very beginning.”
As it says in the blurb, the protagonist is the hero captain of a space battle. However, reaching the end of his career in early retirement, no one believes him. The beginning scene is his description of the famous battle. He tells the story to a bunch of assholes who doubt him. Only problem is that this scene takes place at the last third of the book, when we have actually met the aforementioned assholes and are familiar with them. When you reach the chapter, you literally have to go back to the beginning to re-read it, since it’s highly unlikely that you understood anything then, let alone remember.
Anyway, enough about my pet peeves and what makes me homicidal. On to the book.
I have a soft spot for sci-fi horror. One of my favorites movies is Pandorum, which, let’s face it, is not a very good movie. So I went in with a harkening for some scary sci-fi shenanigans. Unfortunately, I wouldn’t say this is a very scary book or that it even belongs in this sub genre. Except for some ghostly happenings that make up a very small part of the book, there’s not much here to warrant the horror label. To give you my own take on the plot, Cleveland is a fairly passive guy that straight up gets bullied by some tough guy space marines, while waiting out his retirement on a decommissioned station. Soon, strange things start to happen, beginning with a weird radio signal he receives that is essentially a leftover from early human space age. People start disappearing, spooky things happen and ghostly ghosts make a lot of people faint like they’re in a H. P. Lovecraft story.
There’s nothing particularly bad about the book, it’s just a bit of a kitchen-sink novel with a lot of different ideas mashed together. I’m not opposed to the approach, but the ideas are so radically different that it becomes jarring. Ancient Japanese myths mixed with alien wars and ghosts and a dead Russian cosmonaut. What connects all these things? Well, not very much, to be honest, outside of a vague conceptual link that’s revealed at the very end of the book.
I enjoyed some parts, including the Russian cosmonaut (based on a real world event, most likely a hoax by a couple of Italian radio operators) and the world building that Christopher did (of which we only see a small part). The protagonist is a bit of a wet towel, somewhat spineless and a bit of an idiot. It’s not that I like Mary Sue protagonists, but there’s something to be said for characters that drive the plot instead of responding to events. The space marine characters were far more interesting, although we don’t see a lot of them.
All in all, the book was a bit of a letdown. It feels rushed and sloppy, probably because of the different ideas it’s trying to shove together to make the plot work. Perhaps it would have worked better spread out over a couple more books, if the author filled in the gaps nicely. I’d read another Christopher book, but not this one. Never this one.
2 out of 5 Space Ghosts
California by Edan Lepucki
The world Cal and Frida have always known is gone, and they’ve left the crumbling city of Los Angeles far behind them. They now live in a shack in the wilderness, working side-by-side to make their days tolerable despite the isolation and hardships they face. Consumed by fear of the future and mourning for a past they can’t reclaim, they seek comfort and solace in one other. But the tentative existence they’ve built for themselves is thrown into doubt when Frida finds out she’s pregnant.
Terrified of the unknown but unsure of their ability to raise a child alone, Cal and Frida set out for the nearest settlement, a guarded and paranoid community with dark secrets. These people can offer them security, but Cal and Frida soon realize this community poses its own dangers. In this unfamiliar world, where everything and everyone can be perceived as a threat, the couple must quickly decide whom to trust.
A gripping and provocative debut novel by a stunning new talent, California imagines a frighteningly realistic near future, in which clashes between mankind’s dark nature and irrepressible resilience force us to question how far we will go to protect the ones we love.
In hindsight, the blurb makes me groan and touches upon most of my issues with this novel.
It’s hard to talk about this without making some kind of judgement on the author, so I’m not going to beat around the bush. The author of this book has either grown up in the whitest of white suburbia or is writing about a society she thinks exists in that suburbia. The amount of complaining and the horror in which these characters treat problems that are commonplace for a lot of people today is dumbfounding. This is not post apocalypse, this is ”I’m going camping” level problems. Oh no the water we shower with is cold! Oh no we don’t have electricity! Oh no we sleep in a queen sized bed! It’s utterly bizarre that the image of post apocalyptic society she managed to paint was ”Sometimes the water is cold.” I’m not suggesting that vast swathes of the American population live without hot water or electricity, but for anyone who’s been even a bit poor, these things should be familiar.
I’d wager that in a post apocalyptic society there’d be problems like not having water to drink (let alone shower) or food. Cold would probably kill you, depending on location. While horrible things happen (suicide, death, murder) in the book and things are definitely grim, the overall vibe I got from the protagonists is that they are hugely spoiled middle class kids. That might actually be on purpose, but since no one else shows up that’s any different, I don’t think so. You’d expect some kind of contrast between a survivalist who maybe knows how to hunt and skin animals and build a cabin and the couple who struggles to garden and lives in an abandoned shed.
The second biggest flaw in my opinion, was the plot. While there’s a lot of meat on it to distract (and some of it is fairly enjoyable), for anyone who has ever consumed any kind of post apocalyptic media, this might be the most generic plot there is. People go looking, find strange community of survivors who appear to be doing really well and welcome them in, but are also secretive. What is their big secret? Read to find out. I mean, up to the point where they decide to go looking, they seem to have a pretty good life, without any major problems. Food, shelter, safety. The reason they leave all that is basically because Frida is bored and wants some cool shit to happen, or something.
What elevates this novel from the bottom of the barrel is the writing. While a bit pretentious at points, once you get used to it, it serves its purpose very well and distracts from the bare bones plot by adding a myriad of subplots and characters. Switching the POV between the couple is a smart move, allowing us a better understanding of their choices and motivations. I personally found Frida to be really unlikable and was forever waiting for Cal or someone else to call her out, but alas, it never happens. I suppose it’s fairly realistic, but at the same time not really that enjoyable, which always seems to be the problem with realism.
I admit to being a bit perplex both by the plot and the universe in which it takes place in. It’s a sort of ”soft apocalypse” where society has slowly crumbled, but it sort of doesn’t make a lot of sense. On one hand you have private schooling and a very middle class existence and on the other, you have suicide bombers and packs of marauding bandits. I’m not sure how those fit together. I can’t talk about the plot without some major spoilers, but there are a few things there that make no sense either. If civilization is mostly gone, who the hell would care about politics? It’s such a strange thing to get hanged up on when society has completely collapsed.
The major plot twists keep me from delving too much into the plot, so I’ll cut this rambling mess short. I enjoyed part of this novel, but was very irritated by Frida and a couple of other characters. A lot of things stress suspension of disbelief for me so overall I must say I was left disappointed.
2 out of 5 Spoiled White Kids
Vitus Adamson is falling apart. As a pre-deceased private investigator, he takes the prescription Atroxipine hourly to keep his undead body upright and functioning. Whenever he is injured, he seeks Niko, a bombshell mortician with bedroom eyes and a way with corpses, to piece him back together. Decomposition, however, is the least of his worries when two clients posing his most dangerous job yet appear at his door looking for their lost son.
Vitus is horrified to discover the photo of the couple’s missing son is a picture-perfect reproduction of his long dead son. This leads him to question the events of his tormented past; he must face the possibility that the wife and child he believed he murdered ten years ago in a zombie-fugue have somehow survived . . . or is it just wishful thinking designed to pull him into an elaborate trap?
I received this book in exchange for an honest review. I don’t actually care about the ethics of blogging or whatever, so this is the first and last time I’ll mention it.
Bring Me Flesh, I’ll Bring Hell is a genre-aware horror noir novel. There seem to be a few of those lately, which is something I’m pleased about. Now zombies aren’t really my thing, but I don’t think it’s quite fair to call Vitus a zombie. More of an undead private eye or a Hellboy kind of thing. Minus the brawls.
Vitus has spent a decade being dead and slowly falling apart, when a couple of clients shows up at his doorstep with a photo of their son, who has gone missing. Only the picture is actually a photo of Vitus’s son all grown up, even though he’s supposed to have died ten years ago in Vitus’s hands. At the time, Vitus was more of a traditional zombie and had fed on his wife and kid, before the people responsible for his condition came up with a drug that keeps him human (as much human as a decomposing corpse can be anyway). Now he takes a dose every few hours, lest he loses control again.
”We miss our son and would give anything to have him back, Mr. Adamson. Can You help us?”
”Anything at all, Mrs. Rogers?”
”Name your price, we’ll be happy to pay it.”
”Can you get blood out of everyday household items?”
Anyway, he takes the case if only because he needs to figure out what the hell is going on and if his son is actually alive. As per noir guidelines, this throws him down a rabbit hole of increasingly bizarre and complicated situations: A hooded figure following him around everywhere, trying to kill his clients; a femme fatale (almost literally, she’s a mortician) that heals his wounds and weird clients that keep ”rising” from the dead.
I’ll try not to spoil anything, as I believe discovery is half the pleasure in a novel like this. I found the book to be very well written, if a little ”purple” in places. However, any purple prose is satisfyingly gory, grim or funny. Nothing about sunsets and beautiful vistas, all about sinew, rotting flesh and fatalism. The plot is meaty and complicated, but not overly so. It really is a noir tale, which in my experience is rare to find, even when it says so right on the cover. Many an evening has been wasted reading The Maltese Falcon retreads.
The premise might seem ridiculous from the outside, but is handled deftly and doesn’t stress your suspension of disbelief too much, even when the really bizarre stuff happens. The last third of the book moves along on a brisk pace, with revelations just around every corner and it’s a pretty good ride if I may say so.
Check it out if you like: horror noir, grim humor or the Sandman Slim books.