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Self Published Book Review: The Book of Thoth by Paul Leone

Self Published Book Review: The Book of Thoth by Paul Leone

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Book_of_ThothConsidering my dislike of vampires, I seem to review a lot of books about them. Either vampires are hard to avoid or I just can’t help myself. Paul Leone’s The Book of Thoth is part of his Vatican Vampire Hunters series. As you might guess by the name of the series, Mr. Leone does not shy away from religious themes. Or vampires. In his series, vampires are literally demons escaped from Hell, occupying the bodies of the dead. This explains why they so hate and fear anything sacred, whether it be holy water, crucifixes, churches, or even the blood of the righteous.

Nicole van Wyck is an heiress who has no interest in going into the family business and who is rapidly losing interest in the clubs and parties all her friends are involved in. Her life is threatening to become the aimless drifting of so many of the rich and irresponsible. That is, until she friends meets her first vampire. Fortunately for her, the vampire is being tracked by a group of church-sponsored hunters, who chase it away with no one the wiser. Except for Nicole, who suspects that there’s more going on than the friends who are with her realize. When she does track down the hunters, they make her an offer to join them and Nicole concludes that if vampires are real, then fighting them is not optional.

Nicole is certainly not another vapid heiress. She works hard, whether tracking down a mystery or training to fight vampires. She also has a strong moral center, which comes through both in how readily she leaps into the fight and in how she is willing to argue against her own team when they cross the line. Nicole is certainly a capable heroine, but she and her fellow hunters are not facing run of the mill vampires, but a veritable count of Hell, Count d’Aubert, and his very dangerous minion, Alice. The demons in dead flesh are after the titular Book of Thoth, which holds the secrets of Satan himself. To do that, they must gather three keys to open up the book’s hiding place.

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The Series Series: Irenicon by Aidan Harte

The Series Series: Irenicon by Aidan Harte

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Irenicon by Aidan Harte-smallWelcome to Rasenna, a shining city-state turned failed state, where river spirits haunt the streets and mistake themselves for the citizens they’ve drowned. Rasenna’s people hide in their towers at night, and even by day fear the river their enemy wielded to cut their city in two. With the city’s legitimate ruling house reduced to one girl not yet of age, the closest thing it has to law is the twenty-year vendetta between the gang that rules north of the Irenicon and the gang that rules to its south. Both sides boast masters of a martial art perfectly organic to the world of this book, one that could arise in no other.

Can a city recover from two decades of grief, madness, and self-destruction? Can these people change in time to save themselves? They’d better, because the rival city of sorcerous Engineers that smashed them before may well do so again. The masters of Concord have striven to perfect their Wave technology. Any city they choose to strike now will be scoured from the soil of Etruria.

Meanwhile — what are the Concordians playing at? — the enemy sends Rasenna an Engineer to build a bridge over the hated river. It’s a bridge no Rasenneisi citizen wants. The Irenicon and its water spirits are not keen to be bridged, either.

Aidan Harte has been justly praised for his world-building in his debut novel. Irenicon is, almost, what we might get if Italo Calvino’s classic Invisible Cities had lingered for a few hundred pages in one of its gem-perfect vignettes. Almost, except that Harte’s stunning gift for setting does not yet extend to dialogue, characterization, or prose style. Irenicon will not be a classic, but it is a fine, fun read.

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Something Unspeakable Has Come Home: 1972’s Deathdream Revisited

Something Unspeakable Has Come Home: 1972’s Deathdream Revisited

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Andy_at_the_Drive-In-smallOne of the most enduring tales in all horror literature is W.W. Jacobs’s classic 1902 shocker, “The Monkey’s Paw,” in which a father acquires a magic talisman (the paw) from a soldier home from service in India. The paw supposedly grants three wishes — wishes that of course come at a price. Not really believing that it will work, the father wishes for two hundred pounds to pay off his house. The next day, his son is killed (“caught in the machinery”) at the factory where he works and in compensation, the company presents the family with…two hundred pounds.

Some days later, after her boy has been buried, the grief-blinded mother realizes that they’ve only used one wish, and compels the appalled father to use the paw to wish their son alive again. A short time later, they hear a soft knocking at the door, knocking that quickly grows into a deafening fusillade as whatever it is that waits outside the bolted door furiously tries to gain entry. While the ecstatic mother fumbles with the bolt, the terrified father, imagining the mangled horror outside, uses the paw for one last wish. When the door finally swings open, there is nothing there — “The street lamp flickering opposite shone on a quiet and deserted road.”

This powerful tale has been adapted many times over the decades, for stage and radio, for television and movies, and for comics, and it has additionally inspired many stories and films that are not direct adaptations; of these Stephen King’s 1983 novel Pet Semetary may be the most well known. Another example, not nearly as well known as it deserves, is the 1972 low-budget horror film, Deathdream.

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A World Mottled With Decay: The Throne of Bones by Brian McNaughton

A World Mottled With Decay: The Throne of Bones by Brian McNaughton

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For all their laughter, ghouls are a dull lot. Hunger is the fire in which they burn, and it burns hotter than the hunger for power over men or for the knowledge of the gods in a crazed mortal. It vaporizes delicacy and leaves behind a only a slag of anger and lust. They see their fellows as impediments to feeding, to be mauled and shrieked at when the mourners go home.
— from “Meryphillia”

The late Brian McNaughton’s 1997 collection The Throne of Bones is a book I want to on one hand praise and with the other hold it away from myself with a pair of iron tongs. It contains some of the best writing I have ever read in fantasy; by turns tense, dark, grimly funny, and occasionally majestic. And it’s set in a vivid world, parts of which will haunt me for a long time.

On the other hand, many of the characters are by far the most despicable I’ve ever met and their actions among the vilest put to paper. Lots of the characters’ actions are motivated by sexual appetites that are many things — mostly disturbing — but never even remotely erotic. So if this review leaves you curious about McNaughton’s work, be warned: while it’s not sadistic or very frightening, it is strong stuff.

The Throne of Bones contains nine short stories and the novella, “Throne of Bones” itself composed of six intricately intertwined stories. They are set within and on the edges of an old empire slipping into decay: crumbling cities, clashing religious sects, and feuding noble clans. The rich and powerful lead lives of luxury, while the poor live in squalor. Between them a small middle class live in dual fear of the nobility and of falling into poverty.

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Kelly McCullough’s Broken Blade is a Quick Summer Read

Kelly McCullough’s Broken Blade is a Quick Summer Read

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Broken Blade Kelly McCullough-smallBroken Blade
Kelly McCullough
Ace (304 pgs, November 2011, $1.50)

Aral Kingslayer used to be a legend. In another life, he wasa  hired blade for Namera, the goddess of divine justice, and while in that role earned his name. Now that his goddess is dead, his order disbanded, and his compatriots killed, he is a man without a purpose.

Well, unless taking odd jobs to keep his bar tab paid and dodging barbs from his shadow familiar Triss could be called having a purpose. That is, until a lady dressed in red walks into his life with a job offer: deliver a sealed message to a person waiting on a particular balcony at a specified time.

Aral believes this to be an easy job for a man with his unique skill set, and so he accepts. It’s not until he’s almost killed by a man whom he’d thought long dead that he discovers the job is much more than it seems.

Broken Blade is an enjoyable read, even as it doesn’t break any new ground. Assassin novels generally feature a man (check), who has gone rogue for reasonable and/or forgivable reasons (check), who comes to question everything he has known to be true (check). They also feature political intrigue, creative battle/death scenes, and a love interest (check, check, check).

However, one can’t just dump the elements onto the page and expect to get a coherent, entertaining story. An author needs to add a little from each trope and combine them until they make something new, and here McCullough succeeds — he mixes just the right amounts of just the right ingredients to produce a solid novel.

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A Review of The Man Who Awoke, Plus a Giveaway

A Review of The Man Who Awoke, Plus a Giveaway

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Man Who Awoke 1st edThe Man Who Awoke
Laurence Manning
Ballantine (170 pgs, $1.50, 1975)

Back in February, our editor John O’Neill featured Laurence Manning’s The Man Who Awoke in one of his Vintage Treasures posts. I first read the book sometime around the summer (I think it was summer) of 1981 or 1982. I was in high school and had picked up a copy at a local used book store. When I mentioned in the comments that I’d been thinking of rereading it, John graciously offered to let me do a review. I’d like to thank him for the opportunity.

It had been on my mind recently when I read an ARC of Michael J. Sullivan’s Hollow World. Then I attended ConDFW this past February, where the charity book swap had dozens of paperbacks from the late 70s and early 80s in excellent condition. Among the titles I picked up was a first edition of The Man Who Awoke.

The novel was originally serialized in five parts in Hugo Gernsback’s Wonder Stories in 1933. The first part was included in Isaac Asimov’s anthology Before the Golden Age, another book I need to reread. I had enjoyed the first installment, so when I came across the paperback of the whole novel, I snatched it up and dashed home with it, after properly paying for it of course.

The story concerns Norman Winters. He’s a wealthy scientist who develops a method of putting himself to sleep through a process very much like hibernation. I don’t know if this is the first use of what would later come to be called suspended animation, but it had to be one of the earliest. I’ve not read H. G. Wells’s When the Sleeper Wakes, so I don’t know the mechanism Wells used. Manning has his protagonist use this device to search for meaning and happiness in the future.

In the first story, “The Forest People,” Winters places his apparatus in a chamber deep underground, and with the aid of a timer, sleeps for a few millennia, waking in 5000 A.D. When Winters comes out of his chamber, he discovers that the world has reached a state in which humans live in small villages, using trees to supply almost all their needs. Most of the world is covered by forest, and open grasslands are anathema. The time Winters comes from (our present age) is known as the Age of Waste.

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Roleplaying Game Review: Fate and Fate Diaspora

Roleplaying Game Review: Fate and Fate Diaspora

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Diaspora Game-smallThis weekend, I shall be attending Conpulsion, the massive yearly gaming convention held in Edinburgh, Scotland. Mostly, I’ll be teaching a plotting and outlining workshop and demonstrating Historical European Martial Arts. If you’re attending, keep an eye open for me! (I’m the tired dad with the swords.)

FATE is basically the Linux of the gaming world. Its core system is a product in its own right, but people are also free to base their own systems on it, a classic example being the award-winning Hard SF Diaspora.

Articulate, sometimes witty, always enthusiastic, both these roleplaying games appear to have been written by grown-ups who like roleplaying more than they like rules, but still want their roleplaying to be an actual game.

It helps that the core FATE system abstracts everything to four basic actions — Overcome, Create an Advantage, Attack, and Defend — and five categories of parameters — Aspects, Skills, Stunts, Stress Tracks, and Consequences.

This means that, instead of yesteryear’s lovingly created baroque edifices of subsystems, FATE games are as recursive and intuitive as a modern software package. For example, characters, weapons, ships, and space ships all have the five kinds of parameters and can be involved in the four actions.

FATE Core lends itself easily to pick up games. Last weekend, armed with a one-page dungeon adventure and some hastily created “Fudge Dice,” I GM’d my son Kurtzhau and DeeM (both 10) and Morgenstern, my daughter (6!).  The character generation was a hoot (much like my experience with Diaspora) and gave us respectively a disillusioned veteran mercenary, a thief masquerading as a squire, and an axe-wielding barbarian princess. The resulting Aspects, especially “Can’t abide an unfair fight,” “Nobody runs from my crossbow,” and “I like shiny things,” generated drama and dilemmas without much effort on my part. In truth, the party got nowhere near the dungeon, but did have to flee a warlord after the thief stole his magic gem.

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In A Land Before Atlantis and Mu: The House of Cthulhu by Brian Lumley

In A Land Before Atlantis and Mu: The House of Cthulhu by Brian Lumley

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oie_214202658YPxSzMI imagine that when most people hear the name Brian Lumley, they think of his vast Necroscope series. You know — the books with the malformed skulls on the covers. If your memory is a little longer, you might think of his August Derleth-influenced contributions to the Cthulhu Mythos series, featuring the supernatural sleuth Titus Crow. And in case you didn’t know, he’s also a prolific writer of really great horror short stories. Even if I didn’t love the stories in his collections, Fruiting Bodies and Other Fungi and Beneath the Moors and Darker Places, I’d still love them for their titles.

While I did know about all those books and stories, what I didn’t know was that he’d written a whole series of swords & sorcery tales set in Earth’s earliest days on the primeval continent Theem’hdra. I had read a story in Andrew Offutt’s anthology, Swords Against Darkness IV, called “Cryptically Yours,” but hadn’t realized it was part of a much longer series of adventurous stories of wizards and warriors.

Recently, I learned from from Paul McNamee that Subterranean Press was making a lot of Lumley e-books available at $2.99 a volume. I immediately bought three story collections: Haggopian and Other Stories, The Taint and Other Novellas, and No Sharks in the Med. I’ve dipped into all three already and recommend them all.

My buying spree led me to check out Lumley’s website, which led me to something called The House of Cthulhu: Tales of the Primal Land (2010). I learned it was the first of three collections of adventures from the dawn of time. While Tor Books wasn’t selling it as cheaply as the Subterranean collections, I still hit the buy-button. Within minutes, I was traveling back into the deep ages of the world to the Primal Land, encountering giant slug-gods, sorcerers striving for immortality, amoral barbarians, and old Cthulhu himself.

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The Series Series: The Barrow by Mark Smylie

The Series Series: The Barrow by Mark Smylie

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The Barrow-smallThe book mugged me. It was supposed to stay safely several weeks down in my queue while I kept commitments to other law-abiding books that had been waiting patiently for review. Then up walks The Barrow, brazen as you please, distracts me by flashing its jacket copy, and steals two weeks of all my attention right out of my calendar. But what else can you expect from a book full of gangsters, extortionists, rabble-rousers, mercenaries, slumming disgraced nobility, and assorted other low-life types?

I haven’t quite figured out how Mark Smylie pulled it off. The book has some obvious excellences, and some obvious failings, and some oddities that might be mistaken for one only to turn out to be the other. I’ll need to read more of Smylie’s work to figure out what tipped the balance in the book’s favor.

I found most of the characters somewhere between off-putting and odious, and nearly every time the body count went up by one, I was relieved at not having to put up with that character for one page longer. It’s as if Smylie had set himself the task of outdoing George R.R. Martin for grittiness of characterization, and overshot by twenty miles.

There are readers who love that sort of thing; I’m not usually one of them. As the endgame of the novel came in sight, there were only three characters I cared about at all — the enigmatic hero Stjepan Black-Heart, the cross-dressing street fighter Erim, and the disgraced noblewoman Annwyn. I kept coming back to my two snarky rhetorical questions: How are these two women going to survive ten more minutes surrounded by all those sociopaths? And when is Stjepan going to have a male friend who does not suck?

Only it turns out those are the questions that matter most, and several of the glitches I had mistaken for goofs on the author’s part ended up being the keys to the story’s other puzzles.

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The Dungeon Dozen

The Dungeon Dozen

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DDcoverNext copyThe first roleplaying game I owned was the 1977 Dungeons & Dragons Basic Set edited by J. Eric Holmes, as you’re all probably tired of hearing by now. Among the many memorable features of that boxed set was that some of its printings (including my own) did not include dice. Instead, these sets included a sheet of laminated paper chits printed in groups that mimicked the ranges of polyhedral dice (1–4, 1–6, 1–8, 1–10, 1–12, and 1–20).  The purchaser of the game was instructed to cut them apart and “place each different type in a small container (perhaps a small paper cup), and each time a number generation is called for, draw a chit at random from the appropriate container.”

This I dutifully did, taking several small Dixie Cups from my upstairs bathroom for the purpose. Leaving aside the disbelief-suspending flower print of the cups, this method of random number generation was awkward and decidedly un-fun. Consequently, I set out to find a proper set of dice with which to play D&D, a quest that took me to a local toy store, which had them hidden away behind the counter. I bought that set – made of terrible, low impact plastic – and rushed home to use them. I wanted to be a “real” Dungeons & Dragons player. For all their faults, those dice were, in many ways, what sealed my fate as a lifelong roleplayer. There was something downright magical about those little, weirdly shaped objects that captured my imagination almost as much as the game itself.

I am fascinated not just by dice, but also by randomness. I’ve come to believe that one of the real, perhaps fundamental distinction between “old school” roleplaying games and their latter day descendants is the extent to which randomness informs game play. As a younger person, I went through a period when I intensely disliked randomness and used it as a bludgeon against games, including D&D, that I decided I disliked. Older, if not wiser, I no longer think that way. Indeed, I celebrate randomness as a vital part of what makes a RPG enjoyable for me. Randomness is frequently a godsend, providing me with a steady stream of ideas and inspiration when I find myself at a loss for either (which is often). Randomness also enables me to be surprised, even when I’m the referee, which is no small feat after more than three decades behind the screen. In short, I love randomness.

Therefore, I suppose I’m predisposed to love a book like The Dungeon Dozen by Jason Sholtis. This 222-page book is a compilation of the many “flavor-rich yet detail-free” random tables available on Sholtis’s eponymously named blog, accompanied by a great deal of black and white art provided by Chris Brandt, John Larrey, Stefan Poag, and Sholtis himself.

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