Showdown In Screamtown Round One: The Satanic Sixteen

The competitors are in the arena.

The matches have been booked.

The introductions have been made.

The crowd is amped up and ramped up.

So, without further delay, let’s get ready to rumble!

MATCH ONE: DRACULA (1) vs PENNYWISE (16)

VS

A classic match-up of Old School Ghoul versus New School Ghoul. They would appear to be pretty evenly paired as far as physical strength goes, but it doesn’t take long for an old veteran to spot the upstart’s weakness.

The fact is that Pennywise’s power is predicated on fear, which is why he primarily hunts children. So, unless Pennywise can transform into a crucifix or a sunrise, Drac isn’t going to fear him very much.

Without being able to charge up on fear juice, the killer clown is just as doomed against one nosferatu as he was against seven preteens.

WINNER: DRACULA (1)

 

MATCH TWO: THE WOLFMAN (2) vs FRED KRUEGER (15)

VS

If this fight takes place purely in the real world, the Wolfman tears through Kruger as quickly as if the latter were nothing more than the slice of pizza that he resembles. But Fred is canny enough to find a way to take their battle into dreamland, where he’ll have home field advantage.

At this point, though, Fred runs into a similar problem as Pennywise did. He killed children in life and teens in post-life, and he was damn good at it. But Wolfie is a grown-ass man and his subconscious, where Krueger has found much success against insecure pubescents, has a grown-ass monster wolf prowling about in it. Old Freddy Knife-Fingers looses in both realms.

WINNER: THE WOLFMAN (2)

 

MATCH THREE: FRANKENSTEIN’S MONSTER (3) vs MICHAEL MYERS (14)

VS

Michael is far more aggressive, and has racked up a far greater body count that the Creature over the years. I mean, Frank would rather babysit a little girl than stalk and kill her babysitter and said-babysitter’s school chums.

So the murderous Shatner fanboy would come out swinging…or stabbing, I suppose. He’ll put a bunch of holes in the Creature, but Dr. Frankenstein knows how to construct a damn durable dude. It took a flaming collapsing windmill to put the Creature down once, and they had to explode a whole castle laboratory around him to stop him the second time.

Eventually, Capt. Boltneck will get fed up and toss Michael into the river like he was a little girl picking flowers.

WINNER: FRANKENSTEIN’S MONSTER (3)

 

MATCH FOUR: LEATHERFACE (4) vs ZOMBIE (13)

VS

In our shortest, and most lopsided, match of the night the zombie hungrily inquires “Brains?” to which Leatherface – thinking the undead a snob for only wanting to eat the caviar of the human body – fires up his chainsaw and promptly turns his opponent into rotten cold cuts.

WINNER: LEATHERFACE (4) 

 

MATCH FIVE: JASON VOORHEES (5) vs THE THING (12)

VS

Neigh-invulnerable and strong as hell, Jason would jump out on The Thing fast early on. He’ll be hacking and slashing his way to an early victory before Thingie figure our how to use his greatest strength to his advantage. In a stunning twist, it’s revealed that The Thing located Pamela Voorhees and absorbed her corpse prior to the match!

Since Jason is not one to chop up mama, he stops his attack. This allows all the pieces that JayJay already hacked off to attack him from all sides, leaving the primary mass of alien ass-kickery to finish the job. And, just like that, we have our first upset of the night!

WINNER: THE THING (12)

 

MATCH SIX: THE TERMINATOR (6) vs ALIEN QUEEN (11)

VS

With guns, the Terminator makes short work of our royal xenomorph. But, as laid out in our previous entry, no guns are allowed here, so the Austrian Android has to get down and dirty in this fight.

Queenie would scrape off much of Schwarzenator’s synthetic flesh with her claws but, as designed, the murder machine will keep coming after her. This one gets nasty, as Queen Xeno gets torn apart limb-from-limb. But she does nearly as much damage to the Terminator as her acid blood burns through flesh and metal alike.

In the end, the Bionic Bludgeoner finishes the job, but he’ll be in really rough shape for Round Two.

WINNER: THE TERMINATOR (6)

 

MATCH SEVEN: PREDATOR (7) vs BRUNDLEFLY (10)

VS

We’re rolling with the half-transformed Brundlefly here, so he’s still got much of his genius intellect intact. While one might think that’s an advantage here, it’s actually quite the opposite. Brundlefly has a very inquisitive mind, hence his ill-fated teleportation experiment, so he wouldn’t be able to resist asking Predator a million questions about his physiology, his homeworld, his likes and hobbies, and so forth.

The only reason Big P waits so long to tear out his opponent’s spine is because he’s not sure whether to actually consider him a threat. Ultimately, he decided that he may die of boredom if this continues, and so he adds a human/fly hybrid to his trophy collection.

WINNER: PREDATOR

 

MATCH EIGHT: REAGAN MACNEIL (8) vs PINHEAD (9)

VS

This is a tricky one because it’s entirely possible that Pazuzu – the demon possessing Reagan – is actually Pinhead’s boss. That aside, both take a keen interest in torturing poor Reagan and, as a result, Pinhead ends up victorious.

WINNER: PINHEAD (9)

And with that, our Round Two match-ups look like this:

Dracula (1) vs The Thing (12)

The Wolfman (2) vs Pinhead (9)

Frankenstein’s Monster (3) vs Predator (7)

Leatherface (4) vs The Terminator (6)

Tune in next time to see the results of Round Two: The Evil Eight!

Showdown In Screamtown: The Challengers

With Halloween just around the corner, I’ve decided to dedicate a couple of blog posts to two of my favorite things: Horror Movies and Single Elimination Tournaments.

So, I’ve rounded up 16 of the greatest movie monsters of all-time, and decided to stick them in a series of one-on-one matches to determine who is the baddest of them all!

I’m calling this pay per view spectacular The Showdown In Screamtown.

In the instance of challengers with numerous incarnations throughout film history (Dracula, Wolfman, Frankenstein’s Monster, Zombie) I chose the versions who would be the most proficient in a straight-up fight.

I’m not that big of rules and regulations, so I’ll be playing pretty fast and loose with the matches themselves.

There were, however, some qualifying rules for entering the tournament. The most useful of these rules was placing   and weight limit on the combatants. Basically, if you can’t fit into a WWE-style wrestling ring, then you can’t compete. This rules out monsters like Cloverfield, Godzilla, King Kong, the Kraken, and any other kaiju. Sorry, big guys.

One other rule is that, since I want this to primarily be a hand-to-hand combat tourney, signature weapons are allowed except for firearms. In other words, Leatherface gets his chainsaw and Jason get a machete, but Terminator’s guns and Predator’s shoulder-mounted laser blaster are outlawed

The seeding was based on the first fights I’d be interested in seeing. I haven’t planned beyond Round One yet, so things will get pretty interesting pretty quickly.

From Round Two onward, the tournament will run according to Round Robin rules, with the highest remaining seeds taking on the lowest remaining seeds (1st seed vs 16th seed, 2nd seed vs 15th seed, etc).

With that in-mind, let’s meet our tremendously terrifying tournament titans:

1: Dracula (Bram Stoker’s Dracula – 1992)

Dracula is a no-brainer for the #1 seed here, as he’s been the inspiration for so many other monsters. I went with this version of Dracula because he showed a full arsenal of creeptastic powers, including control over night beasts like wolves and rats, mind control over people, de-aging himself, and the ability to transform himself into a big wolf-like thing and a big bat-like thing. Bonus points for the fact that he was still able to seduce Lucy while in wolf-like thing form, which takes mad skills.

2: The Wolfman (The Wolfman – 2010)

There are so many werewolves to choose from, but this one might be my favorite. He looks like a big bad wold ought to look, while still serving homage to the classic Lon Chaney Jr. wolfman. He can run on two legs or all fours, is strong as hell, fast as hell, and nasty as hell. You also have to give props for them getting Sir Anthony Hopkins and Benecio Del Toro to star in this film.

3: Frankenstein’s Monster (Classic Universal Film Series)

There were shockingly few semi-decent film incarnations of Frankenstein’s Monster (not to be confused the Frankenstein, the mad scientist who created him). But since this character probably inspired even more monsters than Dracula (a few even show up in this very tournament) he needed to be represented here. Several of the classic Universal monster films feature the Creature are great, though, so we’re rolling with old flat top here.

4: Leatherface (The Texas Chainsaw Massacre Film Series)

The only fully human competitor who made the cut (so to speak) Leatherface deserves a lot of credit as he’ll be repping the whole human race essentially (I’d still take him over Trump). He’s a whirling dervish of a killing machine who can chop you to bits, then slow cook those bits into some mean BBQ.

5: Jason Voorhees (Friday The 13th Film Series)

To paraphrase DJ Khaled  “All he does is kill kill kill no matter what!” JayJay here is an early favorite for this type of challenge as he puts his SuperZombie skills on display in hopes of winning that championship belt! (Did I not mention there’s a championship belt? Cuz there is. There always is. And it’ll be pretty damn sweet).

6: The T-800 Model Terminator (The Terminator – 1984)

As mentioned earlier, the T-800 won’t have access to the plethora of guns he’s used through the course of five films (of varying quality), but don’t feel too sorry for him – he sure as shit won’t feel sorry for you when he tears your limbs off one at a time. He’s built from a highly durable steel alloy and was built exclusively to do what he’ll be doing here.

7: Predator (Predator Film Series)

The Big P was built for killing like the T-800, but he’s spent his entire life mastering the art of it. This guy might be looking forward to these fights more than any other combatant, as he loves nothing more than to test his skills against the most formidable of opponents. His shoulder-mounted laser blaster may be off-limits, but he’ll still be able to use his retractable wrist-blades and extendable spear.

8: Reagan Macneil (The Exorcist – 1973)

The little demon girl (literally, not figuratively) is less of a physical threat than most of the other challengers, but she’s spooky and running on devil diesel fuel. Her best gameplan might be to talk crazy smack until she gets into her opponent’s head and psyches then out into a making a mistake.

9: Pinhead (Hellraiser Film Series)

He’s iconic, so he had to make the list, but he’s really more into pleasure than pain – even if the specific pleasure is meant to be elicited from extreme, agonizing pain. But he’s all black leather and nails-in-the-face, so I expect he can hold his own in the ring.

10: Brundlefly (The Fly – 1986)

Mad scientist and monster all-in-one, so he’s got brains and brawn, Seth Brundle’s may have transformed himself into a horrifying and nauseating human-fly hybrid, but can he transform himself into a champion?

11: Alien Queen (Aliens – 1986)

Queenie just barely made our weight/size cut off, but she trimmed a few pounds and here she is! She royalty and the mother of horde of neigh-unstoppable apex predators, so she’s going to be a tough out for anyone,

12: The Thing (John Carpenter’s The Thing – 1982)

Thingie pushed right up against our size limit, as his final form is pretty massive, but we let him in. A master of deception who, when found out, can also bite your arms right off. This thing from another world has a chance to go deep in our tourney, but it all depends on what sort of shape he shows up in (cardio and otherwise).

13: Zombie (Return Of The Living Dead – 1985)

So many zombies to choose from, but we’re going with the ROTLD variety as they are the hardest to kill. Brain shots won’t stop them from munching on your brains. Hell, they had to nuke a whole town to stop them at the end of the movie. So he can take a beating for sure, the only question is whether he can deliver one.

14: Michael Myers (Halloween Film Series)

Michael could be interpreted as every bit as human as Leatherface, but he’s really running on some dark and unknowable evil drive. Six shots and a two-story fall didn’t finish him, so he’s a player. John Carpenter’s Halloween kicked off an entire sub-genre of slasher films – not unlike Romero’s zombies – but will that be enough to get his arm raised in victory?

15: Fred Krueger (Nightmare On Elm Street Film Series)

I’m going with “Fred” instead of “Freddy” because the character was a child murderer in life, and that disqualifies you from being on more familiar terms with me (JayJay only every killed teens, so I’m a little cooler with him). But Fred McMeltyFace has been haunting nightmares both on-screen and off for more than 30 years, so he’s primed and ready to get down and dirty.

16: Pennywise The Dancing Clown (IT – 2017)

A very recent addition to the pantheon of famous filmland monster, but a worthy one nonetheless. He does eat children, so he occupies the same pure heel position as Krueger, but the crowd always needs someone to boo! Still, he made one hell of an impression in one hell of a short period of time, so he’s coming in to Round One hot.

Round One Matches:

Dracula (1) vs Pennywise (16)

The Wolfman (2) vs Fred Krueger (15)

Frankenstein’s Monster (3) vs Michael Myers (14)

Leatherface (4) vs Zombie (13)

Jason Voorhees (5) vs The Thing (12)

The Terminator (6) vs Alien Queen (11)

Predator (7) vs Brundlefly (10)

Reagan MacNeil (8) vs Pinhead (9)

Check back next time to see the who managed to survive and advance the Round Two!

IT Conquered The World!

As a part of my new personal initiative to stay active on my blog, I figure I’ll start posting reviews of movies, TV, and whatever else might strike my fancy.

We’ll kick things off with the biggest movie news of this past week: How Stephen King’s IT smashed all sorts of R-rated horror movie opening weekend records.

I’m a massive Stephen King fan. I’ve probably read more King than any other author combined, but I suppose that’s not saying much considering some of his page counts. But books like IT and The Stand prove themselves worth the time investment.

To go off on a slight tangent here, I’ll add The Shining and ‘Salem’s Lot as my other two favorite King books. I’d still love to see a good version of the former that’s truer to the source material than Kubrick’s film, while the latter has actually had two pretty damn good miniseries adaptations. Of course that doesn’t mean it couldn’t use another go-round now that Hollywood was finally able to produce a great adaptation of one of King’s horror novel

(Stand By Me and The Shawshank Redemption are great films, but neither was based on a horror story)

I’ll keep my review portion short and to the point: I thought IT was the best horror film I’ve seen in years. It accomplished that ever-difficult feat of making the viewer really care about the protagonists, and want to see them vanquish the terrifying-but-weirdly-charismatic villain.

 

IT works as a coming-of-age story, a story about the everyday terrors of living in a small (and seemingly cursed) town, and a tale of doing battle with an ancient monster.

Perhaps the most impressive thing was Andy Muschietti – and the team of screenwriters – creating the perfect sort of momentum. When the members of the Losers Club were terrified of Pennywise, then the clown was presented as the most intensely terrifying thing possible. And, towards the end, when the Losers began believing in their ability to defeat IT, the viewer was carried right along in that emotional wave as well.

I’d be remiss if I didn’t mention how good all the kids and Bill Skarsgard were. I’ll always have a soft spot for Tim Curry’s Pennywise, if only because the 1990 miniseries hit me at a very impressionable time in my life, and I was the same age as the protagonists were at the time.

But Skarsgard’s Pennywise scared me when I’m 38 rather than 11, and that’s a bigger accomplishment (the R-rating and advances in visual effects sure didn’t hurt his efforts).

The subject of experiencing IT as a child and re-visiting it as an adult is the perfect segway to my last two cents. Everyone else is throwing their dream cast around for IT Chapter Two, so I’ll offer mine below.

I gave myself a few rules to follow:

  1. The actors need to be able to embody the attributes of the adult versions of their Losers Club child counterparts.
  2. The actors have to be people who might realistically be cast in the role. So we’re avoiding megastars, and actors who command mega-millions in salary.
  3. They need to be able to sell the audience on the idea of being grown-up versions of the Losers Club. Having a passing resemblance doesn’t hurt here.

Without further adieu:

Bill Denbrough – Jaedan Lieberher

Adult: Charlie Cox

 

 

We need someone who can display the scars from a traumatic childhood – Bill more than the others because of the way he lost his brother – but who can also snap into the leadership role when the time comes to confront Pennywise one last time. I feel like Cox brought both those sides to the table over the course of playing Matt Murdock/Daredevil for three seasons.

Richie Tozier – Finn Wolfhard

Adult: Paul Rudd

Rudd can sell Richie as a successful comedian, being one himself, who can simultaneously annoy his old friends and endear himself to them. His performance as Ant-Man also showed that he can shift into the hero mode needed to face down Pennywise.

Beverly Marsh – Sophia Lillis

 

Adult: Amy Adams

 

Jessica Chastain’s name has been bandied about for this part, and having worked with Muschietti in the director’s debut feature Mama might give her an edge. But I like the idea of Adams bringing the same emotional energy that she brought to Arrival to the role of Beverly Marsh. If you can deliver an honest emotional response to time bending back into itself once, I believe you can do it again.

Ben Hanscom – Jeremy Ray Taylor

Adult: Nikolaj Coster-Waldau

Several actors come to mind that could probably play the part of a formerly overweight punching bag who grew up to be a hunky architect. There were guys like Chris Pratt (too expensive) or Nathan Fillion (doesn’t quite have the gravity) so I went with Coster-Waldau, who’s been killing it in an ensemble over 6 seasons of Game Of Thrones, and who also worked with Muschietti in Mama.

Eddie Kaspbrak – Jack Dylan Grazer

Adult: Adam Scott

I’ll have to re-visit IT sometime to confirm this, but I felt that Eddie delivered just as many laughs as Richie. Therefore, we’re casting another comedian who has also shown some dramatic chops in things like Big Little Lies and Friends With Kids. Wouldn’t hurt to bring over some of that frazzled Ben Wyatt energy from Parks And Recreations either.

Mike Hanlon – Chosen Jacobs

Adult: Michael Kenneth Williams

Mike is the one who stayed behind to “keep the watchtower” so he’s spent the past 27 years serving as a librarian in Derry while his friends all dispersed to enjoy highly successful lives in blissful forgetfulness of their child-eating nemesis. Needless to say, Omar from The Wire has definitely seen some shit. Williams can bring both the shakiness that comes from realizing that the monster is feeding again, as well as the steely resolve needed to drag people he cares about back into the horror as the only ones who have a chance to stop IT.

Stanley Uris – Wyatt Oleff

Adult: Jason Segel

 

**SPOILER ALERT**

Stanley doesn’t last very long, opting to off himself rather than return to the place where he almost had his face eaten by the nightmare lady from his father’s creepy-ass office painting. Segel is a familiar face that the audience will be comfortable enough with to effectively feel the impact when he takes that fateful bath.

That’s what I’ve got for now. I’ll be back soon, so thanks for taking the time to humor me with a read.

What Lies At Baelwood Manor

It’s been a while, but life takes you down some unexpected roads sometimes.

In my case it was a wonderful road that brought me to the birth of my son. While he has become the most important thing in my life, I still never stopped writing.

My new novel is called What Lies At Baelwood Manor, and it’s my love letter to classic Gothic thrillers such as Frankenstein, The Strange Case Of Dr. Jekyll And Mr. Hyde, The Turn Of The Screw and Jane Eyre.

To celebrate the release of this book, I’m posting the first chapter right here so you can get a head start on it!

I hope you enjoy it enough to take a chance and read the whole story.

 

ONE

Lord Graham Stratford’s wake was turning out to be a rather bloodless affair, thought Amelia Christie as she watched the guests interact with one another in a most sterile manner throughout the main sitting room.

She was not entirely surprised by this, as Lord Stratford was neither presently married, nor had he sired any children of his own. The lack of such persons would naturally lower the expectancy of such swelling emotion. Even so, one would assume that those closest to the man would show more outward signs of grieving – if not shed a tear or two.

In fairness, Amelia herself would be considered amongst the closest of Lord Stratford’s acquaintances, and her own sense of loss was quite subdued. He had, after all, been her late father’s closest friend. And he’d taken on an even more prominent role in her life as the executor of her family’s estate in the ten years since her father’s passing.

And yet, Lord Stratford had always been something of an enigma to her. He would present himself with all the trappings of caring patron, but there always seemed to be something askew about his manner. Amelia immediately reprimanded herself for indulging in such oblique thoughts, but she couldn’t help herself.

She had always been more analytical than emotional. Solving puzzles and unraveling mysteries were amongst her favorite hobbies. And this man, who had been involved in her life for the entirety of it, was still one of the grander puzzles she had come across.

No, the stone-faced reactions and few polite words exchanged should not have come as a surprise at all. Many of the attendees were pillars of society and therefore expected to maintain a stoic facade. But the lack of true melancholy suggested a lack of love.

Perhaps that was why she wished to see (and feel) more sadness. For imagining the lack of love in Lord Stratford’s life was as sorrowful as any exhibition of loss that could be shown at a wake.

Claridge Abbey was a sprawling manor. Discounting the serving staff’s quarters, there were still more than thirty rooms in all. The wake was originally to be held in the ballroom, which was the largest room of the house. But the most spacious of the four parlors seemed more appropriate and was of comparable size. After all, ballrooms were intended for celebrations rather than bereavements.

The ceilings throughout the entire house were approximately five meters high, at least where the second-floor rooms sat above them. The walls reached even greater heights of ten meters in the entrance hall, culminating in a domed ceiling adorned with a painting of angels flying over a pastoral landscape.

The walls of the main hallway were powder blue and decorated predominantly with family portraits extending back many generations. Purple plush runners lay upon the hardwood floors, which ran the length of the house from the front entrance to the back.

The door to the parlor that currently hosted the wake was the third one back from the front entrance, and it was positioned on the left wall just before the stairway leading up to the second floor. This parlor was sparsely decorated but well-furnished. An intricately designed Oriental rug covered most of the floor’s surface area.

Rose Christie watched her younger sister from one corner of the rug, but she was unable to gauge just what her feelings were. Amelia’s long auburn hair, hazel eyes and tall, slim figure (currently wrapped in a charcoal gray dress with a deep red collar and chest piece) cut quite the image amongst the black suits and dresses of the older guests.

Rose, though three years her sister’s senior, was shorter than her. With her wavy blonde hair tucked under a black hat, and her blue eyes hidden behind a black veil, she blended in more with the rest of the room.

She was also expected to wear the loss more prominently than anyone else, as she and Lord Stratford had been expected to announce their engagement very soon. And grieve she did, only not for the conventional reasons.

It was, in fact, more guilt than grief – though she did her best to bend the former into the shape of the latter for appearances’ sake. Her guilt was more difficult to quell when Sir Jonathan Claridge began making his way to her from across the parlor.

Spacious as the room was, she was able to see the manor’s new lord coming for what felt like an eternity. The advantage of this was that she could collect her thoughts prior to his offering her a quick bow.

“M’lady,” he began. “Please accept my great condolences for your loss.”

“Why, Jonathan,” she replied. “Much as I appreciate the sentiment, he was your uncle. It is I who should be offering you my sympathies.”

Jonathan straightened his back and rose to his full lean height. His impeccably tailored black vest and long-tailed coat made him appear taller than his fairly modest height. He ran his hand through his thick, short black hair, effortlessly pushing back the few strands that had fallen out of place.

His brown eyes always bore some varying degree of aloofness, but in this moment, they also bore the glimmer of something incredulously apologetic.

“It was truly a great loss for us all,” he said, wrapping up the burgeoning awkwardness.

“And how is your dear sister handling this all?” Rose asked.

“Winnifred?” Jonathan asked before casting a glance over his shoulder at his sister.

Winnifred Claridge was four years younger than Amelia, and so the difference between her age and her brother’s was twice that. But for such a young girl, she was playing her part as the hostess of Claridge Abbey quite adroitly. She was a slight girl, with unwieldy brown curls and eyes that seemed a bit too large for her face. This was not an unusual circumstance for a girl of thirteen years.

“There was some shock at first,” Jonathan continued, with a furrowed brow that seemed somewhat manufactured. “The manner of my uncle’s demise caused us all great consternation. But I believe that having a gathering to see to as lady of the house is keeping her mind from wandering into more disconsolate places.”

He’d given the answer he felt that Rose was seeking. But the truth was that he didn’t believe his sister had any better grasp of her feelings toward their uncle’s death than he had. This was troubling, as his own sentiments were quite nebulous.

“I am very glad that she has you to depend on during this difficult time,” Rose told him, doing her best to reply in the expected manner.

“We shall all be quite dependent on one another going forward, I should think,” Jonathan replied, his words and intentions finally finding each other. “You will, of course, call upon me…or, rather, us…should you require anything at any time?”

“Most definitely,” Rose said with a gracious nod. “Now, if you’ll excuse me, I really ought to look in on my mother.”

“Then I shall bid you adieu.” Jonathan bowed again and strode over to join his sister’s ongoing conversation with several other guests.

Catherine Christie was still a striking woman as she reached her 41st year. She had the same auburn hair and hazel eyes as her younger daughter. But her shorter, curvier frame more closely matched her firstborn’s. Her hair was much shorter than Amelia’s, and (also unlike Amelia) Catherine made little effort to walk amongst the crowd.

In fact, she remained off to the side, hovering near the tables of food and wine that lined the walls.

She’d only forged relationships with a small number of guests. The majority had been the sort of people that Lord Stratford purely had dealings with in London.

Catherine recognized a few of them, as she had visited her husband in the London office that he shared with Lord Stratford fairly often in years past. But she’d long since lost touch with them.

It was the half-empty wine glass in Catherine’s hand as well as the two other empty glasses sitting on the table beside her that Rose’s attention was first drawn to as she approached.

“Are you quite well, Mother?” she asked.

“Yes, my flower,” Catherine replied unsteadily. “You know how I simply abhor large crowds. So I’ve staked my claim to this corner, and here I shall remain until our departure.”

“Are you certain that you’re otherwise all right?” Rose asked.

“Now, now, my sweet Rose,” Catherine said, lightly cupping one of her daughter’s cheeks. “Don’t you worry about me. I will be just fine once we’ve returned home.”

Rose smiled skeptically at her mother and returned to making her rounds of the parlor. Her concern for her mother had not dissipated, but she had to keep up appearances.

Inspector Edmund Benedict of the Scotland Yard stood over the open casket of Lord Stratford. One thing was for certain: The deceased had the typical aristocratic cast about his face with his curly dark hair, hooked nose and jutting chin.

He watched the ebb and flow of the room, making mental notes of any gestures or reactions that might grant any insight into Stratford’s life – and by extension, his death.

Benedict would only get the broad strokes of the picture by observing rather than interacting. But he always believed that one could not perceive the small important details without first seeing the tapestry as a whole.

Eventually, he turned his attention back to the body. The undertaker had done a fine job correcting the deceased’s twisted grimace into a serene blankness. Many times he had seen less skilled hands unable to completely sculpt the terror out of the visage of murdered men – and that was when the victims were even left presentable enough to work with at all.

Lord Stratford wore a red silk pocket square in his left breast pocket. This made Benedict wonder if the intention here had been an attempt at gallows humor. When the man had been found dead in his small legal office in the nearby village of Halfordshire, the entire left side of his shirt had been soaked through with blood.

But then, perhaps it was an inadvertent joke that only he would consider intentional. It mattered not at this time. What mattered was that soon Claridge Abbey would usher out the guests, and he would conduct his interviews with the Claridges and their serving staff.

Then, the following morning, he would travel to the Christie household and proceed down a similar course with the Christies and their staff.

Benedict was a gifted man, and he generally identified the culprit almost immediately following these inquests. From there, it was just a matter of gathering the necessary evidence to prove that he was right.

Which he almost always was.

He had no reason to believe that case of the murder of Lord Graham Stratford would be any different.

He would be very wrong.

Fighting The Horror

It’s been a little while since my last blog post, and I wanted to make sure that my favorite time of the year – Halloween Season – didn’t pass without putting something out there. So, what I’m going with is my taste in horror movies and where that taste may come from.

I grew up in the ’80’s, so the focus here will be on the first horror flicks I can remember seeing and the effect they had on my scary movie proclivities. Let’s do this chronologically to give it some form of order.

I was only 2 years old in 1981, so Halloween II had been out for a few years before I ever managed to see it. It still left an impression on me, as the location of a dark and mostly empty hospital still strikes me as one of the best locations for a scary story. And it was a simple enough story, Michael Myers was seeking to finish the job by killing his sister Laurie Strode (that she was his sister was only revealed in Part II and never mentioned in the first Halloween). At the same time, Dr. Loomis was hunting for his own answers about what made Michael Myers into what he had become. Admittedly, Halloween was a better movie that Halloween Part II, but I rather liked how Loomis’ and Laurie’s arcs finally tied together better in the sequel.

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1985’s Fright Night was the first vampire movie that I remember watching. Living in the suburbs myself, I really dug how they turned all the things that make people who live in the ‘burbs feel safe dangerous. Because, if you can see a vampire taking a victim and he can see you watching him then there really is no safe haven. But it ultimately had to be high schooler Charlie Brewster who dragged actor-turned-vampire hunter Peter Vincent in the battle against the bloodthirsty Jerry Dandridge. That Fright Night managed to inject a good bit of dark humor into the proceedings only made me connect with it more. As everyone knows by now, laughing and screaming are really just a short breath away from one another. The 2011 remake wasn’t too bad either.

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Silver Bullet, based on Stephen King’s novelette Cycle of the Werewolf, also came out in 1985. There would be several werewolf movies from around this era that would blow away this one in my mind eventually (An American Werewolf In London & The Howling), but I didn’t see them until I was into my teens. This one was similar to Fright Night in that it set the horror in a quiet little town that couldn’t possibly be equipped to deal with it, while one kid knew the truth but nobody believed him. Swap in a werewolf for a vampire and I’m good to go!

Silver-Bullet

Looking at the common bond between these first three  movies – “Watch out suburbs, here come the monsters!” I probably was just really hoping for a creature to sweep into my hometown so I could get my hero on. Of course, that would be after said creature took out some of the folks I was less fond of in my school. I, of course, would be ready to deal with the beast because…well, because I’d seen these movies after all.

Moving away from the suburbs and into the summer camp, Friday The 13th Part VI: Jason Lives (1986) was the first of the franchise that I’d seen. Honestly, it still may be my favorite of the series. That it was the third film in the Tommy Jarvis Trilogy of Friday The 13th films helps to earn it that top spot. After confronting Jason Voorhees in the previous two Friday films (okay, technically it was only actually Jason in Part IV) he was finally a bit better prepared to fight back. I mean he was no Dr. Loomis, didn’t even have a Medical Degree, but he was the best protagonist that the Friday series ever rolled out. That Tommy and co-lead character Megan made up a poor man’s Kyle Reese & Sarah Conner combo only further endeared this film to me.

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The next pair of films are more action/sci-fi than horror, but they hit my sweet spot early on in life just the same. Aliens (1986) and Predator (1987) are two of the greatest genre films of all time, and there’s nothing I can say about them that you haven’t already read five times over. Other than, perhaps, the reason I was drawn to them. I liked how Sigourney Weaver’s Ellen Ripley and Arnold Scwarzenegger’s Dutch ended their respective films as equals to the monsters hunting them, and went into a final battle against them as such. In my opinion, nothing beats a good smackdown to end a movie on a high note.

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1990 saw the release of the mini-series adaptation of Stephen King’s IT, part one of which is still one of the greatest episodes of genre television of all time. I was about the same age as the protagonists trying to survive the terrors of Lovecraftian College of Clowning graduate Pennywise (Tim Curry adding another iconic character to his resume), and so when this one rolled around I was dragged along in its wake.

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At around that point, the flood gates opened and 11 or 12 year old me was about to discover a whole lot more horror in a very short period of time. Which makes this a good place to wrap things up.

The one common strand of DNA that runs through every one of these stories is a theme that I look for in any other genre as well: the ability to fight back against the enemy. If I’m being honest, ghost stories creep me out more that monster mashes, because in many ghost stories there’s not much you can really do to battle the forces of darkness.

I suppose I’m just not really drawn to tales of helplessness, and that’s something that applies to things I watch, things I read, and things that I write. which is also why I get very flustered about stories of how the little people cannot possibly win against the sinister and corrupt power elite of society. I may not be a super optimistic person, but I certainly respond more to optimism than to fatalism. There’s more than enough of the bad guys winning in real life, I don’t need to see it in my fiction.

I believe that everyone has free will, and can fight as long as they have the strength to. Sometimes you win, sometimes you lose, and sometimes you win but don’t survive to enjoy the victory. But, as long as you’ve saved the people you care about, then it’s a worthwhile sacrifice. If you can deliver something fantastical, and stick the landing on the message above, then take my money because I’m there!

 

A Cannibal’s Last Supper

To kick things off with a bit of a controversial thesis: I believe that NBC’s Hannibal is a show whose quality that I place on par with contemporaries Game of Thrones and The Walking Dead.

It’s a very different kind of show than those others, but I find it equally enjoyable. Its lush and sumptuous art design and direction make it stand out from anything else on television. As does its sometimes meditative pacing, which can be a bit of a double edged sword.

As Hannibal concluded its run this past Saturday (which was on NBC’s accord rather than showrunner Bryan Fuller’s)  I thought it was a good time to view its greatness and frustrations as a whole.

Major spoilers ahead, so consider yourself warned.

Season one revolved around Hannibal Lecter  and Will Graham (fantastically brought to life by Mads Mikkelson & Hugh Dancy) as the co-lead characters, despite only one of them having his name in the title. Graham had been portrayed without much fanfare in the 1986’s Manhunter and 2002’s Red Dragon, so Dancy had significantly less pressure on him. Lecter had been portrayed by Brian Cox, Gaspard Ulliel and (most famously by a wide margin) Anthony Hopkins.

Hopkins won an academy award for playing the role in Silence of the Lambs before revisiting it to diminishing returns in Hannibal (the movie, not to be confused with this TV show) and Red Dragon. SotL made the character an icon, but I will fiercely defend my opinion that Mikkelson plays the character better than he has been in anything other than SotL. That includes Hopkins’ two subsequent portrayals.

But I don’t want to venture too far off course here, and so I’ll bring it back to the show itself. Jack Crawford (a convincingly authoritative Laurence Fishburne) and Alana Bloom (Caroline Dhavernas, given maybe the most active character arc through the series) become more important as the show moves through seasons one. Each episode had a killer of the week that Will is brought in to profile and help the FBI catch, which sounds fairly rote, until you consider exactly how it’s done.

Will steps into the mind of the the killer, which is illustrated in dream-like sequences where the crimes are recreated with Will as the killer. The actual killer is generally revealed halfway through the episodes, so that the show can deal with its true interest: what makes these people do the horrible things they do. It’s this difference that allows Hannibal to surpass anything like the Law & Order or CSI shows.

The real neat trick is how showrunner Bryan Fuller and his team make ghastly things appear beautifully gothic. Dead bodies are positioned like magnificent sculptures, blood flows in a manner that seems to give it a mind of its own.  It’s pretty similar to something you might see from a Guillermo del Toro film, almost like the visions of a dark fairy tale.

Hannibal spends most of this first season assisting the FBI in the cases that they bring Will in on, primarily due to his fascination with the impossibly empathetic Graham. He also serves as Will’s psychiatrist, all the while continuing his killings and cooking as the Chesapeake Ripper. At this point it’s worth noting that they always make the meals prepared from human parts look so delicious that it has been widely considered Food Porn.

The developing bond between Hannibal and Will is really the driving force, as they are two sides of the same coin, and Hannibal believes he can flip Will.As things progress, Hannibal allows Will’s encephalitis (an inflammation of the brain do to infection) to go untreated, which takes a very heavy toll on Will’s mental and physical states.

Eventually, Will works through it enough to realize what Hannibal really is, and he tries to stop him once and for all. However, by that point, Hannibal has already framed Will for his own crimes as The Ripper and, in an ironic twist of fate, Jack Crawford stops Will from killing Hannibal. Season one ends with Will in a very familiar looking cell as Hannibal visits him. A full reversal of how most people were introduced to Lecter in the earlier films.

Season two is broken into two halves. The first half involves Will, fully recovered from his illness and sharp enough to take on Hannibal with equal footing. Unfortunately, he’s stuck in a mental hospital with all his allies thinking he’s a cannibalistic serial killer. This doesn’t stop Will from digging deep into his mental reserves and trying to figure out how best to bring Hannibal down.

Will manages to prove his innocence and, once freed, enlists Jack to help him finally get Hannibal. So the second half of season two has Will trying to beat Hannibal at his own game. He uses Hannibal’s curiosity and twisted affection for him to lure him into a trap. The whole game makes for fantastic television, but the finish is where the show makes its first fumble.

Season two ends with every major character, other than Hannibal, lying in a pool of their own blood from a trap set by Will and Jack gone awry as Lecter strolls out of his home. This was a mistake – not only because they didn’t have a season three renewal at the time, but because they missed out on a great opportunity to finally bring about some catharisis for the viewers after two years of Hannibal putting Will through the ringer.

It should have ended the exact same way, but with one major change. Will should have retrieved his gun, and emptied it into Hannibal as he tried to leave. The last shot of the season could have been Will and Hannibal lying across from each other with their blood mingling between them as they watch one another through dying eyes. It would have been a greatly poetic shot for a show that rarely passed on the chance to break out some gory poetry.

Which brings us to season three, the current and final season. Fuller had said that he wanted to do the Red Dragon story for season three, which was previously adapted to varying degrees of success the the 2002 movie of the same name and the 1986 movie Manhunter. For the second half of the season, which ran its series finale just last night, they did a fantastic job of running with that story. Since they kicked it off, the show has been every bit as good as it was prior to the season two finale gaffe.

The problem was with the first half of season three. The pacing of the first seven episodes were meditative, even by this show’s standards. In fact, the first four episodes were spent catching up with all the primary characters some months after the bloodbath at Hannibal’s home.

This would be perfectly fine for a show on Netflix or Amazon, where all episodes were released at once and you can blow through the first couple episodes to reach the point where things really ramp up. But asking your viewers to spend a full month getting back up to speed is asking a lot. Which is probably why they ended up hemorrhaging viewers, and got the cancellation notice passed down at this point.

The story they were telling was perfectly serviceable. It shows Will, Jack and Alana all tracking down Hannibal to Florence, a chance to roll out some gorgeous scenery, using their own methods. In episode five, they ramp up the momentum again by giving Jack his long awaited rematch with Hannibal, which is actually an joyously one sided beating laid down on Lecter. The next logical step was to have Will finally find what was left of Hannibal after the fight with Jack and lock him into that all-too-familiar cell.

But they didn’t give us that. After three years of build up, they didn’t give us the showdown between Will and Hannibal that many viewers were craving. The most frustrating thing about it was that there were two perfect setups in as many episodes for such a clash: one in Florence, and the other at the estate of Mason Verger (originally introduced in the SotL sequel Hannibal, but brought in earlier for the shows purposes).  Instead, Hannibal carries a wounded Will Graham home, and then turns himself in.

The next episode jumps three years ahead to kick off the Red Dragon story. Running it over the course of six episodes, rather than a two hour movie, gave the story more room to breath than it previously had been given. These episodes got the show back on track, and may have even been better than any previous story arcs. Going with one killer, Francis Dolarhyde A.K.A the Tooth Fairy A.K.A the Red Dragon (played with the conflicted ferocity by Richard Armitage), for the home stretch allowed the show to open up avenues of greater character depth than it had before.

So, the driving narrative of season three was essentially a three way courtship of sorts between Graham, Lecter and Dolarhyde. The season, and series, wrapped up with another of planned trap going sideways, as Dolarhyde helped Hannibal escape during what was meant to be a fake escape that would lure Dolarhyde in with Hannibal as bait. Hannibal and Will ended up at the former’s secret cliffside home as they awaited Dolarhyde’s arrival.

In the end, Will and Hannibal had to team up to kill Dolarhyde – even though they were both motivated to slay the Dragon for different reasons. Hannibal always wanted to share a kill with Will, while Will wanted to stop Dolarhyde before he massacred another family. The two shared a blood soaked embrace – the blood being their own, as well as Dolarhyde’s – on the edge of the cliff before Will tightened his grip on Hannibal and pushed them both off the into the abyss below.

Graham’s reasons for taking this course of action are complex enough to deserve their own post, but part of the motivation was that he knew this might be the best chance he’d have to finally stop Hannibal. He’d unsuccessfully used himself to bait Lecter in season two, but this time Hannibal steps right into the trap. The trap, unfortunately, was Will himself. This is not exactly the direction that I would have gone in but, after painting themselves into the corner with the season two finale and the season three mid-season finale, it was about as fitting an ended as possible.

The biggest overall misstep that I feel they made was making the subtext of the twisted bond between Will and Hannibal into actual text. That ended up driving the show into a place far less accessible for most viewers. It’s  always admirable when creative people do something different, but they still need to leave enough common ground to fit more than a handful of Fannibals.

Don’t get me wrong, I still think this is a great show and I’d highly recommend watching the entire run to anyone and everyone. But the rough patch that ran from the end of season two through the first half of season three has dampened my affection a little bit.

I will no doubt remember the show very fondly, and revisit it again in the future. Mostly, though, I hope to find something to fill this vacancy in my complex, prestigious television viewing slot. Much like Hannibal himself, I’ve developed an appetite for something a bit hard to come by through traditional means. Although, since I’ve never seen anything quite like it on TV before, I’m not sure I’ll see something like it again.

DarkLight Redemption – Chapter Four

Celebrate Friday with chapter four of DarkLight Redemption!

And don’t miss out on getting The Alpha for $0.99 – only two days left on this KDP Countdown Deal.

FOUR

 

 

I try to have dinner with the family at least once a week.

Sure, I catch plenty of grief for my questionable life choices, but I know I’m lucky to have them. I’ve run into too many super-powered nutjobs who have a traumatic upbringing to blame for their issues to bemoan my own situation.

My folks still live out in the ‘burbs, and I’ve got an apartment in the city, so it’s a bit of a trek to see them. I don’t have a car, so I usually just fly over there. Since they don’t know about my abilities, I naturally have to lie to them, and I touch down at the train station nearest the house.

It’s only about a mile away, and I always tell them that I’d be happy to walk over and get some air, but they insist on picking me up at the station. Truth is, it’d be quicker to just land closer by, but I’ve got appearances to keep up.

So I fly to the wooded area just behind the train station and walk out to the tracks. Pretty sure everyone who sees me thinks I’ve just finished taking a leak in the woods. The crooked looks and head-shakes confirm as much. From there, I walk to the parking lot just in time for Dad to pull up.

We make typical small talk on the short jaunt to the house. How have you been? Anything new? Did you catch the games on Sunday? The usual. We pull up to the house, and I can smell the pot roast in the oven as soon as I walk in.

My mom always makes pot roast when I come by. Or prime rib. I suppose she feels like she wants to make something nice, but I’d just as soon sit down and have some meatloaf or mac and cheese.

Maggie’s not here. My mom tells me that she’s out with her girlfriends. She’s rarely around when I come over — at least that’s how it’s been the last few years. At first, I figured it was the standard pouty teenage girl thing. But she’s out of her teens now, so maybe there’s something more to it.

I’ve already decided that this would be the night I finally come clean with my parents. Since I’m leaving the whole superhero/supervillain game to people less jaded and more interested, I might as well let the people closest to me in on my secret.

Some Posties claim that they keep their secret identities hidden from their loved ones to protect them. I guess I sort of understand that, but my reasons were a bit different. My parents have always been the worrying sort, so I mainly kept my work as LightBlast and DarkLight to myself to keep them from having a monthly nervous breakdown.

At least that’s why I kept my life as LightBlast secret. I really kept the whole DarkLight thing to myself out of shame. It would also raise questions about why I switched allegiances that I didn’t want to answer.

We stick to small talk through dinner, but once the coffee comes out, I decide that it’s now or never.

“So there’s something I’ve been wanting to talk to you guys about for a while now,” I begin.

“What’s on your mind, son?” asks Dad. “The bar’s not in trouble, is it?”

“No, I’m doing fine with the bar,”

“Is there a special lady that you want to tell us about?” asks Mom. “It’s been too long since you brought someone over for us to meet.”

“No, it’s not that either,” I reply.

“Have you finally given more thought to going back to school?” Dad jumps in, and I ignore what I recognize as a light jab.

“What I want to tell you is that…” I pause for one last second to make sure I want to go through with this. “I’m a Post-Human.”

They look to each other curiously for a moment before turning back to me.

“Oh, honey, we know that,” my mom says with a shrug.

“You do?” I ask as the shock I was expecting backfires on me.

“Of course,” Dad adds. “Have for quite a while now.”

“How?”

“If you can’t recognize your eldest child when he’s flying around shooting lasers out of his hands, then you’re not a very attentive parent,” Mom explains.

“You know, they’re not exactly lasers, per se,” I start.

“But that’s still no excuse to not get a college education,” Dad says, ignoring my last comment.

“People go to college to get better career opportunities,” I say. I end up going on the defensive about a completely different matter than I’d expected.

“I’m already a successful small business owner. What would be the point?”

“Because knowledge gives you real power,” Dad says. This is a line that I’m sure he’s rehearsed numerous times before.

“The alien warlord Grytlepletarch The Indomitable has real power,” I counter. “And I’ve used my powers to help stop him from conquering the Earth on more than one occasion.”

“Don’t be so literal, sweetheart,” my mom gently insults me. “Your father and I just want you to understand more about the world.”

“I’ve been all over the world,” I insist.

“Having super-powered fistfights in the Roman Colosseum or over Tokyo don’t count as knowledge-gathering trips,” Dad states.

“I read!” I exclaim. “I watch plenty of History and Discovery Channel. Hell, I’m probably more prepared to win on Jeopardy! than any college graduate.”

“That sounds more like an excuse than a reason,” Dad says in a very Dad-ish fashion.

“So you’ve known about me for a while.” I scurry to get the conversation back on point. “Why didn’t you ever say anything?”

“We respected your privacy,” Mom says. “And we figured that if you wanted us to know, then you’d tell us yourself.”

“Wait, you said you’ve known for a while.” I dread the answer to the question I’m about to ask. “Does Maggie know?”

“Of course she does,” Mom replied. “She’s a very bright girl.”

“College graduate,” Dad adds as an aside.

“Does she know why I…” I search for the proper phrasing. “Went bad?”

“No,” Dad says flatly.

“But we do,” Mom preemptively answers my next question. “We’re well aware of how difficult it would have been to get her into one of those treatment studies. God knows we tried our best.”

“And we wish to hell that you weren’t the one who had to make that compromise,” Dad adds with a mixture of anger and embarrassment.

“I know you do,” I say. “So why does she think I started committing crimes?”

Mom looks over at Dad again before replying.

“For the money.”

“Then let’s leave it that way,” I say. “I don’t want her feeling guilty or somehow responsible for my actions.”

“We agree with you on that,” Dad mutters, still with some shame.

It breaks my heart to see my dad — who was always such a strong, proud and noble man — wrestle with a horrible time in our lives that he simply had no control over.

“I suppose that explains why she’s not usually here when I come by,” I say with a sad smirk.

My parents both struggle with how to reply to that. Dad finally decides to get the discussion moving forward again.

“Why have you decided to tell us about your secret identity now?”

“Because I’m finished with it,” I say with some pride of my own.

“All of it. I repaid my debt, and I’m walking away.”

“I’ll be honest with you, son.” Dad looks to Mom again, this time with a smile. “We’re very relieved to hear that.”

“Well, I’m relieved to say it,” I reply, even as the whisper of a doubt creeps into my thoughts.

“You know,” Dad begins, sitting up straight and taking a satisfied sip of coffee. “Since your full attention will now be on your business, perhaps you should consider getting an MBA?”

The Alpha Breakdown – Story

Now it’s time for the last part of my three part series breaking down The Alpha. This one will focus on the influences and inspirations for the story itself.

**There are spoilers involved so, if you haven’t read The Alpha (or The Pack for that matter), you may want to skip this until after you have.**

As mentioned in the characters post, the main theme of The Alpha is finding where you belong in the world. Of course, that also involves resolving past traumas and moving on to where you’re meant to be.

That the characters are working through their tragic pasts also allowed me to go a bit lighter with the tone. Which makes sense since who didn’t have a better time in college than in high school? You get a fresh lease on life, and you really are more well equipped to handle the emotional landmines that life lays in front of you.

I’ve also always been intrigued by the idea of secret societies directing the course of the world for their own nefarious ends. I was glad to have Hadrian Graysmith’s long tendrils give me a chance to explore that in this novel.

I wanted to change the mechanics of the story to differentiate it from the dread of the unknown that permeated The Pack. That is why I presented a trio of fully-formed venatores in the prime of their lives. In a way it was me reliving the excitement I felt when Star Wars: Episode One promised to show us that sort of fully-trained Jedi.

Luke never really became a true Jedi, Yoda and Obi Wan were past their primes, Darth Vader was an abomination, and The Pack only really showed Jack Halliday doing his best after being on a 10 year bender. Meanwhile, Craig, Izzy and Michael are all in mid-season form. I do rather hope that The Alpha was executed better than Episode One, but that’s still what planted the seed.

I also wanted to get into more action in this book than in The Pack, which built up the tension for the first two-thirds of the story before unleashing the horrific fury of violence of the last third. Allow me to indulge myself and discuss my favorite action set pieces from The Alpha.

The subway train/tunnel massacre was inspired by my many subway rides that were spent imagining what would happen if the train were suddenly attacked by monsters. What can I say, being stuck in a subterranean metal tube causes my mind to wander. It was also inspired a bit by the cult classic C.H.U.D, the creatures from which I also spent time looking for in the darkened tunnels that shot off in all directions.

That led directly to Michael winning a hard fought battle against a horde of vampires, and then moving directly onto the big boss. The rooftop pummeling  was my chance to lay some groundwork similar to Batman: Knightfall, wherein our hero is not really prepared to deal with his nemesis and so is nearly beaten to death by him. That, of course, sets up the big rematch at the end.

Michael and Natalie as reluctant partners has its roots in most buddy cop movies or team-ups similar to Buffy & Spike or Daredevil & The Punisher. The pair fighting their way up the Graysmith Enterprises building was inspired by a number of sources as well. Not the least of which would be Ong Bak 2, The Raid and Dredd.

Alpha Michael vs Vamp Lord Graysmith was probably based more on the countless hours of pro wrestling I’ve watched over the years than anything else. Natalie cleaning up after Michael, and being the one who actually finishes off Graysmith, was just a fun twist on the typical End Boss Battle.

That concludes my three part blog breaking down The Alpha. I hope you found it insightful and, if you haven’t yet read The Venator Series, maybe it will inspire you to do so. There will be another Venator Series entry in the near future, but be on the lookout for a couple of other works coming from me in the even nearer future.

Thanks for stopping by, and keep readin’!