From Zombos Closet

JM Cozzoli

A horror genre fan with a blog. Scary.

Book Review: Dog Blood

DogBlood

Zombos Says: Very Good

This conflict wasn’t faction versus faction or army against army; it was individual versus individual, more than six billion armies of one. Beyond that, the Hate didn’t care who you were, where you were, or what you were. You were simply on one side or the other, your position in this new, twisted, f**ked-up world decided without your involvement by unknown variables and fate.

The beauty of David Moody’s Dog Blood is how you can read so much or so little into it. Pile on the metaphors of your choice and pontificate away, or ignore them and become mired in a broken world crumbling down around broken lives. This downward spiral of  hopelessness, of collapsing societies, of forlorn, shock-weary masses of people crushing in on themselves, and of mindless hatred leading to endless killing is depressing, frightening, and shamefully engrossing.  

Picking up the apocalyptic speed from Hater, his first book in this it’s-them-or-us trilogy, the Unchanged are struggling against shattered selves and the Haters, those aggression-infected individuals who hunt and kill anyone not like them; family members kill family members, strangers kill strangers, friends kill friends, grinding them into bloody pulp in the process. As in any good horror play, the Haters are more organized, more determined, and much more deadly than the Unchanged, who are herded into the cities and penned up by the military providing questionable protection while stripping away their humanity, and quelling any incursion of agression by mass obliteration of the infected area. Making a terrible situation worse are the Brutes, a new generation of Haters that are stronger, totally unreasoning, and never tire of killing. They’re like Saruman’s Uruk-hai in the Lord of the Rings.

Danny McCoyne, a Hater, has one goal: to find his five year old daughter, Ellis. He will stop at nothing to accomplish his goal because she is like him. We watch and follow him through his own voice, but this is no longer only about him. There are millions of others, on both sides, and Moody slices chapters between Danny’s search for his daughter and Danny’s Unchanged cousin, Mark–and his squalid existence–to open up the bigger situation all around both of them enough to slip it all neatly into a handbasket and kick it hard and fast down a steep slope leading straight to a hellish climax of destruction.

Mark is one of thousands of Unchanged, holding on with exasperation and desperation as food, water, shelter, and safety dwindle. Assigned a small hotel room by the military, he shares it with his pregnant wife, her overwhelmed-to-shutdown parents who can’t get out of bed, and someone else hiding in the locked bathroom. Mark tries to keep it all under control but failure is imminent when another person, a loudly complaining stranger, is dumped in the room with them, by the military, in spite of his protests.

As Mark deals with escalating frustration and worries over his unborn child, Danny fumes at being delayed from finding Ellis by an organized group of Haters who have a secret plan for killing every Unchanged man, woman, and child, and by the bipartisan-thinking Mallon, a man who forces Danny to control his hate enough to keep him from bashing heads in at every opportunity. Their combined effect on Danny make him question the ultimate purpose of everyone involved, including his own.

Moody piles up the rotting bodies in every nook and cranny without remorse or compassion because heroics and sanity play no part in this shattered world. His paragraphs are long but concise and filled with small details to describe much, like the ubiquitousness of the dead when Danny realizes he’s stepping on a corpse only by the crunching sound of its brittle fingers he’s grinding underfoot.

Even now I can hear those metaphors rustling furtively in your brain and similes kicking up gray dust. Just remember it’s only a novel, though it would be best if you read it on the beach during a bright summer day.

Dementia 13 (1963) Pressbook

The movie gimmick here is the D-13! Test, a questionaire theaters could hand out to "…screen out those persons who may be adversely affected by this picture." Question 12 is the one I'd pay particular attention to: "The most effective way of settling a dispute is with one quick stroke of the axe to your adversary's head?" I'd answer yes to that one. How about you?

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dementia 13 pressbook

dementia 13 pressbook

dementia 13 pressbook

Comic Book Review: The Search for Swamp Thing 1

0093_001 Zombos Says: Very Good

John Constantine smokes up a storm in the first of 3 issues for The Search for Swamp Thing. With only 20 pages to involve Batman and Zatanna, Jonathan Vankin and Marco Castiello keep Constantine moving before he can suffer from jet lag.

After the Swamp Thing sends a vibe to Constantine by way of the bloke's morning paper (try doing that on an iPad), it's a quick hop and half a pack to the Royal Botanic Gardens to commune more closely with "old lettuce-breath." The greenery takes Constantine's breath away instead, and leaves him with a spreading fungus tatoo for old time sake.

Lazy sot that he is, Constantine hooks up with Batman to do his legwork while a mobster impaled on a tree limb in a Gotham City junkyard may hold more clues as to what's making Daddy Iceburg Lettuce so petulant. In a tender moment of holding hands and frolicking in The Green's etherealness to commune with Swampy, Constantine winds up a few butts short and with a headache only Zatanna can make worse, what with their romance magic all zapped out and all, even with all that cleavage a-burgeoning (it's discretely shirted up for the issue's cover).

The art and story make Constantine a walking chimney of twitty droll wit armed with handy pocket magic spells, and keep this glummy mystery moving along briskly to the capper splash page lead-in for issue 2.

I just hope he can solve it before he finds out how much cigarettes cost here in the States and the page count drops again.

Meet the Author: Paul Bibeau

SundaysPaul Bibeau’s Sunday’s With Vlad is a monsterkid’s dream journey, a wild carnival ride, and a sheer delight as Jeffrey Lyons would say. Spend a Sunday or two with Paul and Vlad, or while away a weekday at his Goblin Books blog, or meet him right now…in his own words…near a dark desk.

 

Let me tell you about the dead men hidden in my office.

Twenty years ago when I was a recent graduate from college I took a job as a reporter for a small town newspaper. I lived over the bingo hall of the local Catholic church, I smoked a pack a day of Camels unfiltered, and when the night came over that place and it turned a rich country dark…I went out walking. I talked to vagrants, drug dealers, and cops. I snagged a dinner invitation from a man who’d turned his property into some kind of paramilitary fortress, like he was ready for an attack. The local criminals threatened me because they thought I was an undercover cop. And the real undercover cop, standing nearby and wearing a wire, recorded it all. I saw things and did things I will never forget.

Ten years ago, when I was a magazine writer living in New York City, I took a trip back to the town, took notes, and began writing a novel about my experiences. It was filled with death and crime and sexual perversion, and the sharp-sweet and terrible smell of that paper mill that dominated the whole region. I hated it and I miss it. The novel took three years of my life and went through four drafts. It was a piece of crap.

Seriously. My best friend took me out for drinks and told me how bad it was as gently as he could. I still have some of the rejection letters from agents — there were more than a hundred. The novel had great parts, but they didn’t add up to a great novel. Someone once said you write a good novel twice and a bad novel over and over.  That’s exactly right. I am a big proponent of rewriting and editing, but a novel has a window of time in which you can either make it right or fail forever. How many of our life’s moments are like that? How many perfect near-misses do you have?

Anyway, now I look at the thing and I see the 20 year-old man I once was, who lived in this world and let it break his heart… and the 30 year-old man who tried to write about it and couldn’t. Those men are gone. I can’t get them back.

But someday soon, I promise you, friendly reader…I will write the story of a 40 year-old with a stack of paper in a dark desk drawer. He has his secrets and his regrets, and he realizes to make this story right, he will have to solve the mystery at the heart of it — a murder, actually. But isn’t every failed story a bit like a murder? I will write it as boldly as I can, until the old authors come back to me and speak their secrets. I need to do it soon.

My time is running out.

Village of the Damned (1960) Pressbook

Village of the Damned (based on John Wyndham's The Midwich Cuckoos) is still an effectively unnerving sci fi movie:  unknown aliens tinker with human DNA to produce offspring with telekinetic powers and super egos to match. In this pressbook for the movie, the children's peculiar eyes are emphasized, especially in the Exploitation section.  And no, I didn't know that George Sanders was once a South American tobacco grower.

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Super 8 (2011): The Gang’s All Here

Super8
Zombos Says: Very Good (but will seem very familiar)

The gang’s all here in J. J. Abrams’ Super 8. You’ll recognize them from The Goonies, The Monster Squad, E.T. The Extra-Terrestrial: there’s the fat kid waiting for his lean years; the geeky kid with needed gadgets (explosive ones this time); the love-struck kid dealing with loss; the cute, hip girl everyone likes more than she likes herself; and parents who stay in the background much of the time because this is not their story. What’s different is the monsterkid nostalgia you’ll experience if you’ve ever held an 8mm camera to film backyard horror movies, or dry-brushed Aurora model kits with Testors paints, or just wore dark paisley shirts with big collars, sported mutton chops, and listened to music cassette tapes while cruising.

Charles (Riley Griffiths) is the fat kid who’s directing a zombie movie everyone’s got a part in. He’s secretly got a crush on the cute girl, Alice (Elle Fanning), so arranges for her to drive them to the train station late at night for a shoot. The Dick Smith’s Do-It-Yourself Monster Make-Up Handbook geeky kid, Joe (Joel Courtney), unknowingly mucks it up by falling for Alice, but he does fantastic zombie make-up so Charles can’t lose him. Watch the gang’s finished ‘movie’ during the end credits and you’ll see the same Dick Smithish zombie kid stumbling in different scenes, although he’s killed each time. Getting to the end credits is a Spielbergian adventure seen through Abrams’ eyes and the avocado greens and harvest golds of 1970s melange.

A mysterious late night train surprises the kids during taping, and when it’s driven off the rails, it surprises us. An almost endless shooting gallery of heavy train cars, twisting metal, flaming explosions, and mad dashes through it all flying through the air, thunking down too close, becomes absurd, outrageous, and awesome. The incendiary-prone geeky kid (Ryan Lee) eats it all up with relish. What comes out of one of the train cars is a multi-legged nightmare for the small town and a Hardy Boys mystery for the kids to solve. The adults get in the way without realizing it, but youthful resourcefulness pays off when the military takes over the investigation of the train derailment, and the hunt for the missing living cargo. Of course there’s the essential antagonistic-and-sadistic-career-military-guy-who’s-sinister-agenda-only-makes-things-worse running the investigation (Noah Emmerich).

Charles, taking a page from the Roger Corman school of filming, unperturbed, takes advantage of the army’s investigation and train derailment by including them in his taping. His investigator (Gabriel Basso) conducts an investigation while the military conducts theirs in the backgrounds of his scenes.

The often hopped-up, long-haired, electronics store shlub Charles gives his 8mm film to have developed provides necessary ground transportation in exchange for a date with Charles’ hot sister as the hunt picks up speed for the monster, the really pissed-off something kidnapping townspeople, wrecking property, and driving all the dogs away. It’s unhappy and angry from being locked up for years. Coincidentally, Joe is unhappy and angry because his mom was killed at the steel mill and his dad ignores him. And Joe’s dad is unhappy and angry at Alice’s dad, who was supposed to be working that shift where she died instead. And Alice is unhappy and angry with her dad because he can’t get over his guilt, either, or the loss of her mom. Her dad’s a long haired shlub, too, but he has his moments of redemption. And redemption comes for everyone when it’s needed the most.

Super 8 isn’t a coming of age movie. It’s not really meant to be a nostalgic mind trip, either, though some of us will be reminded of nostalgic things and yearn for them again. It’s even not a Spielberg adventure, but the camera movements and your emotions will remind you of what those adventures were like, except Super 8‘s more up to date in its nostalgic hipness.

It knows what we miss and gives it back for a little while.

Fantastic Monsters Magazine Club
by Professor Kinema

FanMo02
In the pre-flea market, pre-yardsale and pre Ebay days of my youth, a truly exciting place to visit and spend my meager allowance was the Farmer's Market. In concept it seemed to exist somewhere between a wholesale produce market and antique barn. One cubicle was always immediately searched out and perused by me. This area contained a variety of notions (such as rubber monster masks, whoopie cushions, kazoos, etc) and back issues of comics and monster magazines. These periodicals always seemed to be in pretty good condition, except for the tops of the front covers. These were savagely removed, probably by something like a box cutter. I was informed later that this was done so the individual dealer, at the time, could return these sliced off sections of the front covers for credit. The rest of the magazines were subsequently sold to vendors, by weight. Then these vendors, who occupied these cubicles in the Farmer's Markets, would in turn re-sell them, usually for the affordable price of 5 cents per copy. This was definitely within my pre-teen budget.

Perusing the monster magazines I first set my eyes on Fantastic Monsters of the Screen. Having regularly purchased copies of FM and CofF for some time before and since, these seemed almost as interesting. For the grand total of 25 cents I bought the first five (of seven total) issues. This was after carefully perusing all of the available copies. All had that cut across the top, with the titles removed, as well as corresponding portions of several pages beneath. The person who wielded the mutilating box cutter was probably in a hurry. For a nickel apiece, I wasn't planning to save these as collectibles but, rather, to further mutilate them. As did many monster magazine readers of the era, my plans for these issues was to remove the illos of the monsters. These, in turn, would either go into some sort of personal album or decorate the walls of my bed room. I wasn't planning to use anything like a box cutter, though.

As was the case in the other monster mags I acquired, the ads towards the back of the issue were of interest. These were pages filled with the usual 'cool stuff' which went beyond what the vendor in the Farmer's Market had for sale. Two small ads were unique. One was for sets of color slides of 'Hollywood Monsters' and the other was for a 50 foot reel of 8mm film and 100 foot reel of 16mm film of 'Filmland Monsters.' Both ads were illustrated with familiar monsters. The ad copy read: See the Hideous Three Eyed Atomic Mutation, the She Creature, the Crawling Claw, the Smashing Awesome Amphibian…and, the Mushroom Monster from Venus! The illos of the slides matched the subjects of the film footage. Both ads had the same address: Golden Eagle Films of Topanga, California. Of all of the items offered for sale in any of the monster magazines I had ever possessed, these interested me most.

FanMo01 However, since it was a year or two past the publication dates of Fantastic Monsters (which appeared between 1962-63) I thought the magazine had stopped publishing, and the company – Golden Eagle Films – had long since gone out of existence, along with all of these precious items.. That was that, I surmised.

A friend, and fellow collector, years later lamented that I should have at least dropped a note to Golden Eagle Films at the Topanga Canyon address and inquired if any of the advertised treasures were still available. Thinking back, I figured what a totally logical and terrific idea. It would have been a 50/50 chance. Paul Blaisdell, editor of Fantastic Magazine and seller of the desired items, still lived in Topanga Canyon. He died there in 1983 at the 'youthful' age of 55.

In the few brief, but pleasant, conversations I had with collector Bob Burns, he told me that along with being an accomplished illustrator, sculptor and model maker, Paul Blaisdel was also an accomplished photographer. He often made photographic records during the planning, constructing and usage of his monstrous creations. His medium included color slides and film, 16mm film and stereoscopic photos. American International allowed him to market any and all color slides that he personally took of his 'creations' as well as a limited amount of the film footage that was used in their feature productions. The limitation was that footage of the creatures could be included as long as the featured players were not. This is what comprised the 5 sets of slides as well as what was featured in the 50ft and 100ft of 8mm & 16mm film – in 'sparkling black and white.'

Had I managed to track down these mail order items they would truly be valued collectibles.

All that would be needed next to create the ultimate collectible package would have been the Fantastic Monsters Club package. This consisted of a 'blood red membership card,' a free monster photo (of a Blaisdell creature, natch), an exclusive member's bulletin complete with a secret message and strange facts, plus a year's subscription to Fantastic Monsters. All this for $3! Including the 5 sets of monster slides @ $1 apiece and the 8mm film @ $2–I would also have had to acquire the 16mm film @ $6–this monsterkid would have had to shell out a grand total of $16 (not counting postage) at the time.

The value of all of this in today's collectibles market? Who knows?

Book Review: Blood Oath

Blood-oath-seal Zombos Says: Very Good

Nathaniel Cade is an 1860s vampire hoodwinked by President Andrew Johnson to serve and protect the President of the United States. His new partner, Zach is a modern day career-hungry politico hoodwinked into being Cade's human compatriot after a dalliance with the current president's daughter. Konrad is an evil Dr. Frankenstein type formerly of the Nazi SS who tries to hoodwink them both in Blood Oath, a race against time  supernatural spy novel assembling terrorist plots with nearly unstoppable zombie-steins to keep your blood running.

Cade's blood oath to protect the oval office, bound by Marie Laveau's Voudou in the 1800s–explained in a flashback to the events that prompted President Johnson to enlist Cade's services–keeps him from harming anyone except those who threaten the United States. He is incredibly strong, nearly indestructible, very self-assured, a natty dresser, and difficult to work with. 

In the opening salvo, a Special Ops mission in Kosovo pits him against a Serbian werewolf to retrieve a mysterious box. His constant battle with the Other Side's horrific threats is hinted at here, but as soon as the box is safely returned to the Smithsonian, where Cade has his digs, another terrorist plot begins.

Christopher Farnsworth keeps the story concise and the reading tuned to non-stop pitch as Cade and Zach get to know each other's foibles, strengths, and annoying habits in their search to find the truth behind a container shipment of badly decomposing body parts. Cade suspects his nemesis, Dr. Konrad Dippel, an alchemist who discovered the Elixir of Life and thus has lived for over 300 years, is behind the mystery. Konrad's penchant for assembling body parts into dead-men-walking automatons of destruction doesn't hurt, either, to implicate him. But another covert operation and shadow organization interferes with the investigation, providing more obstacles for Cade and Zach to overcome. These obstacles push each to their limits, revealing both men's vulnerabilities and their importance to each other.

The strength of bond that slowly grows between them, the stoic vampire who refuses to drink human blood and attends AA meetings (though he doesn't know why), and the flippantly selfish younger man, lends the story a deeper and continuing interest that will garner a following of loyal readers. Through little touches of their actions, dialog, and silences, Farnsworth softens Cade's and Zach's innate inhumanness into revelations for both of them; ones they didn't know they had buried away inside.