Michael Patrick Hicks's Blog, page 46
March 3, 2016
Review: Zero Lives Remaining by Adam Cesare (Audiobook)
Review: 
At little more than 2 1/2 hours, Zero Lives Remaining is a fun, punchy listen chock full of B-movie horror thrills.
Adam Cesare’s latest plays with the haunted house trope, placing a group of teenagers in an arcade where a ghost haunts the video game cabinets and everyone’s lives are in danger. The ghost in the machine runs rampant along the arcade’s electrical wiring, snaring its victims in ectoplasmic tendrils and dispatching the trapped teens one by one. Given its short run-time, the focus here is on the action with the characters only subtly shaded in but not deeply enough to get too attached to. There’s the teenage gaming queen, the schoolyard bully who isn’t quite sure how to express his affection for her, the arcade’s maintenance man who suffered a stroke that ended his gaming hobby but whose work allows him to still feel connected, and a handful of others that serve largely as bloody fodder.
There’s a fun superficiality to the nostalgia-driven proceedings (Centipede and Ms. Pac-Man get plenty of shout-outs), but I never felt terribly connected to the cast even as many of them met their gruesome fates in varied and interesting ways. The creators of Mortal Kombat may want to get Cesare on the line for “fatality” suggestions, as he presents some strong finishing moves against his beleaguered teens. I may never look at a claw arcade game quite the same way again.
Joe Hempel’s narration is solid, and he gives his character voices are distinct enough to help separate dialogue during all the calamity. He has a straight-forward, somewhat airy, presentation style that brings a sense of fun and whimsy to the listening experience, and the production quality is perfect.
Ultimately, Zero Lives Remaining is an enjoyable way to kill a couple hours if you’re in the mood for bloody mayhem set against the intriguing background of a video game arcade palace.
(Note: Audiobook was provided for review by the narrator.)
Buy Zero Lives Remaining At Amazon
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February 29, 2016
February Review Recap
I had wanted to start doing end of the month roundups of the books read and reviewed, and wouldn’t you know it, I already missed January. I’m going to blame a constant string of illnesses that have beset me ever since our baby started daycare and, thus, completely broke my immune system. In fact, as I’m writing this, my nose is running and my sinuses are clogged all to hell and back, giving me a nice dull ache right in the center of my forehead just above the bridge of my nose. Fun, fun, fun.
Although woe is me, that’s not what this is about. No, instead I’m going to link off to all the reviews I posted previously in case you missed them, are new here, or are in need of some cool new books to check out. And, in the interest of full disclosure, yes, those Amazon links are affiliate links. If you use them to purchase a title listed here, I’ll get some (very) small advertising fees from the ‘Zon which will help me generate (a little bit of) income to put toward my kid’s diapers and cold relief medications for myself. It doesn’t cost you any extra, but if you like what I’ve been doing here and want to help support this site and my growing dependency on Kleenex, please feel free to use the links provided.
Have fun and happy reading!
The God’s Eye View by Barry Eisler. 5 stars. (Amazon)
Ctrl Alt Revolt by Nick Cole. 4 stars. (Amazon)
Going Dark by Linda Nagata. 5 stars. (Amazon)
The Fireman by Joe Hill. 5 stars. (Amazon)
Apocalypse Now Now by Charlie Human. 4 stars. (Amazon)
Children of the Dark by Jonathan Janz. 5 stars. (Amazon)
The Ballad of Black Tom by Victor LaValle. 5 stars. (Amazon)
The Shootout Solution (Genrenauts Episode 1) by Michael R. Underwood. 4 stars. (Amazon)
The Absconded Ambassador (Genrenauts Episode 2) by Michael R. Underwood. 4 stars. (Amazon)
Things We Fear by Glenn Rolfe. 3 stars. (Amazon)
All in all, this was a solid month of reading with a number of titles that I really, really enjoyed. I expected great things from Joe Hill’s latest, and he delivered. The one that surprised me the most, though, was Jonathan Janz’s Children of the Dark – boy, did that one rock! Non-stop fun with that one, and wonderfully emotional. It was absolutely terrific, so much so that I’ll be doing a buddy read of Savage Species, which Children of the Dark was a prequel to, with my Goodreads buddy Charlene from Horror After Dark and a few other Horror Aficionados starting March 14. You can check out Charlene’s review of Children of the Dark here.
I’ll be kicking off my March reads later today because screw Leap Year with M.R. Carey’s The Girl With All The Gifts. This is the Goodreads Horror Aficionados group read selection for March, and gives me a good excuse to finally get around to reading this one since it’s been sitting on my Kindle for a good long while. Stay tuned!
February 28, 2016
Review: Things We Fear by Glenn Rolfe
Review:
I’m a bit torn on how to rate this one, as there were things I liked and disliked in almost equal measure.
Things We Fear follows a group of elementary teachers breaking for the summer, only one of these teachers, Matt, is a serial killer rapist. He’s got his eyes on Ms. Emma Young, but when it becomes clear Emma is growing fond of Aaron…well now, what’s a crazy, horny old slime bag to do?
Rolfe does a nice job showing us how creepy and f-ed in the head Matt is as he stalks Emma around town, and he also makes Aaron slightly interesting with his phobia of water, which he confronts annually by retreating to a beach-side resort.
Unfortunately, the remainder of the cast feels paper thin and mostly forgettable. The plot feels too stretched out and overpopulated with ancillary figures that Rolfe has to line up with a series of necessary conveniences in order for all of his characters to meet up at just the right moment in the story’s finale. For instance, Heather, the hotel desk clerk, is built up to be more important than she really is and I never felt particularly engaged with her segments. She could have been removed entirely with little impact on the story. Also, the final throw-downs between Matt, Emma, and Aaron are more lackluster than they should have been.
I would have liked a bit more depth and tighter pacing to the novella, and I never really felt like Matt got his just-desserts in a satisfying enough way. Things We Fear, though, is pretty darn readable and engaging, even if Rolfe isn’t firing on all cylinders. His writing was smooth enough to keep me hooked, and this short novella was a breezy enough read to pass the weekend without feeling like wasted time. Despite a few caveats, I’m rating this one 3-stars.
[Note: I received an advanced reader’s copy of this title from the publisher for review via NetGalley.]
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February 26, 2016
Review: The Absconded Ambassador (Genrenauts Episode 2) by Michael R. Underwood
Review:
THIS TIME, ON GENRENAUTS!
Space X shuttles are crashing! Technology is going on the fritz! This can only mean a story breach on Sci-Fi World, and a job for…The Genrenauts!
Dr. King and Company are traveling across dimensions to tackle SF story tropes and save an abducted ambassador before she can sign an agreement to form an interstellar alliance aboard the Ahura-3 space station.
As he did with the first installment, The Shootout Solution, Michael R. Underwood has crafted a loving ode to pulp genre fiction set against a slowly developing meta narrative, and peppered it with a few spot-on pop culture references and a whole lot of fun. Fans of Star Trek: Deep Space Nine and Babylon 5 should find plenty to enjoy here, the story rife with diplomatic shenanigans, sci-fi action sequences, and lots of loose flowing fun.
One of the things that I’m really growing to appreciate with this still-young series is the character’s own recognition of genre tropes and plot conveniences that define the story worlds they visit, and the ways they harness those familiar storytelling devices to further their own ends. There’s also a nice bit of subtle commentary on how genres overlap, allowing us, the audience, to accept particular tropes as-is thanks to a particular bit of story telling osmosis. The Action Hero mold can fit nicely alongside other familiar tropes in Sci-Fi World due to similar generic devices demanded by the plot. This allows our Earth Prime heroes to defy all kinds of logic in the various story worlds because we the readers are attuned to expect those absences of logic, and it creates a fun bit of meta fiction.
Fun, of course, is of the utmost importance in these stories, and you can tell Underwood is keeping himself mighty entertaining with these characters and the set pieces they encounter. Sticking to the episodic nature of the series, he furthers the overarching narrative in inches and gives us a few new wrinkles and teases character backstories just in time to —
NEXT TIME, ON GENRENAUTS!
Buy The Absconded Ambassador (Genrenauts Episode 2) At Amazon
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February 25, 2016
Review: The Shootout Solution (Genrenauts, Episode 1) by MIchael R. Underwood
Review:
The genrenauts are the literary equivalent of The A-Team by way of Star Trek, Quantum Leaping their way through alternate dimensions defined entirely by genre tropes. There’s our Earth, Earth Prime, and in the vast dimensions beyond there are strange worlds of stories constantly in motion – Romance World, Sci-Fi, World, and, in this initial episode, Western World. When things awry in the story worlds, they cause ripple effects that bleed over into our own world. It’s the job of the genrenauts to fix these broken stories before Earth suffers the consequences.
Michael R. Underwood has crafted what looks to be a very promising, very entertaining bit of light, concept-driven science fiction presented in episodic format. The Shootout Solution is very much a pilot episode – we’re introduced to the concept and the crew through the eyes of a new recruit, hurtled through her initial adventure, and given hints of way more tumultuous events to keep us hooked into coming back for the next episode.
There’s enough geeky references and nods to genre tropes to keep me entertained, and I love the ideas taking shaping in the framework of this particular narrative. The sci-fi shows of my youth have clearly had a tremendous influence on Underwood, and this novella hits that particular sweet spot left unfulfilled since Quantum Leap and Sliders went off the air. It’s a jolly bit of fun where entertainment is the central goal, wrapped up inside an easily digested Big, Brilliant Idea.
That said, I found myself wishing for a little bit more depth and exploration of the central conceits, particularly around the idea of the broken stories that activate the genrenauts’ missions. I’m hopeful we’ll get some deeper explorations of the minutiae in future installments, as the overarching story arc that is alluded to in this novella’s closing moments promises all kinds of wonderful hijinks.
Funny, smart, and with a wonderfully diverse cast, I’m eager for more Genrenauts, and I happen to be in luck. Episode 2 is already on my Kindle, so that’s up next. Stay tuned for more, trope troops.
Buy The Shootout Solution (Genrenauts Episode 1) At Amazon
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Follow Your Muse
Monday night, I was emptying the dishwasher when I had an errant vision of an old man stuck in a diner during a zombie outbreak. In a matter of moments, the whole story unraveled in my head as Everett Hart told me his story.
I had just finished the first draft of a short story that I’d been tapped to write for an anthology coming out, I think, around this spring/summer. I was intent to dive back into my sci-fi novel, already in progress and put on hold for a month while I wrote for the anthology, and had spent the better part of the day trying to get myself situated again in that world. And then Everett Hart showed up, and he had a story to tell.
Yesterday, I finished Everett’s story. Well, the first draft at any rate. Let Go is currently out to a couple beta readers, one of whom already wrote back to tell me it’s great and that he liked it a lot (Thank you, David!). It still needs some polishing and editing, and I’m curious to see what the feedback is going to be like as I move onto the second draft in a short while.
At the moment, it’s an 8500 word piece. I like it. Quite a bit, actually. The story itself is a bit of a change of pace for me; it’s a quiet horror story, far less bombastic than some of my recent stuff. The zombies are really ancillary to the whole thing, although their inclusion marks my first foray into the zombie genre. It’s a far cry from Consumption, in terms of violence and bloodletting, and is much more reflective, if not completely gentle at all times.
The words came surprisingly easy, which can be both a burden and a fairly good problem to have. Not all those words are keepers, obviously… Once I let it rest for a bit and have properly detached myself from the work, I’ll be able to be a bit more clinical and give it a proper second pass before turning it over to my editor.
I feel, though, that this is one of those stories I wouldn’t have been able to write at any other time. There was an urgency to it needing to be told, and I was in some particular spots emotionally that helped compel me through this. I had to follow this particular muse immediately. If I would have waited until my current WIP was finished, I think the story would have been remarkably different, and perhaps would have risked my needing to tell it at all. Had I waited, Let Go may have simply been let go of. Muses can be funny like that.
I’ll have more to say on this later, I’m sure. Keep an eye out for news as things take on a more permanent shape. The release date is still very much TBA, but hopefully there won’t be too long of a wait. And if you want to check out the story a bit earlier than everyone else, as soon as it’s ready and the ebook is finalized, but before it goes on sale, might I suggest signing up to this mailing list for an advanced copy?
Now to rediscover my sea legs and get back to work on…well, you’ll see. Eventually.
February 23, 2016
Review: The Ballad of Black Tom by Victor LaValle
Review:
H.P. Lovecraft was a giant racist and all-around shitty human being, but it’s utterly impossible to deny the man’s tremendous influence on the modern horror genre, his ability to craft some damn fine stories, and the legacy his Cthulhu mythos has borne on many a reader and writer. There’s a degree of freshness then, and certainly a bit of satisfaction, in Victor LaValle reinterpreting Lovecraft’s short story The Horror at Red Hook to produce The Ballad of Black Tom.
Tom has been tasked with retrieving a book for the reclusive Ma Att, a job that eventually brings him into the orbit of two detectives and Robert Suydam, another reclusive sort who lives in a mansion in Flatbush. Inside this mansion is a peculiar library, and Tom becomes privy to a world he scarcely imagined, one that is quite a far cry from his Harlem roots. And that is all I’m going to say about the plot; if you want to know more, read the synopsis.
Set in 1920, LaValle is able to craft a serious and literary bit of cosmic/supernatural horror that brilliantly reflects on issues of race and class warfare. It’s no secret that blacks and immigrants had it rough in 1920, and sadly we haven’t progressed much further as an American society. Tom lives in a world marked by boundaries, where crossing over into a white community could be a death sentence at worst, or which could earn him a beating by the police if he’s merely unlucky. The Ballad of Black Tom is an uncomfortable reflection of present-day America juxtaposed against an earlier period piece. Unarmed black men are killed by police, and the police themselves, modernized by Roosevelt, are practically an urban army ready to wage war against the minority population. Now, where have we heard about this before?
LaValle’s novella is a beautiful work in its own right, and as a Lovecraftian-fueled horror story it’s downright gorgeous. There’s plenty of creepy crawly moments and eeriness to satisfy fright fans and get those dark imaginings churning, and it’s a solid and welcome addition to the legend of Cthulhu. Tor Books has really been knocking it out of the park with their series of novellas, and of the few that I’ve read so far this title stands out as a particular highlight. Kudos to them, and most certainly to LaValle in particular for this fantastic read. Highly recommended.
Buy The Ballad of Black Tom At Amazon
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February 21, 2016
Review: Children of the Dark by Jonathan Janz
Review:
Confession time: I’ve had several of Jonathan Janz’s prior novels on my Kindle for months now, all unread, and so my first experience with this author comes courtesy of this ARC for Children of the Dark courtesy of the man himself. I’ve neglected reading Janz’s prior stuff and now feel like a giant fucking idiot for not having dived into those books sooner. Brian Keene gets a cover blurb here saying, “Janz is one of my new favorites.” Well, Mr. Keene, this book put me well over the moon and I think I can safely say he’s now one of my new favorites, too.
So, what is Children of the Dark? Simple answer – it’s a fucking amazing creature feature horror romp.
Longer answer – it’s a smorgasbord of a horror mishmash. There’s a serial killer, murder, monsters, and mayhem – oh my! So much murder and mayhem.
Children of the Dark is a brutal coming of age tale, with a trio of fifteen year old’s squaring off against their hometown of Shadeland’s urban legend, the eerily and inappropriately named Children. These suckers are huge and dwell in a network of caverns and caves dotting Shadeland’s woods, where our brave kids have a tree fort and square off against bullies, and have midnight swims with the girls they’re crushing hard on. At least until news breaks of a serial killer on the loose, and one of said girls goes missing.
What follows is a fast-paced, frenetic, heart-breaking read. It’s harrowing and tough, populated with incompetent local police with heads firmly up their own asses, and some of the most well-written teenagers since Stephen King’s The Body. Janz knows how to write, man, and he wrings every scene sublimely for maximum impact, whether it’s to tug at the heartstrings or wow you with gory creature-feature violence.
This book gets a solid A+, 5-stars, I want-slash-demand a sequel immediately rating from me. Highly recommended
(By the way, this book is evidently a prequel of sorts to Savage Species, but each book covers different ground and characters. At about a quarter of the way into my reading of Children of the Dark, I bought Savage Species because I already wanted more Janz and more Children in my life. But it’s worth noting there is plenty of wiggle room to get another book in this series, and I WANT Children of the Dark II pronto!)
[Note: I received an advanced reader’s copy of this book from the author in exchange for an honest review.]
Buy Children of the Dark At Amazon
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February 19, 2016
A Burgeoning Disillusionment With Modern Comic Books
Yesterday, DC Comics announced its “Rebirth” line-up, which, if I understand correctly, will relaunch a number of titles from the prior continuity that was scrapped by the New 52 reboot two years ago.
Marvel, hot off the heels of Secret Wars, recently re-kicked things off with a fresh batch of All-New #1s and is gearing up for Civil War II, since, you know, there’s that whole Captain American: Civil War movie coming out in a couple months, and has been drumming up the hype for Dead No More and an Avengers cross-over between all the various Avengers books.
It’s a lot to keep up with, and frankly I’m too tired to care much anymore. The Big 2 are large corporate enterprises geared toward making money. This is not a knock against them, mind you; that’s what they do. It’s just that it’s so heavily geared toward events instead of the books themselves that I’m reaching a point of critical mass that boils down to nothing more than meh… You can’t even start in on the latest event without hearing about the next event, or the next two or three events, coming down the pike. And it’s only February. We haven’t yet heard the drumbeat of what the big summer, fall, and winter BIG EVENTS will be. It’s exhausting.
I got back into comics about a decade ago after quite a long time away from them. I got lulled back by books like Preacher and Transmetropolitan. Those were my gateways back into the world of comic books. They were stand-alone titles, basically novels set to comic book format, with a clear beginning, middle, and end. They told a complete story. Damn good stories, at that.
I was always a Marvel boy, though, and I wanted to get back into Marvel. The Ultimate Universe was just starting up at that point and were advertised as being continuity-free. They were easy access points, free of twenty years of hoopla surrounding “Who Killed Xavier?” and spider-clone headaches that dominated a lot of my teenage comic reading. They were new worlds with familiar faces made fresh and interesting again. It was only after I’d immersed myself in these fairly self-contained stories that I began getting interested in the more mainstream Marvel stuff.
And jesus, what a chore getting caught up on some of that stuff was. I started off with X-Men: Messiah Complex, only to realize I’d missed a fair amount of lore, and went back to House of M. But there was a bunch of stuff Brian Michael Bendis was writing in Avengers, and what a giant fucking rabbit hole of relaunches, new titles, canceled titles, more relaunches, crossovers, new titles, and relaunches that was. I gave up even trying to sort through that mess. Forget it. Eventually, I found a niche I was comfortable in, found some old, familiar titles I could ease back into, but it was all just so event driven. I started to take note of the names, though. I found out I wasn’t so interested in Captain America as much as I was interested in Ed Brubaker’s Captain America, or Matt Fraction’s Iron Man, and Garth Ennis’s The Punisher. The content was king, and that content had creators worth recognizing and following. I’m just not interested in the events anymore. I’m interested in the books.
Over the last few years, I’ve become way more invested and appreciative in the content creators and the work they bring to the table. Give me a talented writer and artist, and I’ll follow them anywhere. I care more about the talent making these books than I do about the properties themselves. This is a bit of a sea change from how I used to approach comic books. Back in my youth, I’d buy every issue of Punisher and Batman and X-Men, regardless of who was getting their credits listed. Not so anymore. I wasn’t impressed with the last volume of The Punisher and dropped it unfinished after giving a healthy chance. It didn’t work for me. I’m still interested and invested in the character, but you know what excites me more about that book’s return in May? Not Frank Castle. It’s Becky Cloonan at the helm, and that’s a huge draw for me. I’m following the creator, not the character.
I may be getting closer and closer to forsaking the Big 2, but my love of comics will certainly remain, and it’s one of the reasons that Image excites me. That’s a publisher for a reader like me. That’s a company who recognizes that it’s the books themselves that are the event. Check out the announcements for an Image Expo (there’s another one happening in April) one of these days. You know what stands out? The talent. The ideas. The books. You won’t hear a lot about crossovers and Big Events because the books themselves are the event. A new Warren Ellis title is the event. A new Rick Remender book is the event.
That’s how I like it nowadays. I don’t want to chase down event-driven titles anymore, or buy Iron Man because the first six issues are a prelude to AN EVENT THAT WILL CHANGE EVERYTHING FOREVER AGAIN FOR NOW and you have to buy those issues to fully understand and appreciate the depth of the event it all leads into, but wait – because before the event starts, here’s an Alpha issue you have to buy to understand it all, and an Omega issue to see how it all ends, and in between we’ll do an industry line-wide crossover of sixteen gajillion books with some more spin-off titles and tie-ins and .1 issues that you maybe wouldn’t have bought otherwise because remember this is all about the money! I’m too old and too tired for that crap anymore. I don’t have time. And with most of these individual titles costing anywhere from $4 to $6 or more, I don’t have the money to keep up with it.
If anything, I’ll wait for the trade. Most of modern comics is all about writing for the trade anyway, so why not? In the meantime, give me the creators and their content. Keep your BIG EVENT. I’m hungry for the creator-owned books now, and the big ideas that circulate inside those pages. I don’t need another Civil War, but I do need Lazarus, or Pretty Deadly and Bitch Planet, Casanova, and Saga. That’s where the really fun stuff is!
February 18, 2016
Review: Apocalypse Now Now by Charlie Human (Audiobook)
Review:
My original APOCALYPSE NOW NOW audiobook review and many others can be found at Audiobook Reviewer.
Charlie Human’s Apocalypse Now Now is a wonderfully trippy and complex work of South African urban fantasy. The plotting is labyrinthine, drawing in a number of details that make this world feel rather expansive – there’s a serial killer dubbed The Mountain Man, who leaves a third eye carved into his victim’s foreheads, high school gang wars and underground criminal enterprises, family trouble, and concerns over psychological health – all on top of a healthy dose of supernatural elements. In short, there’s a lot going on here, and plenty to keep this listener supremely interested.
Apocalypse Now Now is the first-person account of Baxter Zevcenko, an egotistical high schooler and self-styled entrepreneur who heads up an illicit ring of pornography distribution catering to the whims of his classmates. He’s a complete holier-than-thou know-it-all, but after his girlfriend, Esme, is abducted by The Mountain Man, Baxter’s search for her leads him deep into the rabbit hole of Cape Town’s paranormal underbelly, and an education that is a far, far cry from the exploits of his typical school day. Baxter is far from loveable, and, in fact, is an outright jerk and oftentimes openly hostile. Human uses this first-person account to tremendous effect, though, particularly as Baxter begins to realize he is not actually at the center of the universe and that the world is quite larger than he ever believed possible. There’s a good bit of personal growth for this smarmy boy and his personal reflections shine through in the first-person narration that might have otherwise been lost in a less focused narrative style.
When Apocalypse Now Now crossed my path, I had figured it would be a fun bit of urban fantasy, and while it definitely is that, I found myself surprised and pleased to discover a story that was much deeper, and much richer, than I had first expected. Throughout the book, Baxter is confronted with the symbol of an octopus, and this is a terrific thematic symbol for the book itself – there’s a lot of complex story tentacles weaving their way through the book. One of the most interesting aspects is the South African mythology and folklore Human puts on display, putting tokoloshes and Mantis gods right at the forefront, which is a welcome relief from the usual zombie and vampire fare that typically dominates American urban fantasy. And while Human does present a fair share of zombies here, they are quite a bit different than the customary undead brain eaters.
Bringing Baxter and his Cape Town locale to life is David Atlas, whose narration is spot-on and wonderfully immersive with a South African accent. He brings distinct voices to the cast, making it rather easy to separate which segments of dialogue belong to which characters – you’ll never be at a loss to tell if Baxter is speaking, or if it’s Ronin, the gruff ex-soldier turned supernatural bounty hunter hired by Zevcenko to help him find Esme. A few times, the narrative is disrupted to shift viewpoints to a female character with interesting historical ties to Baxter, and these segments are narrated by Fiona Hardingham. Her accounts are also expertly handled, and confined strictly to her viewpoint, as if relayed from a journal. Hardingham does a great job with the material, and I wish she had more material to work with; unfortunately, her character only makes a few brief appearances in the book. Atlas and Hardingham make this 10 1/2 hours of listening silky smooth, though, and do a sterling job adapting Human’s words to audiobook form.
Audiobook provided for review by the audiobookreviewer.com
Buy Apocalypse Now Now At Amazon
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