Hi all! Two months ago, I did a review for my good friend Richard Writhen's most recent novel, The Angel of the Grave. It was a stellar read; and if you haven't done so yet, I'd recommend checking out the review and picking up the book.
Recently, I received word from Richard that he had commissioned a beautiful original art piece to serve as a new cover for the book. Below you can see the new cover, and also enjoy an excerpt from The Angel of the Grave. Also included is some author info so you can get acquainted with Richard (he's an awesome guy). Enjoy, and grab a copy!
Re-Cover Reveal for: The Angel of the Grave: The Celestial Ways Saga: Book Zero:
The book’s new cover is a commissioned work by Daniele Serra, an italian illustrator and comic book artist. His main influences and inspirations arrive from weird and horror fiction written by H. P. Lovecraft and William H. Hodgson, Ridley Scott movies, japanese horror films and Clive Barker’s works.
His love for horror culture started before his painting career, making him quickly develop his signature style: high contrast paintings with bright, as well as strong dark colors, curved strokes and shadows, and a particular attention to his character’s gaze and expression.
As a comic book artist Daniele worked for Image Comics (Fade to Black, written by Jeff Mariotte), BOOM! Studios, (Clive Barker’s Hellraiser: Bestiary), Titan Comics (Darksouls), IDW Publishing (The Crow: Memento Mori, written by Micol Beltramini), Seraphim INC. (Clive Barker’s Hellraiser Anthology volumes 1 and 2, both covers and interior art).
In 2014 Daniele worked with worldwide bestselling author Joe R. Lansdale, on the Graphic Novel “I Tell you it’s Love” for Short, Scary Tales Publications. Daniele’s illustrations have been included in books by Stephen King and Ramsey Campbell and he provided the art for Graphic Novels working with authors like Clive Barker, Marcello Fois and others.
In 2018 Daniele worked on “Tommyknockers” by Stephen King (PS Publishing), providing the art for all the three wraparound covers, the interior illustrations and the boxset.
Daniele’s works include over 250 book covers for publishers from all around the world, most notably: “The Big Blow” by Joe R. Lansdale, ”Voices from the Borderland” by William Hope Hodgson, “Hellraiser: The Toll” by Alan Miller, “Deep Like the River” by Tim Waggoner and “Frankenstein in London” by Brian Stableford as well as artworks for various music releases, like: ”IX” by Shining, “Madman – Szpital Box” by :wumpscut: and “Laurestine” by So Hideous, and also the cover of the limited deluxe edition of the “Nightbreed: The Cabal Cut” Blu-Ray.
Daniele’s illustrations have been used as the set dressing of the film adaptation of Stephen King’s “CELL” directed by Tod Williams and starring John Cusack and Samuel L. Jackson.
A two-time winner of the British Fantasy Award as Best Artist (2012, 2017), Daniele lives in Sardinia with his wife, his cats, a lot of exotic insects and a huge collection of horror books and movies.
About the book:
The Angel of the Grave is the first novel in The Celestial Ways Saga, and the prequel to The Hiss of the Blade.
Blurb:
BECOME THE FIRE. An intelligent little girl encounters a talented witch at the local fair and finds out that it’s all in the family. Interconnected by dreams, two young orphans embark on the long path to find a bloody revenge. A wealthy lady travels hundreds of miles to become a baroness; but when she consults a diviner, she finds out that she may be in way over her head.
An excerpt from The Fair Witch (Chapter One):
It was within a village, inside a stone house, in a closet-sized room, and on a little bed that there lay a little red-haired girl. Her name was Hilde Sontire. Since she had gone to bed, she’d managed to crumple almost the entirety of her favorite purple blanket in under her chin. She crept towards the edge of slumber, snuffling great gobs of snot, as she was still getting over the last of the winter colds. The starlight bathed her window, flowing through it in wide rays; she looked out of it through half-closed eyes. She was ruminating upon the previous day’s events, breathing as deeply as she could without becoming frustrated.
As she was finally on the verge of sleep, she heard the patter of light footsteps approaching her room. When they abruptly stopped, the door opened without the base consideration of a knock. She rolled over, and by the subdued light that shone in from the hall sconce, she could just make out the familiar outline of her sister, Anne. “Hilde! Are you awake …?!” the older girl whispered to her, but Hilde pretended not to hear her for several moments, her attitude being what it was.
When she didn’t hear the desired sound of her sister leaving, she was forced to roll back over on the pallet to face the window once again, clutching her raggedy blanket to her little chin. However, Anne also bore the indomitable will of the young, and she wasn’t going anywhere.
“Guess what …?! The caravan’s finally here.”
“Wah?!” was all that Hilde could manage to say in response. Anne prattled on regardless, “I said, the fair caravan’s finally here. Oh gods, it was so incredible last time. You don’t know, ‘cause you haven’t ever been. And the word from the other villages is that now it’s even better!”
Anne turned away from the door and removed the candle holder from the hall sconce, then cupped the flame with one small hand, so that it wouldn’t blow out when she strode in the room and set it down on a side table. Hilde rolled over to face her again. “Anne, go to bed. If the caravan just got here, the fair obviously hasn’t started yet,” she groaned.
“I know, I know. Just telling you, is all. There’s no need to get all ornery.” Anne hissed back at her. She perched on the edge of a children’s chair that Hilde still kept next to the side table, despite it being too small for her. When Hilde saw her sit, she loudly voiced her disgust with the situation, “Anne, just let me sleep … !!!” The older girl smiled at her warmly. “I will … in just a minute.” She stopped, and tried a different tack. “Listen, I just thought you’d want to know …”
Hilde sighed in a huff. “Well, now I do … so get out. Wait … when is it?”
“This pulgranak and lansulmes. But there’s gonna be some kind of a kick-off, a big feast for the workers on quintague.”
“Aaaand … you know all of this how?”
“I heard all about it from a friend of a friend. Well, okay … a friend of Beston’s. Wesley Strath. Neither one of them can shut up about it. Anyways, we might be going over to the fairgrounds tomorrow after school, to watch them set up. Do you wanna come with us …?” While Hilde was still very irritated, for some unknowable reason she found herself intrigued, answering, “Okay. Sure. Now go …”
“Super! Oh, Hilde … what fun we’ll have …!”
“We can talk about it tomorrow. Now please, Anne. Just leave me alone.”
And for probably the only time in their young lives, the older girl did. Anne gave her a mischievous little grin in the half-light, then closed the door behind herself. Hilde could hear the merciful sounds of her footsteps, as Anne began walking back down the hallway to her own room. Hilde settled onto her back and lay her left forearm over her forehead. Thoughts swirled in her head as she drifted off to sleep. The seasonal fairs that were held in the country of Mytrenes were infrequent bright spots in the dullness of the daily lives of its children. It was a major event when one came to the area. She couldn’t remember the last time that one had been to the nearby city of Laestane.
In truth, it’d been some four years previous, but she wouldn’t have remembered it, as she’d only been six years old then. But even so, rumors flooded her mind whenever she paused to think of it. The county fairs were supposedly always quite lavish. There were all kinds of roasted and seasoned foodstuffs, as well as various games. A variety of plays to see, and even contests of strength, for the grown men. But the only thing she cared about, at that particular moment, was going back to sleep.
It was just after daybreak the next day, and the village of Braundey was slowly waking. the two girls sleepily fumbled their way downstairs, and found their usual places at the dining room table. They were still yawning, but their father had already been up for hours. He was a gaunt man with a mop-like head of hair and a scruffy beard, named Simon. That day, he was dressed in a white button-down shirt, and a pair of dark brown pants; the uniform for his job as a buyer for a local merchant. Simon was avidly studying a printed scrip of the village’s latest news, with a look of absentminded concern on his lined face. He was also chewing on one of his wife’s sour-dough biscuits. It had doubtless already gone stale, as they quickly did; but he continued to munch on it regardless.
The children’s breakfasts weren’t terribly substantial. They had each received a few butter cookies, a bowl of porridge and half a fried egg, with some hot tea to wash it all down. Hilde stooped down from the table and put a small dish of food on the floor for their cat, stroking its fur for a moment, then returned to her own meal. The three of them dined for several moments in a near-silence, as the girls feared to disturb their father’s reading. Anne stirred at her porridge vapidly, trying to cool it down enough to be eaten. Several minutes later, when they had finished, and were clearing their almost clean plates, Anne whispered to Hilde, “So, are you ready to go?”
“I guess,” Hilde answered. Her tone was one of regret; her thoughts still dwelt upon the recent holiday season. It had been a joyous time of parties and cheer, then a heartwarming yule, and finally topped off with the new annum’s celebration. Yet winter’s snows had eventually melted away, and spring had sprung once again, so several minutes laterit was time to return to general school in the south-west sector of Laestane. They began to get up from the table, their tiny hands still splayed out upon it. Their father’s eyes happened to leave his scrip and fall upon them, and they both froze in place instantaneously.
Simon gulped down some water in an attempt to clear some of the masticated baked good from his mouth, then told them matter-of-factly, “It seems that the fair is coming to town again. They’ll probably be looking for some helpers.” As soon as he had finished, Anne immediately began to whine. “We know all about it, da. Beston already told meeee.” Simon frowned at them over the scrip, his glasses falling partway down the bridge of his nose. “You’re twelve now, Anne. Start acting like it. Either way, you kids should go and talk to Old Neffers.”
Anne wrinkled her nose at him. “Oh, no. That old man always smells funny. He must sleep in the pig pen with his stock.” The ends of Simon’s mouth turned so far down that they almost wrapped around his chin. “Now, now. There will be none of that talk. You two were still in your swaddlings when that “old man” became a master smith, a few years ago. And it’s his family what hosts the fair, believe it or not. So, regardless of what you two children think of him, after school you’re going to go and tell him that you’d be interested in doing some chores at the fairgrounds, and turning some coin.”
The girls got up and made to leave again, but they must have been a bit too slow going about it, because Simon suddenly rose from his chair, gesticulating with his big hands. “Now skedaddle, the both of you! OUT, OUT !!!” he yelled at them. Startled, Hilde jumped up and flew out the door like a seabird. Anne was a bit harder to frighten, but before long she had caught up with her sister, some way down one of the paths between the drab gray tents.
The village of Braundey was an out-of-the-way place where time itself seemed to pass slowly. It was surrounded by some sparse patches of foresting which partially concealed it from any casual passerby. Named after one of its founders, it clung almost shapelessly to the south-west corner of the city of Laestane like the barnacles that cluster on a reef. It was naught more than a disorganized cluster of flimsy huts, with some small stone houses and storage sheds, all of it randomly scattered over a couple of acres of uneven dirt. Its inhabitants had made some attempt in the recent past to construct a formal barrier, to effectively enclose its borders. The well-intentioned effort had only resulted in the kind of obstruction that their sizeable herd of goats would have been able to step over, had they been allowed to roam freely out of their pens.
If one were to take a walk through it, he or she would find all manner of familiar scents wafting on the breeze; there would be hay and horse, as well as manure and shorn grass. The sky above would be streaked with the black tendrils of wood smoke that rose from their hewn stone chimneys, to join the mist which often crept inland from the sea to hang over the city. Their winter had just recently ended, and the days had begun to dawn more clear and bright. The trees’ branches were still leafless, and resembled nothing so much as skeletal claws that seemed to clutch about the settlement protectively.
The two girls meandered together down one of the many crooked paths that ran through the village. Anne was the elder by two years and the taller of the two of them. She was dark-haired like their father, and as prim as he as well, always dressing in accordance with the current fashions. In sharp contrast, Hilde was the younger. She would have gladly walked about the village every day enshrouded in faded and dark clothing. She took after their mother physically, the result being a mere sliver of a girl with shining cascades of red hair, which fell all the way down her back to her waist. She was also the weaker child, but was gifted with an almost preternaturally high intelligence. And due to this fact, over time she had become an something of an introvert and a bookworm. While considered the baby of the family, she was also its black sheep. Somewhat incongruously, she was something of a tomboy as well, despite having these blossoming academic leanings.
Despite their being so very close in age, there was also an unspoken psychological disparity that complicated the relationship between the two girls. This was that Anne was considered by most of their peers to be as lovely as a rose, whereas the consensus was that Hilde was just a bit plainer. This fact had become the source of much jealousy for Hilde, though she also looked up to her sister. Anne had a strong sense of responsibility, though; and she always looked out for her younger sister as best she could, given that she had rather full social life and was involved in several extra-curricular activities.
The two girls had no problem crossing the aforementioned low stone wall; from there, they continued across a dewy field that marked the settlement’s very outskirts. They crossed that green expanse, then left the surrounding countryside altogether and headed along a concrete path, one of several which led over the canals that flowed into the city. As they went, they conversed quietly, only stopping briefly to flash a cluster of guardsmen at the gate on the city line their school passes.
The day was the same as any other, and Hilde was wearing a simple beige dress with a short sleeved undershirt. She had been forced to dress thus every day since she had begun to go to school as a toddler. Anne had already been accepted to the next grade level, and was now expected to wear a red cravat, a dark brown dress, and a long-sleeved, buttoned-down shirt instead. Hilde dragged her tiny feet a bit as they went, which was more than a bit ironic, as she was the only one in her family that experienced the slightest enjoyment of schoolwork, once she was fully engrossed in it. It was a predilection that her sister most definitely did not share.
On one side of the crumbling walkway was a great outdoor clock. They saw that they still had plenty of time before school, and decided to play a game, as they often did in their leisure time. First, Anne would casually point out a landmark as they walked, and then Hilde would have to tell her what it housed. They had been playing it for years, since they’d both been very small. Anne sidled up behind Hilde and pointed just over her right shoulder at one of the larger buildings off to one side of the street as they went.
“So tell me … what’s that one?!”
Hilde squinted at the featureless, columned edifice of the building and said, “That … is the Sector Records and Licensing Division building.” Anne smiled at her warmly. “Very good. One point for you.” They went on like that for about fifteen minutes. There were some good guesses and some incorrect ones, but Hilde managed to pull ahead in the long run. They reached the far side of the overpass and the relative security of the city walls, then turned down a side alley between two of the beige-painted, cement buildings.
Anne resumed a conversation they had begun days earlier. “So, about boys then. You have a shine on any of ‘em yet? It’s about that time, no …?” This was her favorite mode of teasing. Hilde looked up at her with disgust. “You act like you know all about it, Anne. You’re only a little bit older than me, remember …?” She had been cultivating that particular facial expression for years. It made an appearance every time the subject of her having any inclination towards the opposite sex was brought up. She didn’t have a boyfriend yet, which her sister well knew. Anne gave her a little shrug in return. “Yeeesss … while that’s true, these are the ‘important years.’ Well, that’s what ma always says. So … answer the question.”
“Okay, okay. Relax. Do you mean the boys in school or back at summer camp?”
“There barely were any boys at camp this year. Unless you consider …no, no.” Anne stared aimlessly off to their side and snickered under her breath. “He was definitely not boyfriend material, I’m afraid. Well, there must be someone at school at least …?”
“Hmm … I don’t know. Chris and Wesley aren’t too ugly, I guess …” Hilde tried to gauge Anne’s reaction, her green eyes narrowing in the sun. “Okay, I answered your question. Now, how about you?”
“Me?!” Anne smiled, her eyes wide in mock shock. “You know full well that Beston and me have been together for like, three months. I don’t need any other boys.” Hilde, who thought that Anne’s boyfriend was just about the homeliest person that she had ever had the misfortune to see, shook her head in mild repulsion and replied, “Suit yourself.” Anne faced ahead again, her dark bangs hanging in her eyes. Suddenly, they found themselves giggling together for next to no reason, and couldn’t stop for a minute or two.
When the fit had finally subsided, Anne said “So, are you getting excited for the fair yet …?” Hilde looked up at her again. “I suppose so.” Then, Anne took on this know-it-all air that she often got when she was privy to information. “I heard that they had a few accidental deaths in their troupe, and had to cancel a few cities. But they’re definitely coming here.” They saw that someone was approaching from the other end of the alleyway, walking in the shade.
“Well … look who it is,” Anne muttered under her breath. The shadows parted to reveal a boy who was around their own age. It was Anne’s boyfriend, Beston Radelyn. He was a thin boy with short brown hair, who dressed much in the same formal manner as Anne did. He lived within the confines of the city, but would usually walk out to meet the girls halfway, and then turn back around to walk them to school. Anne immediately ran over to meet him, leaving Hilde standing behind in the dust, struggling to keep up. Within moments, she was on the verge of tears. “Come on, Anne!” She whined, her face a mask of confusion. “You said we’d go together.”
It seemed as though the two young lovers were in a world of their own. They joined hands, and it almost looked for a moment as if they would kiss. Hilde made as if to look away, but before she could do so, the couple each lost their respective nerves, turned around and began walking back towards her. When Beston noticed Hilde standing there for the first time, he said “We are going together.” Anne strode around his side and bumped into his shoulder as she interjected, “She was talking to me, jackass.”
Anne beckoned to Hilde with a hand gesture, and they continued on. “Come on, keep up.” Beston looked down at the younger girl, smiling. “Ah, it’s the little one. Hilda, right …?” They took a right turn, and continued down the block once the alleyway ended. Around strangers, Beston straightened up and wore an expressionless mask. “It’s Hilde.” He looked from one of the sisters to the other, then back again. “She looks a little bit like you, Anne … I guess. But she’s much uglier.”
“Huh?!” Hilde felt herself start to blush and she stopped walking. “You … shut up, you !!!” She couldn’t think of anything better to say; her little hands balled into fists as she was consumed by an impotent rage. Anne gave Beston a hard look and said, “Now, that’s not very nice.” Then, she grabbed Hilde’s shoulder and whispered in her ear, “Come on, let’s go. We don’t want to miss the first day of the new semester. Wait … I know what would cheer you up! Why don’t we make a stop. You like art, right …?”
“Oh … yes.” Hilde started walking again, wiping her cheeks with her shirt sleeves. “But … we can’t skip class. Father will kill us if he finds out …!” Anne rolled her eyes. “He won’t. Because we’re not skipping. It’ll just be for a few minutes. There’s a new gallery over on the south side. One that’s open to the public.” The three of them went left and walked down another alley. The buildings in Laestane were all very uniform; in some areas of the city, man-made canals replaced the streets, and odd, boxy contraptions that resembled coaches but were pedaled manually by servants were as prevalent as the traditional horse-drawn carriages.
The building which housed the art gallery that Anne led them to was three stories tall, with tall columns and verandas. They went in the front entrance and were greeted by a gray-haired woman in a pink dress with a white collar. “Come on in, ladies and gentleman. Come in. There’s an important opening today.” The gallery walls were painted a darker beige than the outside of the building, and white scrollwork lined the sideboards and the outline of the ceiling. The three of them wandered about for a few minutes, marveling at the ornate dress of the artists and guests, and the vibrant colors of the works.
Hilde became distracted when she espied one man from across the room. He was tall, with a full head of curly brown hair, and a lean but tough-looking physique. He had a very bohemian sense of style, his short-sleeved tunic was open at the neck. He was talking animatedly to three other artists, while gesturing at one of the paintings every once in a while. She instinctively found him handsome, though she was too young to understand why. The older woman was passing by; she caught Hilde staring, and smiled at her warmly. “Oh yes. That’s Salague Maletto. He’s a major new talent in the art world. Unfortunately, he’s only going to be here for a few months. He’s on loan from his home town, Vostria. It’s in Optran.”
Hilde nodded in affirmation, as if any of that made sense to her; she was only ten years old, after all. The two sisters continued together down the aisle. Several beautiful paintings adorned the north wall, spaced a few feet apart from each other. They stopped at each in turn to pay their appreciation, saying little or nothing to each other, just marveling at the colors and shapes that the various works depicted. Beston said even less, being barely present. He had found a tray of refreshments on a nearby table and was devouring frosted crumpets, and ignoring the collected artworks altogether. But time had quickly flown by, and the next thing Hilde knew, Anne’s hand had fallen on her arm again, gripping it tightly. Soon she was whisked out of the double doors and back into the daylight.
A couple of hours later, she was sitting at one of the general school’s scarred wooden desks, trying to focus on her schoolwork as the thought patterns of a young girl stormed about in her head. She found herself bandying a freshly-sharpened pencil about from one tiny hand to the other. She brought the eraser end of it to her lips and chewed gently, but spat it out moments later, when its bitter taste found her tongue. It was all that she could do to keep from snapping the implement in half in disgust. She then distracted herself even further by looking off to her left out of the school library’s dusty windows, the spring sun’s rays shining in through them. She just sat there for a few moments, collecting her thoughts.
It was fourth period, and she was supposed to be doing some research for her upcoming botany class. She and some of her peers had been supposed to be studying for about twenty minutes by then. Before she could actually resume that activity, Anne and her obnoxious boyfriend arrived in study hall as well, their constant chatter certain to be distracting. Hilde actually spent most of her average school day attempting to avoid the two of them, but was often forced to witness their insipid interactions when walking to or from school. She was about to begin reading a relevant entry in an encyclopedia that nearly outweighed her, when she saw them out of the corner of her right eye. When they walked into the room, they sat together at a nearby desk, which happened to be built for two.
After a few minutes, Beston came over to the double desk that Hilde was sitting at and hung over her shoulder, running his finger down the page that she was reading. “Woah … I didn’t know there were so many kinds of flowers in the world.” Anne appeared over Hilde’s other shoulder and clucked at him chidingly. “There are so many kinds of life.” She gave him a quick peck on the cheek, and he sat down in the table’s other chair. He was apparently unconcerned for her, which was typical of their relationship. Left to stand, she walked over to the south wall’s book-cases in search of another volume. She took down a large picture book that contained diagrams of various flora, and brought it back to the desk. She clapped the dust from its cover, the motes hanging in the air around her as she coughed. As if he had been summoned, Wesley Wride came in the library’s western entrance, wearing a foolish grin as always. Beston caught his eye from across the room, and the other boy approached them to say hello; he bore a more reasonably sized book under his arm.
About twenty minutes later, the period ended. The botany instructor swept into the room and told them that they were to attend “laboratory.” Doing so involved going outside to plant various vegetable seeds in the soil of the building’s rear yard. The plants would sprout in the spring sunshine of the next few weeks. Turning soil with a rusty trowel was a task which involved a great deal more physical activity than Hilde was accustomed to; the whole production left her weary.
It turned out that there were no extracurricular activities that afternoon. So after school, Anne and Beston caught up with Hilde as she was coming down the stairs to the front courtyard. From there, the three of them headed for the fairgrounds, which weren’t very far from the school. It was almost dark out by the time the three of them finally arrived at their destination. It was a huge field, sparsely covered with dull white and green grass. Some of it was still rooted and some pulled out, clumps were scattered about, and single blades danced on the wind. It was acres in breadth, and was graced with a huge wooden stage, at the center of a series of ten tents. There were three each to its north and south, two to both the east and west. There were torches on stands embedded into the dirt, every twenty feet or so.
Near where the play audiences were apparently supposed to congregate, there was a large apparatus with a table-like section. It had a round pole in its center which rose up some fifteen feet in the air. The children walked past three very hardy men who were standing around it with their sleeves rolled up. They held heavy iron mauls. “My turn,” said one. He swung the tool in a long downward arc to smite a flat round surface in the center of the board as hard as he could. As they watched, a large metal bead flew up the pole’s center at top speed and hit a bell at the top, resulting in a deep clanging noise.
Looking around, Beston saw an old man working to pinion down a corner of one of the large tents. He was wearing torn, tawny overalls over a sleeveless, mostly unlaced white tunic, and was perspiring profusely. He raised a hammer over his head, the wisps of what hair still remained to him clinging to his dome-like forehead. The three children approached him cautiously as his tool met the heel of the spike several times with dull clangs, and it plunged several inches into the ground.
“Hey, Mr. Neffers …” Hilde began in a weak voice. But the man didn’t mind her at all, so she stopped speaking and began to study the ground. Anne gave her a sidelong look. “Louder. He probably has hearing problems …” So the second time, Hilde virtually yelled at him, “MISTER NEFFERS !!!” and he straightened and turned to look at them, with a sour look on his wrinkled face. “What do you want, girl?” Anne looked up at him and took over. “Well, dath … us curs were wondering if you had some chores we could do during the fair. We’re looking to turn some coin.” The old man gave the three of them a brief once-over, then acquiesced and began to gruffly detail which chores needed minding; how much they would be paid was a ridiculously miniscule amount.
“Alright then,” the old man summarized. “It’s agreed. The three of you can report to Malcolm Weston tomorrow. Off ya go now.” He gave them a curt nod and then trundled off, one strap of his overalls falling off of his shoulder. The whole exchange only took about ten minutes, so after that the three of them kicked around the fairgrounds, in the manner that children often do. They picked up random sticks, swung them about, played hide-and-seek briefly, and then sat in the grass and watched the various booths get set up. Before long, the sun had gone down over the rocky hills to the west. The shadows lengthened, and they heard the sounds of a dog barking close by.
And sure enough, as they turned a corner around one of the tents on their way home, they came face-to-face with one. It was a dangerous-looking mutt with mangy gray fur. The thing was big, almost half as tall as a man. Its features were more wolfen than canine, and its eyes quivered with what almost looked like human emotion. As the three of them approached, it set its muzzle low to the ground, bared its teeth and growled at them. It was a low and threatening sound that came from the very back of its throat. Beston stared at the creature with great misgivings. “Come on … let’s get you guys home,” he said, as a cloud passed over his brow. Turning around, he led them an alternate way back to the network of streets along the canals. It had been an unusually long and active day for Hilde. When she finally got home, she immediately went to her room, sank down onto her little bed and fell asleep with her clothes on.
But the next day, the three of them hurried back to the fairgrounds after school. It was far less fearsome in the broad daylight. There wasn’t a beast in sight, and their fear the night before seemed unfounded. The feast tent had been completely set up; they could see that it was more substantial than the others. Its olive green folds of aged canvas had been bunched up and then tied with strong twine, to form a sort of main entrance. They circled around to the other side, not quite sure exactly where to report for duty, and Beston lifted a heavy tarp that hung over the kitchen door on the north side.
He peered in; through the next doorway, he could see about a score of the village’s men-folk sitting at long trestle tables near the center of the long tent, which ran west to east. He was about to turn back to the girls, to tell them what he’d seen, when one plump and balding early feaster crept up to the doorway on his left hand side and drew the curtain back all the way. The man fixed Beston with a rather weak evil eye, but it was enough to send him leaping back from the curtain. The man followed him outside, yelling “You, boy !!! What are you doing looking in on us …?! Go about your own business, or what have you.” Beston gulped down hard, then answered him in a cracking voice, “We was just wondering what all the revelry was about, dath. Didn’t mean nothing by it.”
“You didn’t mean…” The man stopped mid-phrase and raised his left fist upright in a threatening manner. “Why, I should cuff you right in your little head for not minding your own damned business, I should.”
“We’re actually here on business, dath. We’re trying to find a guy named Malcolm.”
As he said this, another man came up behind the first. This one wore a palpable air of hostility like a cloak. He was neither tall nor short, standing about six feet in height. He had a hard face, well lined and grizzled. He wasn’t stocky, but looked wiry and strong; his hair was so blonde that it was almost translucent. He was chewing open-mouthed on a strand of wheat, no mean feat. “Well, you might have found him,” he told them in a gravelly voice.
“Hullo, dath. I’m Beston. This is my girlfriend Anne and her sister Hilde. Mr. Neffers sent us over here … we’re supposed to help out in the kitchen.”
“Oh really?” The dour man smiled at them grimly for the first time. “Well, let’s get you kids to work. There’s no shortage of that here at the fair. Come back at six second clock, and we’ll get you started.”
So, they returned later. There was an odd purple light emanating from within the tent, which turned out to be from cloth-covered lanterns. A full bar had been set up to the north of the trestle tables. The kitchen was in the east-most segment of the huge tent. They located Malcolm again, and the children were initially tasked to peel several mountains of potatoes. They also washed countless dishes, and then scrubbed pots and pans, for what seemed like an eternity, as the cooks busied themselves with their preparations.
By the time full night had fallen, all of the torches outside had been lit. The three children were nearly exhausted, their little bodies not good for much in the way of manual labor. They hadn’t been offered any food or drink yet. Malcolm came by the kitchen to inspect their progress around eight second clock, his work boots clacking on the floorboards that had been laid to tread on. He stopped in place and said, “Well, I expect Neffers will pay you, as well. After the banquet has been served, you three can eat if you like. Then, you can go and see if you can rouse the old shite-bird.”
“About what time will that be, dath …?” Anne piped up. She was shy only around the most morally questionable company.
“Well, you will be the servers, as well.” Malcolm eyed them. “You can leave at about nine … is that going to work for you …?”
Beston hastily answered for her, “Yes, dath. No problem at all.”
“Very good, then.” Malcolm said, and then stalked off to get himself another drink. The three children bade their time as the second score or so of men that were to run the fair all week-end began to fill the feast hall. Most of them sidled up to the make-shift bar; many had already tossed back shots of Harkleberry Hedge liquor, or downed several ales, and the party was just beginning. Malcolm walked into the kitchen and opened a cupboard there, pulling out a flask to pour the children tiny cups of fruit juice, which he summarily shoved in their faces.
After waiting in the doorframe for a couple of minutes for them to finish, he then all but shoved them into the hall, saying, “Come, boy. Help me bring this beast out to the table.” With that the two males went back to the ovens, while the girls nervously edged out into the hall; they were wary of the drunken workers. Several moments later, Malcolm and Beston made their careful way to the long dining table. They bore a huge pewter tray, with the biggest roast boar Hilde had ever seen on it. The thing was so big that it looked as if it must have eaten other pigs in life, rather than slops.
Setting it down, Malcolm said, “Well, boy. There’s the cutter. On that table there. Your friends can help you slice it.” Beston followed the line of the man’s gaze, but then frowned back at him, his eyebrows drawing into arches. “That blade is uneven. How are we supposed to use it …?!” The words escaped his mouth in a rush, he didn’t think before speaking. But sure enough, what he said was true. The blade was highly ill-fashioned, and was even encrusted with dirt in several places. It was as if it had been forged by a blind man, some parts rendered small and others large. Malcolm eyed the boy dubiously, as if unsure whether to raise his ire or not. “Listen, never you mind the worksmanship. It’s a blade, right …?! You cut with it. Now, if you curs want to get started, I’d like to eat sometime tonight.”
One of the workers was almost drooling, his eyes lit up, but Malcolm edged in front of him and shoved his light brown ceramic plate almost in Beston’s face. He and Anne each took an opposing handle, and they lifted the unwieldy thing up and over the roast hog; struggling to remain roughly parallel, and thus make even cuts. As odd as the thing looked, it was razor sharp; it went through the flesh of the beast as if it were butter. Soon it was well-sliced, and was ready to be served up on the earthenware plates, with sides of mashers and gravy. Hilde picked up a pair of tongs and began to make up a plate for Malcolm as the rest of the men thronged and jostled in line.
The feast was a dull affair, the men bragging the night away with mostly untrue stories of business ventures, exotic travels and women bedded. Once everyone was done eating, they retired to the makeshift bar, or a series of couches near the west end of the tent. A painted woman came in from the main entrance, to obvious looks of delight. The plunging neckline of her blouse caught stares, and she smiled carelessly. She spent the next several minutes floating from one man to the next around the bar, but tore free immediately if they grabbed at her. After a half an hour or so, Malcolm sat down on one of the couches and the prostitute fell into his lap, as if it was the most natural thing in the world for her to be there.
Hilde tried not to pay the guests any mind. The kitchen needed to be swept, so she picked up a broom and got to work. Yet, she couldn’t help but overhear when the woman loudly exclaimed, “There, now. What about your old lady …?!” in a teasing tone as she all but rocked on the man’s lap. Hilde stopped at her task and walked to the doorway, knocking over a water pail that was thankfully empty. She hardly noticed, hugging the broom to her chest as she watched the revelers get even more drunk. Malcolm’s eyes widened for the first time that evening as he studied the cleavage on display. “Well, the missus isn’t here, now is she?” Some of his mates began to shake their heads in disapproval, while others began to roar laughter; all summarily drowned their sorrows in their big ale tankards.
Hilde meekly brought a big tray of sweetbreads from the kitchen over to the main trestle table, and set it down. The painted woman had gotten up from Malcolm’s lap to get a drink, and her red mouth dropped open a bit when she saw Hilde. “Oh my dear gods, but you are a cutie pie.” She stared at the little girl with a look of beaming delight on her overly made-up face, and many pairs of male eyes followed hers, making Hilde the center of attention.
“Um … I know,” said Hilde. The woman’s smile slowly faded, and after several seconds, she composed herself enough to say, “Well. That’s kind of curt, to come out of the mouth of such a pretty girl. Now, where’s your mommy …? Tell me now, and be right quick about it.”
Hilde looked about evasively. “My mommy’s not here.”
The woman flexed her upside-down index finger at her in a beckoning gesture. “Come closer. What’s your name?”
“I’m not supposed to talk to strangers.”
“Me either, but I do it all the time. So what is it?”
“Hilde.”
“Well hello, Hilde. I’m Gretchen.”
“Good to meet you … I guess.”
The men were doing little more than just drinking and silently watching the two of them talk. She was not used to this; even at home she often felt ignored. So she headed back to the kitchen, but as she went, one of the drunken men stopped her and said, “Where are you off to, young miss …? If you’re going to crash a party, be ready to drink some ale.” He proffered his mug in her direction, but most of its contents just sloshed out onto the hard-pack dirt of the floor. Hilde stepped back to avoid the splash just in time, turned in disgust and went to find out whether it was nine second clock yet.
The woman followed her into the kitchen. Anne and Beston had gotten off to somewhere, Hilde didn’t know where. She began to approach Hilde slowly, and the girl found herself backing up and half-stumbling towards the north doorway. Another smile appeared on the woman’s angular face, dwarfed by all of the rudimentary make-up. She held out one of her thin hands, its long fingers and nails splayed out, her palm upward, waiting for the girl to take it.
When Hilde found herself doing so, they walked through another darkened doorway that was in the tent’s northeast corner. Hilde got the impression that it was a makeshift storeroom, as there were many shadowed boxes and objects around, lining the canvas walls. A long sconce hollowed into one wall contained a lit torch stand, and by the half-light the woman stopped, just barely visible. She stared at Hilde intently, and the girl started taking shallow breaths in anticipation.
“What do you want …? I have to get back to my friends,” she managed to blurt out. The painted woman’s hands dropped down to the sash of her raggedy gray robe and she began to unknot it. Before Hilde could even begin to realize what was happening, she stood before the girl stark naked. Thankfully, the low light spared the girl from too complete a visual; yet even so, her mouth dropped open and she backed up a few paces.
“Like I said, um … miss, I have to be going. We have some more dishes to do and stuff …”
“Abscendran,” murmured the woman. It was almost too low for Hilde to hear. She pinched the skin of her forehead between her right thumb and index finger, and began to draw her hand down some invisible line at the center of her body, and to Hilde’s sheer horror, the skin drew open and then hung from her frame, like some form of suit. Beneath it was a red velvet dress; as the false shoulders fell away from the real ones beneath, Hilde saw that she was also wearing a black hooded robe. Not even the face itself had been real; the genuine one underneath was more harsh-looking, but rounded rather than jowly and angular around the chin and cheekbones.
Hilde’s mouth gaped as the suit of skin raised back up as if its own person, reformed into a whole and then walked back out to rejoin the party. It returned to Malcolm’s lap on the couches, as if nothing had changed, but the robed woman remained in the torch-lit side room. She stood grinning at Hilde, as if the two of them shared some form of private joke. “It’s nine. I’m leaving,” Hilde said as she turned and walked back towards the kitchen, unsteady on her feet. The men in the hall were achieving even greater heights of ribaldry and hilarity, as their opening night party wound its way towards twelve second clock. There were puddles of spilled beer and ale on the hard-pack floor, and many of them had mud-spattered boots and breech legs.
“So, Hilde …” The strange woman came up to her and whispered in her ear, as they stood by the doorframe back into the feasting room. “Would you like to see some more tricks …?”
About Richard:
Richard Writhen was raised on a steady diet of fantasy films, eighties horror television and universal monster movies. After briefly attending college for music and video, he began his first online serial six years ago. Richard has since been e-published on several notable blogs and websites and is also the independently published author of three novellas and a novel. He is currently working on several short stories and the second book in The Celestial Ways Saga, which is to be titled The Crack of the Whip.
You can find Richard at:
https://www.facebook.com/richardwrithen/
http://www.richardwrithen.wordpress.com
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Wednesday, July 24, 2019
Thursday, June 13, 2019
Requiem Infernal
Requiem Infernal by Peter Fehervari. Originally published by The Black Library, April 2019. Approx. 300 pages.
HachiSnax Note: I believe I need to start this review off with an apology. I had so wanted to be one of the first to get a review of Requiem Infernal up; and here we are, two months later. The positive to this is that, in the meantime, I have seen a deluge of well-composed, thoughtful, intricate reviews posted for this masterwork. It shows, I believe, that Peter Fehervari might finally be getting the acclaim and recognition that those of us who have been drifting through the Dark Coil for years know he so definitely deserves. I see people being made into true believers;dashing to pick up his earlier works. In a pleasant way, it makes one think of his first book, Fire Caste, with all of its bizarre, psychological twists and turns, as a work akin to The Thing; shockingly brilliant, but perhaps so shocking that it was overlooked upon first release. However, time has proven to solidify, and validate, the mettle of the masterwork.
Moving the rant along (so as to keep a bit of my personal views out of the review proper), there are some observations I need to make about The Black Library. As long-time readers will have surely noted, there has been a precipitous drop in the volume of BL works reviewed (well, reviews in general, but BL in particular). A lot of the recent BL offerings (aside from the omnibus reprints of back titles) don't really grab my interest; and AoS fiction will likely never find a place in my heart. Also, I've always been pretty vocal regarding the odd ways in which BL seems to treat Fehervari's works; be it in changing the titles of his works to generic/misleading ones (Fire Caste, Vanguard, Genestealer Cults), or giving a book of his the same cover (and name!) as a recently released Codex (GSC).
With Requiem Infernal, the quibbles are not as intense, but they are present. While we get the author's preferred title, as well as a kick-ass cover that is relevant to the content, there is absolutely no reason why RI should not have been released under BL's new Warhammer Horror imprint. The cover screams 'horror'. The book itself should have been held up as a benchmark for all aspiring BL horror scribes to aim for. Requiem Infernal is, without a doubt, a horror novel through and through (as was his short story, The Thirteenth Psalm, which appeared in Inferno! Vol. 2). Also, it doesn't help that the only physical copy of this book (the Hardback), until the paperback comes out this fall, is available only on the BL website. The book is worth the hardback price ($27 USD), and I think this cover looks great in hardback, but for those of us in the States, if we aren't ordering $50 or more, we get murdered on shipping. If BL can sell their e-books through Amazon, why not the hardbacks as well?
I really don't want to dwell on these things; but I think they need to be mentioned. This is such a fantastic novel, and it deserves a proper amount of marketing and promotion. Well, in the absence of such actions on the part of the publisher, it falls to the us, the readers, to tell the world just how great this book is.
Thanks for sticking with this rant. Now, onto the review...
Strap yourselves in. The Grand Weaver of the Dark and Esoteric, Peter Fehervari, has released his third full-length novel, Requiem Infernal. I will post the publisher synopsis in a second; however, it goes without saying that this, being a Fehervari novel, does not adhere to any semblance of a linear narrative. Not in the least. In fact, Requiem Infernal benefits immensely from two factors: firstly, the sheer amount of intersecting storylines and character arcs ported over from previous Dark Coil entries. Second, and most importantly, it benefits immensely (and I mean that in no uncertain terms) from Fehervari's evolution as an author. His prose, usage of literary techniques, intelligence, well-hidden Easter Eggs, and even humor help make this into a magnum opus of psychological horror sci-fi.
Here's the synopsis:
An Adepta Sororitas novel
On a distant world, an obscure order of the Adepta Sororitas study their founder's visions. They live in solitude… which is about to be broken as danger approaches.
READ IT BECAUSE
Peter Fehervari brings a tale of an unusual order of the Sisters of Battle, a sister breaking her self-imposed exile and an Astra Militarum unit seeking respite from their woes… and it's every bit as weird and wonderful as you'd hope.
THE STORY
The Adepta Sororitas of the Last Candle have stood vigil over their sanctuary world for centuries, striving to decipher their founder's tormented visions. Outsiders are unwelcome… yet still they come.
Decimated by an encounter with a lethal xenos entity, the survivors of an elite Astra Militarum company have journeyed to the Candleworld in search of healing, escorted by a woman who is no stranger there – Sister Hospitaller Asenath Hyades, who turned her back on the order decades ago.
As the seekers near the sect's bastion, malign forces begin to stir among the planet's storm-wracked spires, but the most insidious shadows lie in their own souls.
That, in and of itself, would serve as the groundwork for a solid novel. In the case of Requiem Infernal, it merely scratches the surface of what's going on.
A healthy chunk of the story does focus on the Sister in question, Asenath Hyades, aka Sister Darkstar. Each chapter begins epistolary style, with a journal entry penned by her (and, as we progress from chapter to chapter, we bear witness to the erosion of her already tenuous mental state, but more on that later). After a lifetime of service, including service she turned her back on, Hyades has returned 'home' to Vytarn. Her entries are addressed to her canoness, as it appears she has been sent to Vytarn on a mission to root out any presence of taint within the Last Candle, the reclusive Order which rules the Koronatus Ring.
For my fellow Coil Pilgrims for whom that name rang a bell; you are correct. Vytarn is indeed the planet which will come to be known as Redemption-219, that bleak, desolate world which served as the backdrop in Genestealer Cults.
As we all know, the Koronatus Ring is a landmass all its own. Meaning, one must journey to get there. It might be good to mention now that Requiem Infernal can be broken down into sections; and the journey to the Ring is the first portion.
On Vytarn, entry to the Ring is only allowable via travel by ship across the treacherous, storm-wracked Exodus Gulf. Traversing this deadly body of water is the magnificently-named barque The Blood of Demeter; upon which travels Hyades, as well as the other key players in the dramatis personae.
As mentioned, Requiem Infernal is not solely about Hyades journey (descent? ascent? ascending descent?) into madness. Like in all Fehervari works, we have a robust cast of players; all of whom could carry an entire novel on their own.
First and foremost among these is Jonah Tythe, a cryptic Imperial Preacher. We bear witness to his "awakening" in the book's mind-blowing prologue, which shows his roots on the harsh, dark world of Sarastus (yes, we are returning to where it all began!). The bearer of a mysterious tome; he travels under the guise of research, and has arrived on Vytarn to answer the hail of the Theologus Exegessor there.
Rounding out the players on the Blood of Demeter are the remains of the Darkstar Company of the Exordio Void Breachers (remember them? From the frightening as hell opening of The Greater Evil?). Darkstar Company find themselves diminished and dying; suffering from a massacre doled out by an anomalous xenos entity which they were commanded to explore. Their paths crossing with Hyades on their egress, they are being brought to the Order of the Last Candle to seek succor from the Hospitallers there. Watching over them is Commissar Ichukwu Lemarche; a stern, stalwart man trying to hold his dying unit together. The commanding lieutenant is a tad feckless, and the sergeant who holds the troops' hearts and minds is dying a slow and terrible death.
For me, this first segment, the journey aboard the Blood of Demeter, is the best portion of the book. As mentioned, this is a horror novel through and through. And Fehervari knows how to cultivate horror. Horror is not solely jump scares and blood soaked sequences. It is the pervading, ever-present anticipation of dread, lack of safety or escape, claustrophobia, inherent wrongness, etc. Fehervari pens these scenes masterfully. Insulated on the mysterious ship, bizarre and ominous events begin to unravel. A spate of brutal murders, the introduction of an invasive type of fly (the introduction of which was one of the most uncomfortable - in a good way - scenes I've read in recent memory), the loss of sanity, never-ending stairways to....nowhere. Fehervari even plays merry havoc with notions of time and spatial distortion. Beware! Never look at anything that transpires directly...that's what makes it real.
After a storm-tossed trip across Hell, the cast find themselves within the Koronatus Ring, which redefines the notion of nothing being as it seems. The parties go their separate ways; the Breachers being tendered to the Hospitallers of the Bronze Candle, Jonah continuing his quest, and ending up entangled with the Sisters Dialogus of the Silver Candle along the way, and Asenath doing some investigative research outside the watchful eye of a dark phantom of her past, the sadistic Palatine Chirurgeon Bhatori.
It is in this segment that the storylines grow legs (and tendrils). Character arcs and overarching events take turns for the bizarre, turns for the worse. I cannot safely go into too many details without teetering into spoilers, but suffice to say that things are indeed even worse than they seem. Throughout, Fehervari maintains a constant, oppressive level of palpable dread and discomfort. There are some truly outlandish events which transpire here.
The third, and final, portion of the book brings us to our climax. This is truly the juncture at which all points converge (collide). Perhaps, we can term this sequence the 'storm', as it does unfold against the backdrop of a most unique storm.
It is in this segment of Requiem that all the voices heretofore relegated to the shadows come strutting out into the light. Whatever shall pass for answers in this insane universe is unveiled; and perhaps never has wisdom brought so little profit to the man who is made wise.
The most greatest shock in reaching the third segment lies in the utterly drastic shift in tone from the previous portions. While the first segment focused on claustrophobia and dread, and the second on the waiting wrongness around every bend, the climactic third act is lit with dazzling, blinding, obscene colors and images as our players step into the very heart of Chaos. It is here that the groundwork is laid out by Fehervari's inner Escher; and the answers which are revealed are the answers that had to be....not necessary the answers that were sought or hoped for, since we all know that one cannot make order of Chaos, although, as we also know, "Nothing exists without order."
Again, to indulge in too much detail would reveal too much, and we will avoid spoilers. I will say that the sheer volume of detail that Fehervari packs into every moment of this portion (the relentless descriptions of the appearances and colors of everything) almost triggers a sort of sensory overload. The visuals flashing so vividly before your eyes threaten to overwork the retina of one's inner mind's eye.
Now, let's take a look at the individual elements of the book.
Characters:
As mentioned, masterful. Fehervari has imbued his core protagonists, Asenath and Jonah, with a full, rich palette of emotions. They are complete characters; as is his forte. They have their fears, failings, and foibles, which temper their strengths. For all of her regrets, all her missteps, Asenath remains, at her core, a strongly honorable force. For all of his strength, Jonah is equally haggard; for his brilliance, he is as mentally weary. This pair has traveled too far, seen too much, been burdened with individual loads too great to bear.
Rich backgrounds, revealed through evocative flashbacks, are provided for them as well. We learn of Asenath's previous 'lives'; of how she was chosen to be a Paladin for a legendary Confessor named Father Deliverance, of her time spent as a Repentia, of how she learned to keep the voices inside of her on a short leash.
The same holds true for Jonah, whom me meet as a resourceful criminal on Sarastus. It is there, after a fateful delivery of a stolen book, that Tythe becomes tethered to a tome of unparalleled importance; both to the story, and to the reader as well.
I mentioned earlier about Commissar Lemarche's personality. Fehervari always has a good touch when it comes to penning Commissars, and Lemarche is no different. He is a pragmatic man, who knows that the motley crew under his charge are a wild group, yet extremely potent killers. With a weak head, and a dying hero to contend with, he handles the situation in the best manner possible. Also, he is gifted one of the best completions of a character story arc in the book.
All of the Breachers are enjoyable to read about. Fehervari has given each of them a core character trait; without simply relegating them to the status of one-trick ponies. Of course, the most significant of these is the misshapen giant, Sergeant Toland Feizt; the one who all the men look to. The one who is simply too stubborn to die.
Most of the other characters we meet are various Sororitas, and care is given to each of them. Even the examples where it is made clear that the Sister in question wouldn't pass muster on most other worlds, we are eventually shown their redeeming qualities. Other Sisters stay with you, especially the feisty Hagalaz (whose demeanor perfectly matches the rune for which she is named).
Also, in Requiem Infernal, we are treated to a few precious scenes of the Angels Resplendent. Yes, as they were. They are truly a sight to behold, and Fehervari captures this in their manner of speech, as well as the dazzling, fluctuating colors of their artisan-crafted armor.
Finally, it should be mentioned that a special character makes a poignant guest appearance - Athanazius; here a boy, but whom we all know will grow to be the Chief Librarian of the Angels Resplendent (Crown of Thorns). His scenes with Asenath are intimate and beautifully written.
Writing:
I've always been an immense fan of Fehervari's style of writing. He blew my mind with Fire Caste, and his skill has only evolved, and improved, since then. Coupling this with all of the accumulated incidents revolving around the Dark Coil, you have a brilliant final product.
Fehervari's prose remains tight, dark, and foreboding. He never wavers towards the purple, or excessive. While his writing has always been intelligent, the level of vocabulary utilize here was impressive; keeping my eyes darting to my phone to look up definitions. I also particularly enjoyed his usage of literary devices. Rhyme and alliteration are used to great effect throughout the work; reinforcing the passages which feature them.
Moreover, it is his ability to match the correct tone to the right scenario that lets Requiem Infernal succeed as a sci-fi novel, as a Sororitas novel (of which we have precious few), and as a true, terrifying horror novel.
World detailing and action scenes are, as always, superb. The level of detail put into even the most (seemingly) mundane of objects is intricate. Then again, in a Fehervari work, there are absolutely no wasted/unintentional words, ergo, nothing is mundane. Some examples to look for: the descriptions of the armor of the Angels Resplendent, the ornamentation of the Blood of Demeter, and, my personal favorite, even though it was a minor moment: the sheer beauty of Asenath's bolter gun, Tristesse (name ring a bell, anyone?)
The action scenes in Requiem Infernal are also commendable. Fehervari has stated in other places that the action is not his primary focus; and that's understandable, especially when crafting such deep, dark stories. The thing is; I've never read an action scene of his which was a disappointment. This is also the case here. The action scenes retain the pulpy, balletic majesty for which he is known.
Another thing; and I mentioned this in Genestealer Cults; for all his original takes and interpretations, Fehervari also details units as they appear on the table (in GSC, for all the intensive lore he poured into it, I was amazed to see basically the entire model lineup perfectly described in the climactic battle...pretty impressive). This is also the case in Requiem Infernal. I won't mention unit types by name, but Fehervari made the models come to life along with delivering a rich story. I suppose you can have your cake and eat it too.
Name Games, Easter Eggs, and Word Play:
Requiem Infernal is saturated with references to all of Fehervari's other works. A good reason for this can be that the Koronatus Ring, and to a greater extent the Shadow Orrery, serve as a tangential transportation hub for the events playing along the Dark Coil. I've found a fantastic map of sorts which diagrams some of the connections between Fehervari works; I will put it at the very end of the review so as to avoid spoilers.
Readers will rejoice at many of the connections to previous works. We expect it, to a degree, but it doesn't make it any less poignant when a character steps on a world we have not seen in so long. Not only that; scenes in this book seem to hint at some of the origins of the events associated with those places. Perhaps. Perhaps not. Through the obfuscation we may glimpse hints, or hopes, but clear answers are in short supply.
As for wordplay, there are lots of playful references peppered throughout Requiem Infernal. You'll see words like "puissant" dropped casually, which will instantly bring you back to Fire Caste. There are also references to other horror works. Within the first few pages I caught some nods to Aickman and Bradbury, and there are more to be found for the industrious prospector.
These references will range from the fairly obvious to the frustratingly obscure. There's one I was pondering as I read; I wonder if I'm on to something. We've known since Fire Caste that the number 7 figures prominently along the Dark Coil. Also, the number 8 holds significance throughout this book as well (hmmm, seven spires plus the Perihelion....). Finally, at a critical point towards the end of the book, there is a scene where a choice out of 9 is to be made (sorry, no spoilers). Going back to Genestealer Cults, we recall that Vytarn is reborn as Redemption-219. (9-2=7, 9-1=8, 9=9). Is it coincidence? Perhaps, perhaps not.
One of the great gulty pleasures in reading Fehervari's works is unraveling the mysteries behind the names he gives. Sometimes they contain a clue as to a character's importance, sometimes they are an homage to a friend, and sometimes they reference a movie/book character; which of course usually circles back to a clue as to importance.
I've already speculated as to implications behind Asenath's name. What of the others? Well, for one thing, there is a huge vampire motif running rampant through the names here.
Let's start with Jonah Tythe. The first connection is, of course, to Jonah of Biblical reknown. We know that there is validity here because our Jonah also has a run-in with a giant fish (of sorts; in a scene which is told incrementally over a series of flashbacks). On the other hand, and this is a stretch, we might say that Jonah is close to Jonathan Harker, of Dracula fame; which makes sense when we remember his frail sister Mina.
Jonah finds himself on the Blood of Demeter; and in the mix is one of the Breachers named Rynfeld, who sees the significance in the ever-present flies dancing about his dying comrades.
Other vampire nods can be seen in Sororitas Genevieve, Camille, and Marcilla.
Further naming devices included (but are in no way limited to): Slavic folklore (mythological creatures), and Japanese geography - Akaishi and Aokihara, which is one character removed from Aokigahara.
In Closing:
I figured I would insert some closing thoughts here; taking a cue from Peter's very personal 'Afterwyrd' which closes Requiem Infernal.
This is a fantastic book. It has all of Fehervari's hallmarks- it is dark, cerebral, murky, prophetic, and condemning. It teases answers, while feeding us more questions. By engaging in this author's work, we've damned ourselves to an eternal voyage along the tangled strands of the Dark Coil. It provides fantastic visions, tempered by frustrating periods between glimpses.
Also, this book is more than a story. It is both a memoir and a dedication. Jonah Tythe becomes a living metaphor; the book he carries so close to his heart, written in his own blood (wasn't that something the author admitted to, so very long ago?)
Some online have speculated that the closing of the afterwyd is a farewell of sorts. Perhaps it is; although we all hope such is not the case.
However, if it is, what a way to close the tale. At the very least, we have fragments of a map scratched out, written in blood and at the sacrifice of what we would call comfortable, convenient norms. It is a map which charts a bizarre, arrhythmic, circuitous, looping path. Paths that cross themselves, pierce themselves, even choke themselves. We cannot chart a beginning or an end; we are in the Coil, and must simply continue our upwards descent.
Thanks for reading this. Get the e-book. Get the hardcover; it'll look magnificent on your shelf. Get the paperback when it comes out. And thanks again, Peter Fehervari, for the journey.
Here's the chart I mentioned earlier.
Cover:
Yes! Fehervari finally gets a cover which is representative of the content! And what a beauty it is. Really. Going by the description in the book; I'd say that that is a pretty darn good rendering of Asenath. It's also a nice touch to have the spire and Orrery rising below her; a nice play on 'what lies beneath', or 'what lies in shadow'. The smoky tendrils dancing around the image punch up the background. A savvy font choice is used for the title; I guess my only complaint would be that I think it would've looked better to introduce some texturing into the letters, rather than just leaving it with a simple inner shadow. However, if that's the only complaint, then it isn't a detraction at all.
Great cover.
Thursday, May 23, 2019
The Angel Of The Grave
The Angel of the Grave by Richard Writhen. Originally published by Goodz Doll$, April 2019. Approx. 171 pages.
Back in December 2017, we were treated to an excerpt from author/awesome friend Richard Writhen's then-upcoming novella, The Angel of the Grave. You can visit that post here. Well, I am happy to announce that the novella has been released (it came out in April). TAOTG serves as a prequel of sorts, a "Book Zero" of his evocative Celestial Ways Saga, of which I've read and reviewed the exceptional The Hiss of the Blade.
Just a quick recap: Writhen's Celestial Ways Saga transpires on the fictional world of Cedron; a world which has benefited immensely from the years Writhen has spent developing and polishing it. Also, Writhen has coined the term "gothdark" to describe his genre, or niche, of writing. Gothdark, as the name implies, is an amalgamation of gothic and grimdark; and it is a fitting name, as these elements are nicely delivered in voice, tone, and subject matter.
Let's take a look at the synopsis first; which is less of a synopsis, and more of a listing of the storylines which will intertwine, overlap, and converge over the body of the work:
"BECOME THE FIRE. An intelligent little girl encounters a talented witch at the local fair and finds out that it's all in the family. Interconnected by dreams, two young orphans embark on the long path to find a bloody revenge. A wealthy lady travels hundreds of miles to become a baroness, but when she consults a diviner, she finds out that she may be in way over her head."
As you can see, instead of stating a thesis, it is more a summary of what shall befall the dramatis personae. Let's take a look at the book itself.
In The Hiss of the Blade, we were treated to a lot of politicking and power plays. There was lovely, visceral violence to be had, as well as hints at magic and sects.
The focus of TAOTG (which, as mentioned, transpires long befor Hiss) is on magic, witchcraft, and divination. In the book, we are introduced to four core characters, within three character arcs. We witness them grow; no, perhaps the best word is 'evolve'. Writhen does a masterful job in not only developing these women as characters, but charting the growth and potency (and ramifications of) their particular powers.
The first story arc focuses on Hilde Sontire. Hilde is a sharp young girl who takes on work, along with her sister and sister's boyfriend, at a traveling carnival caravan. There, she comes across an enigmatic witch (introduced in one of the best transformation scenes I've read). This witch's skill set runs a bit on the, um, sanguine side; and Hilde learns that a talent for it is literally in her blood.
The second story arc introduces us to Sadine and Rebecca, two young girls living in abject poverty. Rebecca is an orphan, taken in by Sadine and her mother. The mother has to do whatever she can to feed herself and the children, including prostitution. One day, her life is snuffed out at the hands of a john. Homeless and alone, the girls travel to the city, becoming Dickensian street urchin cutpurses. Along the way, their inherent talents are noticed by a local magician, who teaches them the art of manipulating fire. However, despite the struggle to survive, despite the learning of the arts, their focus remains on finding the man who murdered their mother, and unleashing retribution upon him.
This segment was especially strong; giving us a nice view of everyday life in one of Cedron's large cities. There is also a fantastic sub-plot involving a brutal cult, which I truly wish got a few more pages dedicated to it.
The third story arc tells the tale of Marissa Wallins, a young, naive woman who travels a great distance to become the wife of a local, powerful baron. As the years start to pass by, and the romantic luster erodes; Marissa becomes aware of a new power manifesting itself within her. While exploring a cavernous storeroom in their mansion, she comes upon a book on the arts of ice magic, and her life is forever changed. She has been chosen, and she will realize her destiny.
There was a lot of character development and evolution in this arc. Perhaps the best way I can describe it is that Writhen does a great job detailing how the 'old' Marissa is deconstructed as the 'new' Marissa blooms. She is a fantastic, compelling character, ultimately serving as the linchpin of the book.
So, those are the basic arcs. I won't go into too much more detail, as it's a short novel and I want to avoid spoilers.
As for writing style, I will be repeating some of the same points I mentioned in the review for The Hiss of the Blade. Writhen's style is very evocative, and almost poetic. There is a deep, rich voice to the narrative, and it reads as though it is legend being recounted by a sage storyteller. While I enjoyed his prose in Hiss, you can see that his skill has improved over time, become more refined.
Action scenes are still very solid. Writhen surprises in how well he can realize brutal moments of violence. It is often as ugly and messy as it is in real life. TAOTG also features scenes of violence predicated upon the arts learned by the protagonists. Writhen has given a lot of thought to the logistics of the magics he is introducing, giving them a feel both legitimate and genuine. It's all very organic, never arbitrary.
There you have it: strong, developed characters, a rich setting, and well-thought out magic system. It all combines to a greatly enjoyable read, which I recommend 100%. For sure, check it out.
Get it at Amazon.
Friday, May 10, 2019
86
86 (Volume 1) by Asato Asato. English translation by Roman Lempert. Originally published in the United States by Yen Press, March 2019. Approx. 256 pages.
86 is another of those titles that were on my radar for a while, based on an awesome cover and a decent blurb. What I was hoping for was an entertaining military fiction piece, enhanced by mech action. What I got was a light novel with a lofty premise, the deeper ramifications of which are never truly realized, that in the end remains an entertaining military fiction piece, with solid mech action.
First the blurb, then we dissect:
"A War Without Casualties
The Republic of San Magnolia has long been under attack from the neighboring Giadian Empire's army of unmanned drones known as the Legion. After years of painstaking research, the Republic finally developed autonomous drones of their own, turning the one-sided struggle into a war without casualties-or at least, that's what the government claims.
In truth, there is no such thing as a bloodless war. Beyond the fortified walls protecting the eighty-five Republic territories lies the "nonexistent" Eighty-Sixth Sector. The young men and women of this forsaken land are branded the Eighty-Six and, stripped of their humanity, pilot the "unmanned" weapons into battle..."
Solid premise. In fact, it barely glosses over what Asato Asato posits in the work. In a move which he admits draws from historical actions/positions in WWII, the people of the 86th Sector are interred, robbed of their agency and positions, and relegated to "less-than-human" status. These people represent the ethnic minorities of the Republic of San Magnolia.
However, why exactly this happens is not explored to a satisfactory extent. The story picks up after the invasion of the Giadian Empire, so we are observing the militarily inefficient Republic on the defensive. What we do not have any exposition into is 'why' the Empire invaded, what was their motivation, etc. This becomes problematic in that the internment of the ethnic minorities (Colorata) is predicated upon a flagrantly false accusation of sympathy to same Empire. However, it would've been nice to have a clue as to what these supposed horrid values were.
It's fairly obvious that the digs are made at America during WWII (the author claims in the afterword that he based the Republic and the Empire on an Axis and an Ally power). The order which inters the Colorata is a none-too-subtle dig at Executive Order 9066 (which is an odious blemish on our history). This is fine and all. In my opinion, though, it does bear mentioning that a lot of the atrocities committed by the Republic are crimes perpetrated by all contributors in the War. But, let's not nit-pick. This is speculative fiction, after all. The real question is; was it entertaining? Gripping? Fun?
For the most part, yes. This is not the deepest book, by far. It doesn't need to be. It's a light novel. How do the various parts stack up?
Characters:
This should've been a home run. Asato has created a compelling dramatis personae. It isn't too sprawling, since it primarily focuses on a singular group of 86, and their "Handler" on the San Magnolia side, Lena. (quick mention: the Handler and the soldiers share a connection via Sensory Resonance, which allows for communication, etc. However, since it links the subconscious of all participants, it also leaves the window open for some compelling emotional side effects)
We are first introduced to the cast via fold-out illustrations in the beginning of the book. They are an interesting group, beautifully realized by the fantastic illustrator Shirabii.
Yet, in the book itself, they are terribly underutilized. A few of them get shining moments, but most are relegated to a singular mood, or viewpoint, and are, as such, consigned to it. Excellent conception, mediocre execution.
The main focus throughout remains on our core protagonists; Shin, aka Undertaker, the leader of Spearhead Squadron, and Lena, the earnest, open-minded Handler assigned to them. Lena possesses a dramatically different moral compass than most of the Alba (the pale, silver-haired "master race" of the Republic), and wants to be the best commander she can for her charges. In this position, she finds herself hopelessly sandwiched between an uncaring military and the derision of those under her.
Shin and Lena are both handled well, as is the evolution of their relationship with each other. Although Shin learns to open up a bit over the course of the narrative, he is for the most part, relegated to the role of 'taciturn survivor'. His character arc involves, but isn't really advanced by, a subplot involving his estranged brother. This whole sequence reads more as an add-on to introduce the whole "vestiges" notion (not going to spoil it here), and while it is interesting, it isn't particularly compelling.
Lena, on the other hand, is given the most fulfilling character arc and advancement, as she has to adapt, overcome, and survive, all while swimming upstream.
Worldbuilding:
Herein lies the greatest flaw of 86. I've already mentioned some of the aspects that did not make sense. Again, the hatred of the Colorata makes no sense, as we are shown nothing upon which it is predicated. At one point, everybody lived together happily, and then suddenly, all of the Alba viewed them as sub-human. There are no logical parallels. The ethnic internment in the States, as well as the slaughter of Jews in Germany, were not done arbitrarily. There were intensive propaganda campaigns to paint them as villains and cultivate the distrust, and then hatred, of them. Simply saying a mysterious Empire attacked, and then we said the Colorata was in with them, and so they gotta go, is lazy writing.
Therefore, it makes no sense to sell to your public that the drones are unmanned, even though the 86ers are piloting them. Would the average Alba really care if someone they considered less-than-human was being the bullet sponge that saved their own rear ends? Likely not.
Well, actually, what did the average Alba on the street think about the Colorata and the way they were treated? As the story progresses , we learn about some heroic Alba who tried to protect the perpetrated, but a few snapshots of what average people thought would have been a real boon. Instead of repeating, for the umpteenth millionth time, what was done to the Colorata, why not show how people really felt, and then the reader can truly gauge how messed up things are?
Action:
Action saves the day here. It isn't easy to detail mech action in a book, but Asato does it here. This aspect is boosted a great deal by the excellent contributions of mech illustrator I-IV. The Legion unmanned drones of the Empire are given 'life' via rich, organic designs; sleek and terrifying. The Republic get a cool-looking standard drone; woefully under-armored, and under-powered, yet utterly lethal in the hands of a competent pilot.
Here's what it is:
86, in the end, is very good. Not great, very good. It has compelling characters that should've been paid attention to more, great action, and some lofty aspirations for cultural commentary that fall short of hitting any discernible mark.
After chugging along for the first half or so, it really takes off, heading for a satisfying finish. The ending works perfectly to make this a self-contained story. Of course, they left the door open a bit, and so we have at least two more volumes coming in the near future.
However much it seems I was nit-picking, I still recommend this light novel. Check it out.
Get it:
Cover:
As mentioned, the cover is a huge part of what sold me on pre-ordering this way back; it goes without saying that I like it. I really dig Shirabii's style. The interior illustrations are a mixed bag; the fold-out color pic in the beginning is amazing, as are I-IV's mech designs. Then, there are a few character pics by Shirabii throughout. These are nicely done, but there's something light, and, I don't know, unfinished (?) about them. Still good though.
Thursday, March 7, 2019
The Empty Box And Zeroth Maria Vol. 1
The Empty Box And Zeroth Maria Vol. 1 by Eiji Mikage (translation by Luke Baker). Originally published in the U.S. by Yen On (Yen Press), 2017. Approx. 200 pages.
The Empty Box and Zeroth Maria (referenced for the remainder of the review as "Zeroth") is one of those novels which grabbed my interest from the first sighting. Boasting an intriguing title, as well as hauntingly beautiful artwork (by 415), it challenges you to look away. A seven volume light novel series which ran in Japan from 2009 to 2015, Western audiences are now being treated to this engaging, mind-bending series in the...well, is "Groundhog Day" an official genre title yet?
First, here's the blurb:
From Goodreads:
"Kazuki Hoshino leads the easy-going life of a typical high school student--until the appearance of a new girl in his class turns his world upside down! Introducing herself with a promise to "break" Kazuki is abnormal enough to make an impression, sure, but why does she seem so familiar...?"
From Yen Press' site:
"Kazuki Hoshino treasures nothing more than his ordinary life, and March 2 should have been an ordinary day. The arrival of a transfer student, the mysterious Aya Otonashi, shouldn't have shattered the world he knows. He's never seen this girl before in his life, but she says she's met him thousands of times--and declares war on him for a crime he can't even remember... As the truth begins to unravel, nothing is as it seems, and at the heart of it all is a wish powerful enough to change everything..."
There's nothing like a unsolicited declaration of war by a beautiful transfer student to throw an average high schooler's life into complete and utter turmoil.
Otonashi's personal crusade is predicated upon her search for a mysterious Box which has transformed their ordinary classroom into a 'Rejecting Classroom'; doomed to repeat the same day (March 2nd) for eternity. Said Box is in the possession of one of the classroom's students, bequeathed to them, with the promise of the ability to grant any one wish whatsoever, by a mysterious, shadowy, ethereal 'benefactor'. Otonashi, by a process of elimination narrowed down over the course of more than 13,000 jumps, has determined that Kazuki is in possession of the Box, and she will break him, take possession of it, and end the soul-crushing infinite loop.
Given a premise like that; the reader might feel as though the story is near its climax right off the bat. However, with a premise like this, there is obviously so much more than meets the eye. Eiji Mikage presents us with a story full of twists, turns, and slowly unfolding answers. His pacing over the course of the 200 pages is impeccable; keeping the reader fully engaged and invested, even when no direct answers are forthcoming.
Let’s look at the book piece by piece:
Story:
Absolutely fantastic. The concept of a vessel by which a wish (wishes) can be granted is as old as time. Also tied into the narrative is the ever-underlying moral of ‘be careful what you wish for’.
The concept of ‘re-doing’ the same day/time period over and over is not new, either (hence the earlier Groundhog Day reference). However, what Mikage has done is taken these tried and true elements and reshaped them into something entirely unique, and entirely his own.
The end result is a warped take on a 'genie in a lamp' theory; instead giving us a mysterious gamemaster, one whose motivations may not be entirely benevolent.
There are, of course, the hallmarks of many light novels present here; slice of life elements, romance, even shades of horror. Yet, what makes Zeroth superb as a story is the sense of utter urgency and reality which Mikage infuses it with. We’ve all seen stories where characters are caught in a loop. But I’ve personally never seen the psychological trauma of such a quandary depicted as well as it is with the mentally weary cast of Zeroth. It makes for a truly haunting and harrowing experience.
Throughout the story, there are feints and headfakes galore; as Otonashi and Kazuki attempt to untangle the myriad mysteries of the Rejecting Classroom. To Mikage’s credit, none of these twists are arbitrary or forced. The only concern I had came towards the end, when I feared that the proceedings would devolve into an Another-esque bloodbath - luckily, that incident wove itself into the overall narrative, moving us closer to a satisfying resolution.
In the end, the door is left open for subsequent novels; and yet, Volume 1 works wonderfully as a standalone work as well.
Characters:
The dramatis personae for Zeroth initially reads off as familiar, with nearly every “-dere” type being represented. There is an outgoing, extrovert, somewhat goofball best friend to Kazuki, a cool-as-a-cucumber rebel ace student, a female friend who is at a glance materialistic, but in actuality is sensitive and kind, and finally, you have the quiet, mysterious love interest of Kazuki. You can tell, however, that Mikage has and intimate, and very personal, level of caring invested in his crafting of these characters, and it shows in their development.
For our protagonists, especially Otonashi and Kazuki, we get to bear witness to their development from not only the point at which the narrative begins; but also their evolution from the point at which the Rejecting Classroom began its endless cycle. As mentioned earlier, we see their despondency, their emerging hopes, their dashed hopes, their dreams, and their nightmares. It is all relatable; it is nearly palpable. We witness the ebbs and flows of the emotions of these young people, feelings of love grow and wane, anger swells and dissipates, fear motivates and deters, and the knowledge of a perennially present daily disaster looms ever overhead.
Every day, the students must fight towards a return to normalcy, even if normalcy will only bring pain. Even though they might never be able to feel 'normal' after reliving the same day over twenty-seven thousand times. There are no guarantees in a return to normalcy; the only guarantee is madness and despair within the endless loop of the Rejecting Classroom.
All in all, The Empty Box and Zeroth Maria is a compelling, character-driven psychological drama, totally engrossing, and absolutely unique. Highly recommended to all light novel fans, as well as to those who might want to test the light novel waters, and want something original to sample. Grab a copy today (Amazon).
Cover/Art:
The art for Zeroth is done by 415, and the artist’s work truly captures the mood and essence of the story. These pictures are complex, beautiful, and haunting; everything the book is as well. There are gorgeous color pieces at the beginning; but sadly, only two or three interior black and white illustrations. All are fantastic, though.
Otonashi's personal crusade is predicated upon her search for a mysterious Box which has transformed their ordinary classroom into a 'Rejecting Classroom'; doomed to repeat the same day (March 2nd) for eternity. Said Box is in the possession of one of the classroom's students, bequeathed to them, with the promise of the ability to grant any one wish whatsoever, by a mysterious, shadowy, ethereal 'benefactor'. Otonashi, by a process of elimination narrowed down over the course of more than 13,000 jumps, has determined that Kazuki is in possession of the Box, and she will break him, take possession of it, and end the soul-crushing infinite loop.
Given a premise like that; the reader might feel as though the story is near its climax right off the bat. However, with a premise like this, there is obviously so much more than meets the eye. Eiji Mikage presents us with a story full of twists, turns, and slowly unfolding answers. His pacing over the course of the 200 pages is impeccable; keeping the reader fully engaged and invested, even when no direct answers are forthcoming.
Let’s look at the book piece by piece:
Story:
Absolutely fantastic. The concept of a vessel by which a wish (wishes) can be granted is as old as time. Also tied into the narrative is the ever-underlying moral of ‘be careful what you wish for’.
The concept of ‘re-doing’ the same day/time period over and over is not new, either (hence the earlier Groundhog Day reference). However, what Mikage has done is taken these tried and true elements and reshaped them into something entirely unique, and entirely his own.
The end result is a warped take on a 'genie in a lamp' theory; instead giving us a mysterious gamemaster, one whose motivations may not be entirely benevolent.
There are, of course, the hallmarks of many light novels present here; slice of life elements, romance, even shades of horror. Yet, what makes Zeroth superb as a story is the sense of utter urgency and reality which Mikage infuses it with. We’ve all seen stories where characters are caught in a loop. But I’ve personally never seen the psychological trauma of such a quandary depicted as well as it is with the mentally weary cast of Zeroth. It makes for a truly haunting and harrowing experience.
Throughout the story, there are feints and headfakes galore; as Otonashi and Kazuki attempt to untangle the myriad mysteries of the Rejecting Classroom. To Mikage’s credit, none of these twists are arbitrary or forced. The only concern I had came towards the end, when I feared that the proceedings would devolve into an Another-esque bloodbath - luckily, that incident wove itself into the overall narrative, moving us closer to a satisfying resolution.
In the end, the door is left open for subsequent novels; and yet, Volume 1 works wonderfully as a standalone work as well.
Characters:
The dramatis personae for Zeroth initially reads off as familiar, with nearly every “-dere” type being represented. There is an outgoing, extrovert, somewhat goofball best friend to Kazuki, a cool-as-a-cucumber rebel ace student, a female friend who is at a glance materialistic, but in actuality is sensitive and kind, and finally, you have the quiet, mysterious love interest of Kazuki. You can tell, however, that Mikage has and intimate, and very personal, level of caring invested in his crafting of these characters, and it shows in their development.
For our protagonists, especially Otonashi and Kazuki, we get to bear witness to their development from not only the point at which the narrative begins; but also their evolution from the point at which the Rejecting Classroom began its endless cycle. As mentioned earlier, we see their despondency, their emerging hopes, their dashed hopes, their dreams, and their nightmares. It is all relatable; it is nearly palpable. We witness the ebbs and flows of the emotions of these young people, feelings of love grow and wane, anger swells and dissipates, fear motivates and deters, and the knowledge of a perennially present daily disaster looms ever overhead.
Every day, the students must fight towards a return to normalcy, even if normalcy will only bring pain. Even though they might never be able to feel 'normal' after reliving the same day over twenty-seven thousand times. There are no guarantees in a return to normalcy; the only guarantee is madness and despair within the endless loop of the Rejecting Classroom.
All in all, The Empty Box and Zeroth Maria is a compelling, character-driven psychological drama, totally engrossing, and absolutely unique. Highly recommended to all light novel fans, as well as to those who might want to test the light novel waters, and want something original to sample. Grab a copy today (Amazon).
Cover/Art:
The art for Zeroth is done by 415, and the artist’s work truly captures the mood and essence of the story. These pictures are complex, beautiful, and haunting; everything the book is as well. There are gorgeous color pieces at the beginning; but sadly, only two or three interior black and white illustrations. All are fantastic, though.