Horror Books

The short stories in Michael Blumlein's "The Brains of Rats" are very difficult to classify by genre. In another sense, they're quite easy to identify; they're all very well written and fascinating. Though the book's spine identifies the collection as "horror," that label applies only to some of the stories. The title story, for example, deals with the questions of gender and gender identity. My personal favorite story is the second, a little opus entitled "Tissue Ablation and Variant Regeneration: A Case Report."

Written in a clinical manner, this story is heavy in medical terminology and describes an operation on a conscious albeit paralyzed man. Blumlein's style here is both complex and powerful. Though the writing seems to attempt to give maximum attention to the clinical nature of the operation, there is a subtext of the feelings of the man on the table; it is almost impossible not to empathize with the patient, to feel his agony to at least some degree.

The stories in "The Brains of Rats" are extraordinarily diverse, from relatively benign fantasy at times to the significantly darker aspects of "Tissue Ablation." Almost without exception, they are fascinating and engrossing. This book is highly recommended for those who enjoy well-written, short fiction of a speculative nature.

My dad picked this up at random from an MPH warehouse sale in Kuala Lumpur. I don't think he actually read any of the stories...I don't think he knew *I* read any of the stories, or he'd probably have given it away. The general impression one gets from these stories is like the Corinthian character in Neil Gaiman's Sandman comics: creepy but really cool.

This is an extremely hard book to categorize; it's quite disturbing, teeming with unsettling visions of madness and aberration. That said, it's also quite engrossing, containing stories that worm their way into your brain, lingering in memory for quite some time.

Blumlein has a medical background, which is very evident in the work presented here. "The Brains of Rats" features a geneticist who holds the fate of the world in his hands. "Tissue Ablation" and "Best Seller" both deal with organ harvesting, but veer off in wildly different directions. "The Thing Itself" is a tragic story of love between a doctor and nurse, so full of physical and mental anguish you'll feel exhausted after finishing.

But Blumlein's talent goes beyond this, as demonstrated by the other stories in this collection. Highlights include "Wet Suit", an intriguing look at fetishism, "Keeping House", which demonstrates that cleanliness is not always next to godliness, "Domino Master", a moving look at child abuse, and "The Promise of Warmth", which would have made a memorable "Twilight Zone" episode (the story did in fact first appear in the late, lamented Twilight Zone magazine).

The estimable Harlan Ellison said of The Brains of Rats, "This is not a book for everyone. Only those who delight in splendid, original thinking and rich, pyrotechnical language need apply...Mr. Blumlein carves enigmas and fabulous dark surprises from the magic mountain of his imagination." I wholeheartedly agree.

I'd never heard of michael blumlein before I read The Brains of Rats. I picked a copy up at a local library - and i've never been so fascinated. Blumlein has a wonderful writing style and his stories are some of the most bizarre pieces of fiction ever. This is one of the best authors of dark fiction that I've ever found.

Brian Lumley is one of the best horror/weird fiction writers around. I have read everything he's written, even the hard-to-find and out-of-print stuff. This, along with Vol II, is a must have.

Brian Lumley is one of the best horror/weird fiction writers around. I have read everything he's written, even the hard-to-find and out-of-print stuff. This, along with Vol I, is a must have.

Volume Two has three other novels.

Spawn Of The Winds In The Moons Of Borea Elysia

These books continue following the adventures of Crow and DeMarigny.

Spawn Of The Winds is interesting though. While it still goes with the series, Lumley creates altogether new characters and heroes for this adventure and barely mentions Crow or DeMarginy at all! They do tie in later though, and quite nicely.

This is another great series put together by Lumley, and I'm just so happy they finally rereleased some of his earlier work, and economically too.

A related book of short stories that fits in nicely with this series is The Compleat Crow.

Big tip! If you are like me and want to read virtually all of Lumley's works, then I highly suggest reading the Dreamlands saga after reading Spawn Of The Winds in Mythos Omnibus Volume Two. These books take place before In The Moons Of Borea (Unfortunately I did not know this and well, it blew it a little for me I think).

At last a nice affordable collection of Brian Lumley's Titus Crow novels.

The Mythos Omnibus Volume 1 (Volume two contains the last three novels) contains the following previously released Lumley novels:

The Burrowers Beneath The Transition Of Titus Crow The Clock Of Dreams

If you are a fan of Lumley you know how hard it was to find these novels previously. Now that they are out in this collection you have no excuse! All three are excellent stories in themselves.

My favorite was the Burrowers Beneath. Super scary. The chant Lumley recites throughout the novel still beats in my head. But overall the Burrowers Beneath introduces us to new characters that Lumley uses in quite a few books. Okay, many books to come. Crow and Demarigny. This pair of adventurers are time travelling, monster beating, world saving heroes extraordinaire! Aided with a time clock (previously introduced in an H.P. Lovecraft story, they are able to travel through different dimensions to different worlds! It leads to exciting adventures everywhere!

Cthulhu mythos fans should also get a kick out of these stories, but be warned, it deals more on exciting adventure and action than the H.P. Lovecraft setting. I love it! His best series next to Necroscope!

Awesome! This is the BEST BOOK IN THE SERIES!!!!!!!!!!!!! This is a must read for preteen monster fans who like action and humor! Otherwise, in my opinoin ,I also recommend the first book.Oh, by the way I don't blame you if your afraid. Because if you're not careful and you just randomly pick a book from the library and it is this one, BE AFRAID,BE VERY AFRAID!!!!!!!!!!!!

Wow! This series started off great and it has ended up great! I wish it would go on for at least two more books and include The Invisble Man and the Phantom of the Opera. I liked the action and how Bob seemed to grow up in the series. Just when you thought it was safe to watch all those old monster movies again, here come Dracula, the Wolf Man, the Creature, the Mummy, and the Gill Man all at once to try to seek revenge against Nina, Bob, and Joe. I was happy to see that Trey was more involved as well. The battles were cool and the characters were real. I'm going to read the whole series from beginning to end again!

I know they say that all good things must come to an end, but I wish this series would go on. I was thrilled to see that all the monsters come back for one big battle with Nina, Joe, and Bob. The action is non stop. I felt like I was saying good bye to some old friends when I reached the end of the book. The reader will be surprised at what happens and how Nina, Joe, and Bob end up. All six books were great and kept me guessing about things. Too bad it's got to end.

This book was great. It had tons of action and it was a great ending to a series. Or was it? It has a majorly surprising ending (unless you pay really close attention to the book)and it also told a greatstory. The were only to things that I didn't like: 1.It made the Creature look like a God or something, and 2.The Bride of Frankenstein, like in the movie,was only in it in the end, and, also like the movie, she didn't do anything but hiss and shreik at the Creature. All in all,however,it was a great book that I would like to read over and over again. Oh yeah, and I really liked Dr. Pretorius,too. He was a true mad scientist. Larry Mike Garmon is a really talented author, and I wish he would write at least one more book:The Invisible Man. I think that it would be soooo cool if they had to fight something they couldn't see. Thanks for reading,and have a wonderful day.

This compilation of exceedingly well written myths, legends and tales of the unusually creepy is a "must" for those children who truly enjoy monster tales. The short stories run the gamut from twistedly amusing, to multi-cultural (Native American Legend), to very scary. My son listened to the audio tape of this book at least 50 times and never tired it, from a very young age (6 years old) - and because of it's somewhat literary content, it was one his few "kids' tapes" that I didn't tire of hearing over and over and over. CAVEAT: I would not suggest this book or tape for those kid's who are prone to nightmares and/or are at all squeamish. Many of the tales are suspenseful and one or two have downright disturbing content (which, of course, my son thought was way cool). Note that all of the tales involve kids in some sort of peril or dilemma (although there is no real gore or violence). I would compare it's level of intensity to the second or third Harry Potter books. And, like Harry Potter, it is a refreshingly imaginative departure from the standard monster fare. All of the authors are talented writers capable of engaging both kids and adult readers/listeners. It is highly recommended for kids 10 and up who love all things "creepy," and for those younger who are very brave! IF YOUR KIDS LOVE HARRY POTTER, THEY'LL LIKELY LOVE THIS COMPILATION.

What would you do if your brother was a monster? So guess what happens in Bruce Coville's Book of Monsters: Tales to Give You the Creeps! This story is about a kid named Jason. He has a baby brother and he is a monster! That's really creepy to me what about you? My favorite part is when Jason finds out his baby brother is a monster! The full moon turns Little Dumpling hairy and he gets a mouth full of teeth. Even if you are a monster you can be loved and have a family. I don't want to give the ending away, so read the book for more.

So far this book is a bout a kid that has a baby brother. He also thinks he is a real monster. this book is a really cool and I wouldn't want to be in his position right now.

Bruce Coville has gone and brought some of his short stories and other peoples about monsters together. He has some in like My Little Brother is a Monster and his mom finds a little baby on the front step and they take it in. Then the boy sees that it changes in the light of a full moon. Pretty good book, but some of the stories are kind of lame.

Mel Odom presents the reader with an action packed Thriller. Angel: Bruja is an excellent addition to the Angel series. The plot is complex. A gang of vampires is running a 'Meals on Wheels' operation. Stolen game software leads Angel and Doyle to an underground dot.com company complete with demon telemarketers. Cordelia tracks a missing wife. Doyle has a brain draining vision of a young mother in trouble. Kate is searching for a weeping woman in black who is killing cops and children. Mr. Odom weaves them all together into an excellent story, which explores guilt and insecurities. Angel is reminded that while you cannot forget your past you should not live in it. It is not only the lesson he must learn but also teach another if he is to succeed. The book also has a strong sense of family.

I recommend this to all fans of the series as well as readers who enjoy good horror fantasy

I loved this book. So much that I read it in one day. These "Angel" novels keep getting better and better. The way all the separate cases came together in this novel was great. Can't wait to read the next. Highly recommend this novel, especially if you're a fan of "Angel".

A priest is attacked in the cellar of a church and suddenly a new horror walks the streets of Los Angeles. Appearing as a beautiful woman, weeping for her children, she is drawn to scenes of conflict. There, equipped with both incredible strength and magical power, she takes lives with impunity. Especially if those victims are children. On the other side of town, Angel is cleaning up a demonic Internet pornography site when he discovers that a group of L.A. vampires are running a fresh blood delivery service complete with people on tap.

Cordelia finds a paying case for Angel Investigations when she is approached by Adrian Heath, a well known TV producer. His wife has disappeared without a trace and he desperately wants help. And finally, Doyle is suddenly struck with a vision of great danger for a mother and her young son. As all these threads come together Angel finds himself constantly reminded of his own guilt over the murder of his family. To resolve this case he must learn how to make peace with himself.

It is characteristic of the writing of the Angel series and many of the Buffy stories that there be many layered plots. The challenge for the author is to keep all these threads moving without losing control of characterization. No doubt it helps that the main characters are well established, but even so the believability of the novel hinges on how well the other characters are developed as well as the successful management of the plot. "Bruja," benefiting from a very fine author, is a classic example of what a good Angel story should be.

Mel Odom, the author of 4 books in the Angel and Buffy series, several in the Shadowrun series and many others has established himself again as a respectable writer of science fiction and fantasy. He has a natural skill with his characters, an ear for dialog and builds his stories almost effortlessly. In "Brujah" as in many others he manages to sustain a complex plot and completely involve the reader. While the book does make reference to previous Buffy and Angel adventures, there is nothing here that would prevent a newcomer from thoroughly enjoying the tale.

After the funeral of a young boy a priest is attacked by a woman who confesses to having murdered her own son. Meanwhile, Angel Investigations is hired to look into the disappearance of the wife of a big-shot Hollywood producer, Doyle has a vision of a young mother and her son in danger, and Angel stumbles across some enterprising folk who delivery blood to your door (please specify type desired).

"Bruja" is one of those novels where most of the plot threads come together but not all of them are part of the fun filled climax so you are left guessing which one is going to end up being the only legitimate subplot. This works much better than you might think, because the way Mel Odom ends up putting all the pieces together is never obvious. Consequently, "Bruja" is one of the few Angel stories where Angel Investigations ends up doing some good old fashion investigating even if it means the laconic one has to speak in complete sentences for an extended period of time.

Plotting and pacing are two of Odom's main strengths as a writer, at least as revealed in his "Buffy the Vampire Slayer" and "Angel" original novels. "Bruja" presents a fairly complex plot and the novel moves from scene to scene and plot thread to plot thread without losing momentum. This time around I especially liked how each of the scenes without the main trio (Angel, Cordelia and Doyle) were fleshed out. There are really no nameless corpses in this book, because vampires leave tiny dust mounds behind rather than corpses and Odom take pains to invest each human life lost along the way with some individuality and significance.

Odom also does a nice job with characterization and in this story he manages to work in some significant reflections from each of the main characters on their families without it becoming formulaic, mainly because the self-examinations come in the context of the developing story. However, some readers might consider the amount of dialogue in this novel to be too much given the main character.

There are some pretty horrific moments in this story and I can legitimately say that Odom pushes it as far as he is willing to go simply because there is a scene where he stops short of something that he clearly thinks would have been going over the line. Odom seems to have done some research on his titular villain, which is a way of saying that if he made all of this stuff up from scratch he sure has fooled me. "Bruja" is a solid "Angel" story and while it does not involve moments of epic significance for the soul laden vampire and his compadres, it does tell a tale that has some special meaning for all of the characters.

Television writing is simply not supposed to be this good. Or at least we have become acclimated to a good deal less even in very good shows. But I am not sure that any other show in the history of television has put together five shows with scripts this strong. In the history of Buffy, these are the episodes in which the show moved to an entirely different plane from all other contemporary shows. Not since TWIN PEAKS had TV seen anything this well written. Seeing these episodes for the first time, I was in complete awe that the Neanderthals running the WB had actually allowed anything this good to hit the screen. These are also significant episodes because in them Buffy started becoming a show that appealed as much to adults as to teens, as the themes and issues became progressively more complex and darker.

"Surprise" was written by Marti Noxon, who had very quickly in her first season on Buffy established herself as one of the best writers on the show. She was not merely good; she was prolific. This is one of the more interesting scripts to compare to the actual show produced. These collections compile the shooting scripts; they are not transcripts of the final product. Usually, one will find slight wording alterations, or small scenes that got excised in the final shooting. Often shooting instructions provide a great deal of insight into what is happening in the scenes. But in this script, there are significant differences between the final result and the script, especially scenes involving Cordy and Xander. The script was much, much too long for the time slot, and heavy editing took place. The story itself, of how Buffy came to lose her virginity to Angel, resulting in his losing his soul, provides the foundation for everything that happens thereafter in both BUFFY and ANGEL. We'll leave aside the fact that the gypsy curse-that because he has a soul Angel lives in torment for his past crimes, but if he achieves a moment of perfect happiness he loses his soul and reverts to the evil Angelus-is a bald and rather dumb plot device. It makes no sense as a curse, and his potentially becoming evil again makes the curse profoundly self-defeating. But so much else is tremendous, I and apparently everyone else cut them some slack on this one.

Joss Whedon himself wrote "Innocence," in which we learn that Angel, after having made love to Buffy, has lost his soul. If the show had been a teen series before, it was not after we see Buffy's boyfriend literally transformed into a monster on the morning after. It's an old adage that bad characters are more interesting than good ones, and it is reproven in the transformation of Angel into Angelus. But not just Angel, but Buffy is transformed as well. I believe the title in part is a reference to Blake's SONGS OF INNOCENCE AND SONGS OF EXPERIENCE. Buffy loses her innocence as she gains in experience. Willow also struggles with new pain when she catches Xander and Cordelia kissing in the stacks. (By the way, part of the joy of the scripts is reading the directions. As Xander and Cordy begin to kiss we read: "They haben der big smootchen." And when Willow sees them she "has pain on her face like a blush.") In an episode of many awesome moments, one of my favorites is the freshly reborn Angelus killing a streetwalker smoking a cigarette, and then him expelling her smoke out of his lungs after he kills her. That was shot precisely as written.

"Phases" was written by the team of Rob Des Hotel and Dean Batali, who were also the final script editors on the show until they left for THAT SEVENTIES SHOW. Often in Buffy episodes as strong as "Surprise" and "Innocence" are followed by relatively weak episodes, as if they are trying to create a balance between weak and strong scripts. But "Phases" is a fun, fascinating, and tragic episode in its own right, although it provides a break from the emotional roller coaster of the previous two shows. Buffy never deals with potentially hackneyed subject like werewolves in unoriginal fashion, and that is true here.

Well, others start noticing Cordy and Xander's not-terribly-well-hidden relationship, so Cordy dumps Xander to salvage her social reputation. Marti Noxon produced yet another stellar script in "Bewitched, Bothered & Bewildered," in one of the funniest shows ever in the series. Because Cordy dumped Xander, he wants revenge by having Amy the school witch (from the first season) created a love potion that would make her love him, allowing him to then dump her. But it backfires and every girl in the school EXCEPT for Cordelia falls her him. After the emotional stress of the previous episodes, the show provides a great deal of comic relief. Great moment: Xander demands that Cordy give back the necklace he gave her as a Valentine's present. She goes to her locker to get it, but discretely takes it from around her neck.

"Passion" by Ty King is simply stunning. The show had often proven it could be funny, and sometimes scary, but there is gothic horror in this episode that can bring a tear to the most hard-hearted. Angel's voiceovers would work perfectly in the final shooting, giving a structure to what is one of the most tragic episodes in the run of the show. The episode also served as a warning to its fans: anything can happen on this show. On other shows, the main characters are safe, but here they can die, and proved it by having Angel murder Jenny Calendar. But her death was not as horrific as the macabre scene where Angel has rearranged Giles's apartment to make it seem like Jenny had staged a romantic tryst, only for a romantically touched and excited Giles to ascend his stairs to find Jenny's body in his bed.

This is by far the best single collection of scripts yet published in this series. One writer in the early nineties stated that television had a greater potential for excellence than cinema, and that eventually a series could come along to prove this. I believe that it was in these five episodes that BUFFY THE VAMPIRE SLAYER did precisely that.

Though the quality is not as great as the previous script books, Volume 3 of Season 2 does have some of the best scripts of the season!
The book is slightly smaller than the previous 4, yet holds as many scripts. The pictures of the side and cover are smaller as well. Still, it holds the scripts that are the main point. Nice otherwise for any Buffy fan!

This collection of shooting scripts contains three of the greatest scripts ever produced for the show, as well as one of the weakest. The two-part "Becoming" solidified the emergence of BUFFY THE VAMPIRE SLAYER as one of if not the best-written shows in the history of television. Although the season as a whole was remarkable, earlier in the season with "Surprise" and "Innocence," the show moved beyond being merely one of the finest shows on television to one of the finest ever produced. The emotional depth and complexity of those two episodes, and later of "Passion," signaled that this truly was a remarkable series.

The question as the second season began winding down was whether the season ending could match the highpoints of the season.

"Killed by Death" didn't bode well for the end, being the second weakest show of the season (following "Some Assembly Required"). It was not a flat out dreadful show, but it failed to match the inventiveness and passion of earlier episodes. Whenever fans vote for the weakest episodes in the history of the show, "Killed by Death" usually receives a significant number of votes, though it never rivals such shows like "Some Assembly Required" or "Beer Bad" for the top (bottom?) slot. The episode provides some opportunities for some funny lines, such as Xander's "My whole life just flashed before my eyes. I've got to get me a life."

If one had any idea that the show might be slipping at all, "I Only Have Eyes for You," put any fears to rest. Marti Noxon's final script for her first year with the show, is arguably her best in the superb way she blends a wonderful ghost story about a female teacher who had been murdered by a student with whom she had been having an affair, with Buffy's feelings about her relationship with Angel. Although the scene between the dead lovers is played out twice earlier in the episode, the force and power when the two ghosts reenact the scene near the end is almost overwhelming in its power, not least because the ghost of the murdering male enters Buffy, and Angel speaks the lines of the school teacher. When it was filmed, an actress I have always loved but have too rarely seen, Meredith Salinger, plays the schoolteacher. I'm baffled why she hasn't been in more roles in her career.

"Go Fish" is not an episode that I like very much. It doesn't do much in carrying forward the story arc, though it was probably helpful to have a tiny bit of a break before the emotionally overwhelming end to the season. The episode provides a few laughs at the expense of Xander, but I just couldn't get into the story of a high school coach who biochemically alters his swimmers to enhance their performance.

Joss Whedon saved the final two episodes of the season, "Becoming," for himself. I am not sure that anyone not named Joss Whedon has ever written two better scripts for a television series than these, and in non-series perhaps only Rod Serling. Whedon is like a juggler with eight or nine balls in the air at once while riding about on a unicycle. The balance between all the elements in these two shows, as Angelus gradually brings the crisis to a head, Kendra returns to Sunnydale and is killed by Druscilla, and Buffy is separated from all her friends and mother is nothing short of astonishing. Every few seconds in the show brings forth some gem, either a new shock (like Kendra dying or Joyce learning that her daughter is the slayer) or line (as when Joyce asks "Have you ever tried not being the Slayer?") or comic moment (such as Joyce and Spike sitting silently in the Summers's living room, and her asking whether they had met before) or jolt (such as Angel recovering his soul only to have Buffy kill him a few seconds later) or even introducing a new character (the extraordinary and mysterious Whistler, who tragically did not become an occasional visitor on the show, but who at least managed some utterly memorable lines), all of it culminating in that one heartbreakingly awful moment when Buffy finishes kissing Angel, and whispers to him, "Close your eyes." For me this remains the two most emotionally devastating hours in the history of television.

At the end of the first season, BUFFY THE VAMPIRE SLAYER had established itself as an absolutely first rate, funny, and exceedingly hip show, but one wouldn't after the first twelve episodes have been able to describe it as truly great. But Season Two changed that. Buffy became a genuinely great show this season, one of the high-water marks in the history of the medium. And the foundation for that was the writing. It isn't an accident that the scripts of this show are being reproduced: it is a demonstration of what truly great writing grounded the whole show.

"Buffy the Vampire Slayer: Script Book, Season Two, Volume 4" finally provides in print Joss Whedon's scripts for the two part of "Becoming." It was the second season of "Buffy the Vampire Slayer" that established the show as being operatic television, in which case "Becoming" is the grand aria in which Whedon hits the highest note on the scale. "Becoming, Part 2," in which Buffy has to kill Angel and send him to a demon dimension to save the world, is still one of the ten best television episodes I have ever seen in my life. Having a copy of the script in my hands puts the final touches on my enjoyment of these episodes, not because it is a question of finding differences between what is in the final shooting script and what got aired on television, but simply because I finally get to see Whedon's stage directions. For example, after Joyce has learned Buffy is a vampire slayer there is a scene in Buffy's living room. There is no dialogue, just the shot, which is described as follows: Joyce sits in the living room with Spike. They both are silent and uncomfortable, like it's Sunday and he's come a 'courtin'. Joyce has a glass of bourbon in her hands, which shakes only slightly.

For such small gems of insight into the mind of Joss Whedon picking up this collection of scripts is going to be worthwhile for "BtVS" fans. Completing the Angelus story arc that covered the second half of Season Two begun in Volume 3, you will find in Volume 4 "Killed by Death," "I Only Have Eyes for You," "Go Fish," "Becoming, Part One," and "Becoming, Part Two." Actually, I enjoyed "Go Fish" a lot more being able to read the inside jokes, production notes, and cut dialogue than I did actually watching that rather [weak] episode. Overall I think it was a good move to have divide the scripts for Season Two this way, so that the first two volumes do the Spike-Dru story arc and the last two the Angelus story arc. I was going to point out that all six of the episodes for the "BtVS" Season Two video tape set are from this latter arc, but now that we are in the world of "Buffy the Vampire Slayer" on DVD this is no longer a concern.

I want to echo that this is a fun read and it hooks you and keeps you in the action. I do want to clarify one statement from the previously posted comment. The Cage is not a self-published book. KHP is a legit small press publisher. Wanted to clear this up in case any other readers out there might be hesitant of picking this book up if they think it is self-published. Pick up a copy and see if you can escape...THE CAGE!

Captain Jack Omaha has a traveling sideshow. He sometimes can be hired to provide a specimen for a hunting party, unfortunately, the hunters become the huntees. Omaha shows up at a zoo, hawking his attractions, but he also has other plans for them. Omaha wants people to suffer the way he has when he captured these beasts. See, Captain Jack deals with the cryptozoological style of specimens. Some of his creatures are the wendigo, a Jersey Devil, Beast of Exmoor, Sasquatch, lizardmen, merfolk, and the nastiest of all - El Chupacabra. He tortures them ruthlessly and then sets them loose on others. Today he selected a zoo and the unfortunate dysfunctional Peters clan is in for a day of horror they will never forget.

I'm leery of self published books but this one hits home with enough pow to make it worthwhile. There's a few things that bothered me in the details such as the inexplicable way of how fast the corpses of dead things are rotting or how there's a nasty storm yet the flies are still present outside. None-the-less, this is a fairly quick paced story and if you like the crypto-critters, this is one heckuva fun read. Could be easily turned into a good horror movie. Glad I decided to buy this one.

I enjoyed this book even if it seemed like a quick read. I felt that the characters,and there were some good ones, could have and indeed should have been fleshed out with more backstory.
Though action packed, paceing was a bit staggard which is one of the reasons I felt it should have been longer.
Don't get me wrong, I was not sorry I purchased the book, only that there was not enough of it. Maybe the next effort by the author will improve on this.

Jason Brannon's The Cage is a novel of many different things. It's a novel of how being on the other side of the law can get you into trouble; a novel about how a family can be going through a difficult time; and it's a novel about pure horror.

The Cage doesn't take too long to hook you. Within the first few pages you're wanting to read more, especially when you're wondering what Captain Jack Omaha has for his clients to `hunt.' Little do they know that Jack Omaha isn't all he is to be.

But, Jason has a way of switching so easily-so smoothly-into a different setting that it makes you upset that you're leaving your favorite part, which is why you continue reading. The action is well done, the suspense is non-stop, and the ending leaves you wanting more of the story.

An extremely well written, creative and vivid horror fiction novel. The epitome of a good horror. Hard to put down, and hard to sleep after finally doing so. A great work and contribution not only to horror readers, but any reader. Truly a masterpiece.

Great book! This is one of those books that left the usual chores left undone while I was off with my nose in the book. The wife could yell and I wouldn't hear a thing. I particularly enjoyed the fact that he would re-tell aspects of the story from an original view, thus ensuring that no detail would be missed and I wouldn't get lost in the telling. Its ending was surprising and pleasantly not what I had expected it would be. I am looking foward to reading anything else Paul M. Strickler would publish!

Great Read !!! Horror fans will love this book. The way the author describes the characters and scenes really gets the imagination going. Definitely a page turner, you are not really sure how it is going to end and has some nice twists. The one character in the book keeps you going back and forth, good guy, bad guy. Really well written. I'm hoping to see more books from this author.

Great book! This is one of those books that left the usual chores left undone while I was off with my nose in the book. The wife could yell and I wouldn't hear a thing. I particularly enjoyed the fact that he would re-tell aspects of the story from an original view, thus ensuring that no detail would be missed and I wouldn't get lost in the telling. Its ending was surprising and pleasantly not what I had expected it would be. I am looking foward to reading anything else Paul M. Strickler would publish!

After seeing the watered down final volume of "The Watcher's Guide" for "Buffy the Vampire Slayer," I had some trepidation for the second volume of "The Casefiles" for "Angel." But Paul Ruditis and Diana G. Gallagher follow in the footsteps of Nancy Holder, Jeff Mariotte, and Maryelizabeth Hart and you will find more of the same: a Character Guide, an Episode Guide for Season Three and Season Four, and Actor Profiles. Volume 2 is a hundred pages shorter than Volume 1, and the book is also a shave smaller in both height and width than Volume 1, which you will discover as soon as you put them side-by-side on the shelf. Since Volume 3 is only going to cover the fifth and final season it is probably going to be at least a hundred pages shorter as well.

The character guides are for Angel, Cordelia Chase, Wesley Wyndam-Pryce, Charles Gunn, Fred, the Host, Connor, Lilah Morgan, Darla, Captain Daniel Holtz, Justine Cooper, Jasmine, Sahjhan, Gavin Park, Linwood Murrow, the Groosalugg, Skip, the Beast, Faith, Gwen Raiden, Willow Rosenberg, and Knox. These are not background descriptions, but take each character through Season Four. For example with Angel/Angelus/Liam you get a complete history of the character, which consists of brief summary of the "BtVS" years and the first two seasons of "Angel," and then focusing on what happens during seasons three and four. For the minor characters (e.g., Faith and Willow) the emphasis is just on those episode of "Angel" on which they appear.

Because these casefiles cover the third and fourth seasons, the focus is on the saga of Angel and his son, Connor. Each episode is covered in three main sections: (1) From the Files of Angel Investigations commences with the "Case No" for the episode number, and a list of the writer, director, guest stars and costars, and then the "Action Taken" (plot synopsis) and "Resolution" (episode climax). We then have a whole bunch of possible categories. "Dossiers" covers the client, civilian support (e.g., Merl and Lorne), and suspects. "Continuity" covers familiar faces and providing other details that help explain what is going on, while "Office Romance" keeps us up to date on the tangled love lives of the gang and "Quote of the Week" provides a choice exchange of words; (2) The Devil is in the Details looks at the sub-categories of "Expenses", "Weaponry," and "The Plan+ (such as it is). Here is also where you will find "Demons, Etc....," which keeps you up to date on what specific bads are running around in the episode, and can include a look at things like The Vampire Rules. "As Scene in L.A" explains where things are taking place in the episode relative to the real Los Angeles; (3) The Pen Is Mightier is the choice section where you get to see parts of the episode that did not make the "Final Cut," and have all of the "Pop Culture" references identified and explained for you. "The Name Game" explains the episode's title while "Six Degrees of..." covers anybody in the episode whom we have seen before on "Angel," one of Joss Whedon's other shows, or any other place that makes them familiar faces. "Tracks" records any instance of Angel singing anything. "Our Heroes" is where cast and crew members get to comment on the episode (or the series in general).

There are two 16-page sections of color photographs, the first devoted to the major and minor characters, and the second providing candid shots of the making of "Angel." There is a Season 5 Teaser, "Look Homeward Angel," and a tour of the Wolfram & Hart sets with production designer Stuart Blatt and set decorator Sandy Struth, "The Changing Facing of Evil." Last, and also least, are the "Actor Profiles." These were skimpy in Volume 1 and we are treated to more of the same in Volume 2. If there is an area where "The Casefiles" had lagged behind "The Watcher's Guide" volumes it has been in giving the cast and crew ample room to talk about their characters, the show, Joss, and whatever else enters their minds.

Overall I would grade "The Casefiles, Volume 2" as a 4.5, mainly on the strength of the episode guides, where we are still getting the level of detail we have come to expect. I round up because I do not want to give it the same rating as I gave "The Watcher's Guide, Volume 3." I suspect that since "Angel" stopped production last spring the volume is now considered more as a reference book and less as a way of feeding the show's fan base. The final season of "Angel" will be out on DVD early next year and then it is just a question of how long we have to wait for "The Casefiles, Volume 3." Hopefully by then Joss Whedon will have finished with his "Astonishing X-Men" comic book limited series and with his "Firefly" film and will be back in production on the small screen. I suspect he would like to make feature films, but I really would rather have a television show that I can enjoy twenty-two weeks a year that one hit film.

the angel casefiles volume 2 is the a great read after you have watched the episodes

When I first heard that a new writer was going to take over the reins for "The Watcher's Guide 3", I was a little worried. I had never heard of Paul Ruditis. My worries were not unfounded when the third volume, while still fun and competently written, came out and was a huge disappointment because it lacked so much. So, imagine my horror when I learned he was going to do the new Angel book. Oh no. Well, was I so happily surprised!. Teaming up with Diana Gallagher, Ruditis has redeemed himself with a book that stays true and faithful to the first book, and makes WG 3 a distant memory. Ruditis and Gallagher pretty much keep the same pattern and style as Nancy Holder on the first Casefiles. Sadly, and oddly, the book only covers seasons 3 and 4. WG 3 managed to fit in the final season, and Nikki Stafford's excellent "Once Bitten" did too, so why not this one?. Hmm. Included here are the always welcomed "Character Bios", something lacking in WG 3. It goes through all the major players, and most of the recurring players thru the two seasons. They also have "Actor Profiles" as well. They do make some mistakes. Such as saying that Connor, in the character bio part, was 18 when he came back, when he was actually 16. Although they do change it in the actual episode guides. They also mention the song "Lady Marmelade", and say it was by Aretha Franklin, when it was by Patti LaBelle. The episode guides are always the main focus of these books, and the authors don't disappoint. With long, detailed synopses of each episode, they bring the same categories and facts and such with each ep as they always do. The episodes, like the first book, are designed as actual case files. What are they?. Every episode summary is titled "Action Taken". We have "Dossiers", which is a section that informs of who the client, clientele, or outside support is(if there is any in a particular episode)that they deal with. Then there is "Continuity", which deals with the ongoing story and arcs and history that the show has come from. "Quote Of The Wek" is pretty self explanatory. No need to go into that one further. "The Devil Is In The Details" portion has "Expenses", which shows pretty much what you'd expect. "Weaponry" tells exactly what kind of weapon was used, or if it was a weapon at all. "The Plan" is basically what the gang's, well, plan is for this episode's situation. "Demons, ETC...." is a section dealing with what kinds of ghouls ans goblins, if any, were seen in that particular episode. And there is a handful more, like "Tracks", which is for music featured in the episode. "The Final Cut" which is things that didn't make it to the end episode. "As Scene In L.A." is stuff from Angel's city. "Pop Culture" is pretty much saying it there in the title. "The Name Game" tells about the meaning of an episode's title. "Six Degrees Of..." is basically a "Where Have I Seen Them Before?" thing, and a few more. There are also interviews and little tid bits from cast and crew about that particular episode in the guides as well. The episodes are finely detailed and the format for each episode in the casefile way is fun and clever. Afterwards, there is a section called "The Changing Face Of Evil", which is a look at the new design and sets for Wolfram & Hart. And season five doesn't go entirely unnoticed, as there is a section towards the end which gives an overview on what happened. Wether or not we see something on season five in a AC 3 is unclear and not mentioned, and that is this book's one sore spot. I doubt there will be another book for one season. It wouldn't fill a book. If there isn't anything, it would be Angel getting the short end of the stick again. Like The WG's, this book also comes with two sections of photos, all in glorious color. If anybody was upset with Ruditis' work on WG 3, then you should know that this book pretty much stays on course with first book, and makes WG 3 seem all the more like a wasted opportunity. This one is not.

At first on appearance this book is thinner then case files 1, but dont be deceived inside is packed full of information from seasons 3 & 4. Even though this 2nd book is written by different authors it still resembles case file 1 on presentation. I fully support anyone buying this to put it next to case file 1.

The 20th century was cursed with two murderous ideologies: communism and Nazism. Nazism slaughtered 6 million Jews, while communism killed at least 100 million people, and managed to enslave vast swaths of the globe. Besancon wonders why Nazism has become the prototype for evil while communism's evils are largely ignored.



In this important essay, Besancon points out the many similarities between communism and Nazism. "Ideological language is charged with the magical role of forcing reality to conform to a particular vision of the world" (p 14). Who can forget "scientific Marxism" or the false journalists of communism? Or replacing truth with invented histories of an Aryan civilization? And both persecuted religion while trying to substitute their ideologies for religion. "These two doctrines ...have in common the idea of a collective salvation coming in history" (p 60), a biblical idea wholly unknown in the eastern world.



Besancon actually dares to point out that "a Nazi or communist presents a clinical case for psychiatric examination" (p 16). Furthermore, "These artificial mental illnesses were...epidemic and contagious" (p 16). Germany and the USSR woke up years later like patients recovering from comas.



What is most striking is that the atrocious actions of both ideologies, the monstrous death camps, the gulag, the mass starvations, the horrors of Pol Pot and Mao, were all committed by people sure they were doing these things in the name of good.



Why did madness strike the 20th century? What does it say about human nature and what does it say about our future?

This book is amazing! It completely and descriptively compares the two most evil Ideologies of the 20th Century. It describes how the crimes associated with Nazism unfortunately overshadow the crimes associated with communism, which claimed the lives of over 12 times that of Nazism; because Nazism promoted the reign of one race and was dedicated to the complete obliteration of another. But people often forget that communism was as genocidal at times as Nazim, not to mention the murder and "reeducation" of anyone who did not conform to their ideas of equality. We condemn Nazism because of the over 6 million dead. But most people condemn communism because of its opposition to capitalism, not because of the hundred million or so murdered, plus all those who were tortured just for thinking a different way.
Alain Besancon opens our eyes to this and tells us not to forget the crimes of Nazism, but to remember the injustice and the still alive evil of the communist idea. An amazing read.

The work is profound, commensurate to the regimes of terror it seeks to understand. Working through the experiences of the most thoughtful who suffered these two regimes and those who led them, all militant atheists, Besancon reaches an astonishing theological conclusion. A mark of its profundity is that as you first read it, you soon know you will have to reread it soon.

This text in the French essay tradition is a reflection on the 20th century's twin totalitarian evils. Besancon muses on their nature, why the one is considered evil incarnate whilst the other gets off lightly, and why the Shoah/Holocaust is unique in last century's atrocity exhibition. Although Communism - including Maoism - caused far more deaths than Nazism it is not stigmatized equally. To better define this disparity, Besancon refers to a collective "amnesia" and "amnesty" where Communism is concerned versus "hypernesia" regarding Nazism.

This is due to our culture's dominant moral relativism, a PoMo morality that asserts universal relativism whilst clinging to temporary absolutes dictated by intellectual trends. The collapse of the Soviet Empire and the fall of the Berlin Wall have driven most of the Leftist Faithful into Marxism's latest mutations environmentalism, feminism and multiculturalism. Chantal Delsol unmasked a type of European piety prevalent in academic and media circles as an empty morality of despair and withdrawal. She calls it the clandestine or black market ideology of our time; sickly sentimental, arbitrary and intolerant despite claims to the contrary.

It inspires nausea to see a hip fashion brand like Soviet Jeans using Soviet imagery in their advertising. Trade in Nazi paraphernalia is restricted to the murkier media and overt Nazi styles are associated with violent skinheads, for now. The visual imagery, lyrics and manner of delivery of the most popular German rock group Rammstein reveal an aesthetic of blood- and power lust, death-worship, ferocity and sadism, concludes Claire Berlinski after thorough investigation including several interviews with band members. In a series of absorbing arguments in the entertaining Menace in Europe she shows how the black-market German nationalism of Rammstein resembles the Third Reich's dramaturgy, mythology, propaganda and vocabulary.

Like all sects of Sinisterism, Communism and Nazism were collectivist and justified mass murder but they surpassed all the others in scale of massacre. They caused similar physical, moral and psychological destruction and would have killed consciousness itself if it were possible. As competing strains of the power-worshiping sinisterist religion they regarded as rivals Christianity and Judaism. A perceptive thinker, perhaps William Nicholls or Robert Wistrich, referred to Western utopian movements as the "secular salvationist offspring of Christianity."

They fit neatly into Eric Hoffer's descriptions of the mass movement driven by disaffected true believers hell-bent on mutilating reality through sociopathic behavior in their search for "meaning." For Besancon, ideology offers a type of temporal salvation that claims to correspond to a cosmic pattern which must be enforced on earth in order to recreate paradise.

The total destruction of existing values is the immediate goal; a drastic departure from history in pursuit of the ideology which is believed will lead to utopia. The "salvationist" label is thus applicable and appropriate. Analyzing and comparing the structure of their thought-forms and taking into consideration their host cultures Germany and Russia (and less frequently China), he explores their promise/s in relation to the beliefs they attempted to eradicate.

This led Besancon to question whether there was something fundamentally unusual about the murder of the 6 million as compared to all the other victims of the Nazis and Communists. He does not seek the answer in the method of murder or in the depths of suffering that are after all impossible to measure, but in the impulse or intent. He also addresses differences in the perception of the horror as determined by religious beliefs. For Christians, the word "holocaust" with its sacrificial connotation made sense. Some Jews objected precisely because of the implication of human sacrifice which is abhorrent to Judaism, choosing the word "shoah" which means disaster or catastrophe.

Besancon's expression "twin evils" reminds me of today's prominent evil twins that predated, thrived in and survived Communism and Nazism: Anti-Americanism and Anti-Zionism. More than mere remnants of Besancon's twins they are mind parasites with remarkable powers of mutation and survival.

Anti-Zionism is one expression of the hydra-headed New Antisemitism which is a blend of several 20th century strains that evolved out of the post-Enlightenment variety which in turn emerged from Anti-Judaism that goes back all the way to the origins of Christianity. The roots of Anti-Americanism - which also sprouted several variants - are embedded in European elitism.

This New Anti-Semitism with its many faces provides clues to the Shoah's uniqueness when viewed as a toxic tree:

(a) With its roots in the New Testament, the Shoah was the culmination of 1900 years of deligitimization and dehumanization. Its trunk is composed of the writings of the "church fathers", discriminatory laws that became especially harsh after the victory of Constantine Christianity, psychological repression and projection amongst a religiously brutalized populace that reached fever pitch in the late Middle Ages and Augustine's replacement theology that migrated to Protestantism through Luther. The branches bearing poisoned fruit are the "salvationist" ideologies like Communism, Fascism, Nationalism and Nazism, the one in which the virus finally took genocidal form.

(b) A hatred honed for maximum contagious capacity was unleashed in the Nazi branch in an effort to annihilate a people and a religion. Consuming massive resources, the effort was fueled by such frenzied insanity that it became the Nazi priority even to the extent of hindering the war effort.

In other words, the factors that make the Shoah unique are (a) the long centuries of preparation (b) the contagious and epidemic hatred that inspired and guided it.

During the Anti-War demonstrations of 2003, Christopher Hitchens and Julie Burchill both commented on a peculiar behavioral pattern observed in some of the marchers: a type of frenzy with erotic undertones. It has since become more commonplace, particularly at anti-Israel and anti-American demonstrations on college campuses. The eroticism is often expressed by gestures that incorporate serpentine writhing. I now suspect that this erotic quality has always been present in outbreaks of Judeopathy.

Andre Glucksmann has warned that the concept of a contagion of hatred must be taken literally as a mental disorder that invades minds, bodies and society. Immune to reason, such an outbreak inoculates itself against opposing opinions and emotions. But at least we have identified a particular manner of its expression that may well point to Judeo-Christian myth. Now it is up to the irreverent, to South Park and stand-up comedians to ridicule, mimic and mock it. What is immune to reason is vulnerable to humor.