In the murky London gloom, a knife-wielding gentleman named Jack prowls the midnight streets with his faithful watchdog Snuff – gathering together the grisly ingredients they will need for an upcoming ancient and unearthly rite. For soon after the death of the moon, black magic will summon the Elder Gods back into the world. And all manner of Players, both human and undead, are preparing to participate.
Some have come to open the gates. Some have come to slam them shut.
And now the dread night approaches – so let the Game begin.
Author: Roger Zelazny Illustrator: Gahan Wilson Genre: Fantasy, Horror, Gaslamp Publisher: Avon Books Publication Date: September 1, 1994 Pages: 280
October 21st
Things are definitely heating up. We discover, while Snuff is talking with Quicklime, the Mad Monk’s snake, that high magic might be employed in the coming days to expose who are the Openers and who are the Closers. Snuff divulges that he is a Closer, Quicklime says he is too. We also learn that after the game, one side ends up dead depending on who ‘wins’, so the stakes have just got that much higher. It just hit me that this means that the Closers must have won the last time, given that Snuff is still around. In fact, I suspect that the Closers usually win, for I’m coming to think that what the Openers want is the return of the Great Old Ones, eternal chaos, cats and dogs living together, that kind of thing.
And talking of stakes, Quicklime tells Snuff that the Count has moved, having had the news from the Count’s bat familiar while the bat was drunk on fermented fruit. Snuff and the snake visit the Count’s new home… and find a staked, caped, very dead vampire in a coffin. It appears that someone has taken out one of the main players early. We learn this happens during the later stages of the game on occassion. Another raising of the stakes… Zelazny is building up the tension nicely here.
Snuff returns home to bring Jack up to speed, but finds him at Jill’s place ‘borrowing a cup of sugar’, and we all know what that means, don’t we? 🙂 Snuff and Graymalk have a further bonding chat and end up going to see what the gypsies are doing. What they are doing is dancing and feasting and playing the old songs. “Linda Enderby” is there, and when ‘she’ plays the old gypsy violin and almost gets lost in the music Snuff sees the disguise slip, sees the man coming through only to be pushed back down again by steely discipline and resolve. Snuff leaves with a new found respect for the Great Detective.
Dead players, high magic and more to come, as Graymalk has discovered that the vicar has a virgin locked away, being prepared for a sacrifice ritual, and Snuff has seen that the things in Jack’s mirror are really straining at the flaw in the glass. There’s much that could go wrong now, much keeping Snuff busy, and with the Count gone he needs to find time to recalibrate his map and find the new center where things will resolve. But time’s growing short and once the players are revealed as Openers or Closers some of his erstwhile companions will become enemies rather than friends.
Should he be trusting any of them? There’s a lot of subterfuge and deception going on, not just from the Great Detective. I’m sure there’s going to be a big twist somewhere along the line. Can’t rush ahead to see though. Rules is rules, and tomorrow is another day.
Boo-graphy: William Meikle is a Scottish writer, now living in Canada, with more than thirty novels published in the genre press and over 300 short story credits in thirteen countries.
He has books available from a variety of publishers including Dark Regions Press, Crossroad Press and Severed Press, and his work has appeared in a number of professional anthologies and magazines.
He lives in Newfoundland with whales, bald eagles and icebergs for company.
When he’s not writing he drinks beer, plays guitar, and dreams of fortune and glory.
The Green & the Black — A small group of industrial archaeologists head into the center of Newfoundland, investigating a rumor of a lost prospecting team of Irish miners in the late Nineteenth century.
They find the remains of a mining operation, and a journal and papers detailing the extent of the miners’ activities. But there is something else on the site, something older than the miners, as old as the rock itself.
Soon the archaeologists are coming under assault, from a strange infection that spreads like wildfire through mind and body, one that doctors seem powerless to define let alone control.
The survivors only have one option. They must return to the mine, and face what waits for them, down in the deep dark places, where the green meets the black.
A shady police detective finds himself in the middle of a murder conspiracy at an important boxing match in an Atlantic City casino.
I bet no one expected to see this movie come up for review in 2021, did they? While it’s often been derided by critics and filmgoers alike (at least it was at the time it was released), I have always been a fan of this suspense-thriller from De Palma, a man who knows a thing or two about horror and suspense. It’s a movie that’s overlooked and mostly forgotten now, but I would encourage folks to give it another chance. It isn’t a perfect movie by any stretch, but it gets so many things right that I look for in a movie that its faults are easily overlooked, at least for me.
Before I dive right into the review, let me say a few words about Nic Cage. I’m personally a huge fan, especially the more batshit he gets (think of his performances in MANDY, the 1993 remake, KISS OF DEATH, BAD LIEUTENANT: PORT OF CALL NEW ORLEANS, VAMPIRE’S KISS, and there are plenty more). He goes completely off the rails and over the top in some of his performances, but unlike most actors, he does it brilliantly. I know this is just my opinion, so fuck you. The man makes you really believe he’s out of his mind, and it may well be that he is, who knows? But he’s not only good at nuts. He’s good at smarmy, at humor, can play a complete slimeball or a loving family man, all with equal vigor and commitment. He pumps movies out constantly nowadays, to varying success, but one thing about Cage that sets him apart from most: he doesn’t need a good script or director to still be good in a movie. The movie can totally blow, but he still kills it. His latest movie as of this writing is PIG, which has a terrific script and direction, and an understated performance for Cage. It’s utterly brilliant and highly recommended. But I digress…
SNAKE EYES opens with one of the best long shots I’ve ever seen, with the camera focusing on some monitors as a storm rages outside of a boxing arena and casino in Atlantic City, showing us a frustrated news woman reporting on the big fight of the night as a government official is seen walking in with his entourage. Then the camera pans to another monitor where a reporter is getting ready to go onscreen inside the arena when Ricky Santoro (Nicolas Cage) shows up in loud clothes and a big, cocky grin as the camera then pans off the monitors and to the actors themselves. What follows for roughly fifteen minutes is us trailing Cage as he runs into a bookie, sees one of the fighters (turns out they went to the same school), catches a drug dealer whom he robs and then destroys all of his vials of drugs.
Did I mention Ricky Santoro is a cop?
In fact, he’s a homicide detective, and he immediately takes the money he steals from the dealer to the bookie to put money down on the match. We then follow him as he enters the arena and a hot blond that is going to carry the number 7 (his lucky number) sign around the ring and he gives her his number. Then his girlfriend calls him on his golden flip phone (he’s a flashy big fish in his small pond) and does some dirty talk, then his wife calls and there’s a hilarious moment where he argues with her as to what toppings are on a given pizza. The crowd is roaring and he quickly gets off and points to his best friend Kevin Dunn (Gary Sinise), a military man who is in charge of security for the government official for the night. Now, De Palma may have used some of Hitchcock’s tricks from the classic ROPE with some fast camera pans that were probably cuts, but you still have the illusion we’re still in that single, long opening shot. He sits down, has some banter with his pal. Ricky is king of his little world in his own mind, and he lets us know it.
Now, stay with me, there’s a reason I’m detailing this opening shot. The whole movie revolves around this shot going forward.
Sinise sees a stunning red haired woman who seems totally out of place in the front row. She’s not with anyone. Since he’s head of security, he goes to inspect. The fight has started, but we don’t see anything in the ring. We hear punches and see the crowd reactions, and when they all stand up at once, the woman takes off and Sinise follows. We pan back to Cage who tells a woman who sits next to him the seat’s taken, but when he notices how beautiful she is, he changes his tone. Then his phone rings again and it turns out to be his “Lucky Number 7”. He scans the crowd, finally seeing her across the way on the top row, waving her big Round 7 card. The woman next to him is leaning back, speaking to the government official. This is sort of in the background of the shot, and Cage starts to notice while on the phone. A man in the crowd stands up to scream, “Here comes the pain, baby! Here comes the pain!” and security is all over the guy.
Then Cage hears the woman (Carla Gugino) telling the government man, “It’s you who’s going to be sorry, Mr. Secretary.”
We finally cut away from the long opening shot as Lucky Number 7 screams and we see Cage’s confusion as he turns around to see the Secretary is shot in the throat, blood spraying out, and we enter one of De Palma’s beautiful slow motion sequences as absolute chaos ensues. The woman stands in shock and is shot in the arm, then Cage tackles her to the ground, pulling his gun and looking up across the way to see Sinise shooting an armed man who was hiding inside a advertising…closet…thing…just watch the movie.
And now, the movie takes off.
De Palma is a master of building suspense, and he’s set a taut stage. Cage takes over the investigation and has an hour and a half before the FBI will get involved. He starts interviewing suspects and we go back in time and see a lot of the same opening shot we just went through, but from other points of view and we start to get a clearer picture of what’s happening. Or, so we think, anyway.
With the entire stadium locked down with 14,000 eye witnesses, the hunt is on for the woman who was speaking with the Secretary, who vanished in the chaos. Cage and Sinise split up, and we follow Sinise now down to a basement where we see not only the red haired woman from before, but also the man from the crowd who had shouted, “Here comes the pain!”
“Someone made you both,” Sinise says, and things turn more sinister. There’s more going on than we thought, and we learn that there is a whole conspiracy surrounding the murder of the Secretary, having to do with a weapons system that was reporting perfect results, but were in fact doctored. Gugino had uncovered all of this and had been corresponding with the Secretary and was going to bring him the evidence at the fight, where they thought it would be safe being so public.
Wrong.
De Palma uses the camera and music in beautiful harmony as the movie goes on and Cage discovers his best friend is not only in on the conspiracy, but had deliberately used Cage as cover, thinking he would just take some money and be quiet. But something about this sits wrong even with a slimeball like Cage’s character, and we see that when he’s hidden the woman and is faced with giving her up and getting rich or getting the shit beaten out of him and then killed.
“I ain’t never killed nobody,” Cage says. Turns out, he does have a moral compass, even if it doesn’t point True North.
The storm outside has become a hurricane, and we watch the smarmy, big shot crooked cop with aspirations to become mayor become a hero, because killing people isn’t something he’s willing to get on board with. Sinise’s character, sinister as he is, doesn’t want to kill Cage. He has a moral compass, too, at least in as much that he doesn’t want to kill his friend…even though he’s still willing to do it.
The big finale comes with a boom and Sinise is exposed. He’s begging Cage to vouch for him, that the woman is a suspect. Cage, beaten and swollen and barely able to stand, tells him, “You got Snake Eyes.”
Sinise takes himself out and Ricky Santoro is a hero in the public eye. That lasts about five minutes, as the movie winds down and all of Santoro’s life is under scrutiny. It isn’t long before charges are brought against him and he’s set to go to jail. The movie ends with him and Gugino talking, and that he’ll give her a call in 12 to 18 months, which she looks forward to.
De Palma is a master of suspense, and no stranger to horror movies. No one would mistake this film for a horror flick, but some of the shots, the way he moves the camera to build tension, the flashes of lightning and the shadows of killers within them, all of this gives it a feel—at least in the final third of the film—of a horror movie. This works well with the suspense and Cage’s over the top performance after he’s been so badly beaten still works because, well, he’s fucking Nicolas Cage!
The movie has some plot holes, some things that don’t quite add up, but I didn’t care about any of that. The movie starts cranking up the tension from the first reel, ratcheting it tighter and tighter all the way to the end. Cage’s performance is delightfully over the top and a lot of fun to watch, and Sinise is as solid as ever. De Palma’s direction is the real winner here, though, because no one else does it quite like him. He can take a script with holes in it and deliver what I still think is a masterpiece of suspense.
A great cast, a unique setting and plot (holes and all), and a director who is often compared to Hitchcock all come together to deliver a chilling little film that is all but forgotten now. If you tried it out in ’98 or a long while back with a “meh” reaction, maybe it’s worth giving it a second look, especially if you take it for what it is: an exciting little suspense flick. It’s not quite a ‘turn your brain off popcorn movie’ (it isn’t an action film), but while you really want to pay attention to the details, especially in that amazing opening scene, the movie doesn’t require much from it’s viewers beyond that. If you’re anything like me, that’s perfectly fine so long as they manage to keep it taut and fun.
Boo-graphy: Chris Miller is a native Texan who began writing from an early age. In 2017 he began publishing, and since then has published several novels – including the Amazon bestselling Splatter Western Dust (nominated for the Splatterpunk Award) – a collection, Shattered Skies, and has also been inducted into many anthologies. Chris is 1/3 of the writing collective Cereberus, and likes to play guitar. He is first and foremost a family man and is happily married to the love of his life (and best friend) Aliana. They have three beautiful children and live in Winnsboro, TX.
Shattered Skies — Taut as a guitar string. More relentless than time. Award-winning author Chris Miller offers up ten tales of terror and suspense to crank up your anxiety in the way only he can.
Desperation, panic, worlds on fire, and much more.
Featuring a foreword by Patrick C. Harrison III and a story co-authored with M. Ennenbach, SHATTERED SKIES will leave you breathless, white-knuckled, and wanting more.
The Master of Suspense is at your service.
Cereberus Rising — (co-authored with Patrick C. Harrison III and M. Ennenbach, together Cereberus)
A poet, a master of horror, and a master of suspense join forces as Cerberus. With three prompts–Cabin Fever, Letters, and Chaos–the three-headed beast dishes out nine novelettes. Cerberus Rises with their unique styles to take you on a journey through nine different levels of Hell.
A horror-obsessed boy discovers his older brother is a serial killer.
FOUND (or if you prefer the pretentious titling “found.”) is an extremely low-budget (the movie was made for about $8,000) coming of age horror film, adapted for the screen by its novelist. And when I say ‘horror film’, I’m not fucking joking. Like at all. They may not have had much money to make this movie with, but they used every last dollar to its fullest potential and delivered something so utterly disturbing and profound, it has literally shaken me.
And I’ve seen it twice now. There was no less “shaken-ness” upon my second viewing, even knowing what was ultimately coming.
Marty is a young boy who loves horror movies. His older brother also has a love for horror movies, but it seems that maybe big bubba’s fascination with the genre has gone far past his little brother’s. From the opening scene we’re made aware that Marty’s older brother is a serial killer who likes to decapitate his victims and put their head in a bowling ball bag, which he keeps in his closet. Every so often, Marty goes in to have a look. It’s usually black women (there’re a couple of moments where we see that Marty’s dad and older brother are racists), but once in a while it’s a man, even a white man sometimes. Marty’s brother has no idea that his brother knows his secret, and is very defensive of anyone coming into his room for any reason without his explicit permission.
It goes without saying that the family dynamic is, well…fucked. Marty is bullied at school, his dad is a racist asshole, and his mom has her head in the sand. And to top it all off, as I started with, his older brother is a serial killer.
But there’s more to it than that. While a serial killer, there seems to be one person in the world Marty’s brother actually cares for: Marty. He’s rough with him when he finds him snooping in his room, but when he finds out about how his little brother has been bullied, there is a genuine brotherly bond shown, and it’s totally believable. Marty’s brother isn’t soulless, though the ending might make you think so (we’ll get there in a minute). Just mostly so. But he cares about Marty. We get the impression of neglect, perhaps even some abuse that has happened to the brother in the past, though it’s never shown or spoken outright. And it’s this implied aspect that makes the relationship between Marty and his brother seem so genuine. Marty is scared of his brother. Marty knows he’s evil. But Marty also knows that his brother is, ultimately, the only one who is willing to stick up for him in this world.
The movie’s production quality isn’t high, but you wouldn’t think you were watching a college project film at any point, either. Like I said, every dollar of its tiny budget is used to its full effect. The acting, especially by Marty, is actually pretty good, and there are some terrific moments of suspense that have you gripping the armrests of your chair and holding your breath.
It isn’t until the middle of the movie that it gets really nasty, when Marty has a friend over and they borrow one of his brother’s movies he’s stolen from the video store, called HEADLESS. The movie within the movie is mindless splatter trash, but it’s extraordinarily graphic: women’s clothes ripped off by a masked psycho who then chews off one of their breasts, decapitating victims only to fuck their head through their esophagus, all shown in very graphic detail, coming just shy of faux snuff.
The movie shakes Marty, makes him realize who his brother has modeled himself after. Marty loses all his friends along the way because of the bullying and no one wanting to be associated with him. He’s into drawing comics and making up cool heroes and villains, but when his best friend writes him off and his parents lose their cool with him, Marty’s brother loses his cool altogether, and in glorious, horrific form.
I’m not going to give away the ending, because it has to be experienced to really get you. Most of the violence is off screen, but what we know is happening is probably the most depraved thing I’ve ever seen committed to film (NOTE: I have not seen and will not see A SERBIAN FILM, I don’t need that level of filth in my head). It’s a powerful ending, if hard to watch, but I promise you it will leave you with your jaw hanging open and, perhaps, your stomach rolling. And it’s power comes not in showing you every gory detail, but by experiencing it all through Marty’s perspective, as his brother goes about as batshit as anyone on film ever has. He’s not over the top like Nic Cage can go—there’s nothing fun about this movie—but he’s at least as insane as I’ve ever seen Cage get, and if I’m being honest, far surpasses any of his roles in terms of being deranged.
There is some graphic, shocking nudity and implications in incestual rape towards the end. This movie sort of falls into that slasher flick style in the final fourth of the movie, but it does it with grace and respect for the audience’s intelligence, and without giving a single good goddamn how you feel about it. In short, this is a powerful little horror film. It isn’t going to be for everyone, probably not even most people, but for those who can appreciate this sort of cinema, I think you’ll be hard-pressed to find something more profound in low budget horror after the final frame cuts to black. It’s haunting, horrific, mesmerizing, and all too real.
It can be found on Shudder, Prime, or on DVD. I advise those with weak constitutions to avoid this film. It is not a film to watch with your kids. This movie takes itself deadly serious and doesn’t go for laughs. Because there’s nothing funny about it. It’s too real. The bullying, the neglect, the pain of growing up, the bond of brotherhood, and the ultimate, psychotic ending, all of it is played straight, and the movie is all the more horrifying for it because it never blinks, and there is never a winking moment of levity to any of the content.
I’m usually one who prefers the darker stories to have some humor in them, but there is none to be found here. And for this movie, it works. That’s where it gets its power. This isn’t a fucking joke and it’s all too possible that this could really happen. I don’t think a big budget movie could have ever pulled this off, never mind the fact no major studio would ever come near it, even with a twenty foot pole.
Take what I’m saying here seriously: DO NOT WATCH THIS IF YOU CAN’T TAKE EXTREMES. There aren’t many, but when they happen, they genuinely shock, but they don’t shock for the sake of shocking you.
It shocks you because, as you’ll see, it’s so real you can see yourself in it.
Boo-graphy: Chris Miller is a native Texan who began writing from an early age. In 2017 he began publishing, and since then has published several novels – including the Amazon bestselling Splatter Western Dust (nominated for the Splatterpunk Award) – a collection, Shattered Skies, and has also been inducted into many anthologies. Chris is 1/3 of the writing collective Cereberus, and likes to play guitar. He is first and foremost a family man and is happily married to the love of his life (and best friend) Aliana. They have three beautiful children and live in Winnsboro, TX.
Shattered Skies — Taut as a guitar string. More relentless than time. Award-winning author Chris Miller offers up ten tales of terror and suspense to crank up your anxiety in the way only he can.
Desperation, panic, worlds on fire, and much more.
Featuring a foreword by Patrick C. Harrison III and a story co-authored with M. Ennenbach, SHATTERED SKIES will leave you breathless, white-knuckled, and wanting more.
The Master of Suspense is at your service.
Cereberus Rising — (co-authored with Patrick C. Harrison III and M. Ennenbach, together Cereberus)
A poet, a master of horror, and a master of suspense join forces as Cerberus. With three prompts–Cabin Fever, Letters, and Chaos–the three-headed beast dishes out nine novelettes. Cerberus Rises with their unique styles to take you on a journey through nine different levels of Hell.
In the murky London gloom, a knife-wielding gentleman named Jack prowls the midnight streets with his faithful watchdog Snuff – gathering together the grisly ingredients they will need for an upcoming ancient and unearthly rite. For soon after the death of the moon, black magic will summon the Elder Gods back into the world. And all manner of Players, both human and undead, are preparing to participate.
Some have come to open the gates. Some have come to slam them shut.
And now the dread night approaches – so let the Game begin.
Author: Roger Zelazny Illustrator: Gahan Wilson Genre: Fantasy, Horror, Gaslamp Publisher: Avon Books Publication Date: September 1, 1994 Pages: 280
October 20th
After being fed by Jill, who Snuff realizes is actually younger and prettier than she lets on, Snuff and Graymalk investigate the manse where “Enderby” is living. Graymalk sneaks inside. Meanwhile Snuff has a conversation with the great white owl, and discovers that the Vicar is indeed a player, and has a white raven as a companion who has been asking questions. Snuff and the owl surmise that the Vicar is new, and late to the game and has been trying to catch up. Now that he knows the vicar is a player, Snuff’s magic tracking system kicks in and he sees that the vicar’s killing of the policeman was a ritual one in an attempt to garner information. The owl and Snuff agree to keep each other posted, although Snuff keeps his knowledge of Talbot’s ‘lunar proclivities’ to himself.
Graymalk is let out of the manse. She tells of an altar hidden inside and they realize the place might indeed be the center they have been looking for. Why the Great Detective has ‘claimed’ it, and why he is maintaining the subterfuge of disguise are still unanswered questions.
Graymalk and Snuff are becoming good friends. We discover some of Graymalk’s background, as a lost, almost feral cat found by Jill, almost the same herself, both of them longing for a different world. We’re still unsure whether they are Openers or Closers, but both seem to have a desire to mix things up. We also learn that the ‘game’ isn’t played very often, only when there is a full moon on Halloween, and when Snuff tells Graymalk he has played the game before, he is giving away the fact that he has been with Jack for quite some time.
The last visit of the night is to the Good Doctor, to investigate rumors of a third person in the house. This third man turns out to be a hulking, slow-witted thing. When he takes a liking to the cat and starts to crush it to his breast Snuff has to alert the Good Doctor to get him to save Graymalk. They make a quick getaway, having learned much that night, but also having been given much to think about.
Snuff and Graymalk’s growing friendship is very nicely done, reinforcing their closeness, and their differences. Snuff is revealing things to her he won’t tell anyone else, but he is also keeping things from her, like the identity of the Great Detective. Is this through loyalty to Jack? Or is it distrust,…or just natural caution given that he has played the game before?
Friendships and alliances are forming and reforming, the players are all dancing around each other, and the wildcards are getting ready to throw their spanners in whatever works they can.
Round and round and round we spin. It is a great world Zelazny has woven from these iconic characters, and having Snuff being the narrator while the icons dance around him is the simple, but brilliant, idea it all hinges on.
I’m absolutely loving this slow trip through it.
Boo-graphy: William Meikle is a Scottish writer, now living in Canada, with more than thirty novels published in the genre press and over 300 short story credits in thirteen countries.
He has books available from a variety of publishers including Dark Regions Press, Crossroad Press and Severed Press, and his work has appeared in a number of professional anthologies and magazines.
He lives in Newfoundland with whales, bald eagles and icebergs for company.
When he’s not writing he drinks beer, plays guitar, and dreams of fortune and glory.
The Green & the Black — A small group of industrial archaeologists head into the center of Newfoundland, investigating a rumor of a lost prospecting team of Irish miners in the late Nineteenth century.
They find the remains of a mining operation, and a journal and papers detailing the extent of the miners’ activities. But there is something else on the site, something older than the miners, as old as the rock itself.
Soon the archaeologists are coming under assault, from a strange infection that spreads like wildfire through mind and body, one that doctors seem powerless to define let alone control.
The survivors only have one option. They must return to the mine, and face what waits for them, down in the deep dark places, where the green meets the black.
Working at the local processing plant, Marcos is in the business of slaughtering humans —though no one calls them that anymore.
His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the “Transition.” Now, eating human meat—“special meat”—is legal. Marcos tries to stick to numbers, consignments, processing.
Then one day he’s given a gift: a live specimen of the finest quality. Though he’s aware that any form of personal contact is forbidden on pain of death, little by little he starts to treat her like a human being. And soon, he becomes tortured by what has been lost—and what might still be saved.
Armand’s Review
Brutal but in a good way. Well-written, very graphic and not for the faint of heart. Not even kidding. Likely the book of the year for me right now, too. The characters are brilliant, the impact of what’s happening makes you think, and the ending will tear you apart. But hopefully not eat you.
Boo-graphy: Armand Rosamilia is a New Jersey boy currently living in sunny Florida, where he writes when he’s not sleeping. He’s happily married to a woman who helps his career and is supportive, which is all he ever wanted in life…
He’s written over 150 stories that are currently available, including horror, zombies, contemporary fiction, thrillers and more. His goal is to write a good story and not worry about genre labels.
He also loves to talk in third person… because he’s really that cool.
You can find him at his website for not only his latest releases but interviews and guest posts with other authors he likes and e-mail him to talk about zombies, baseball and Metal.
The Beast — The end of summer, 1986. With only a few days left until the new school year, twins Jeremy and Jack Schaffer are on very different paths. Jeremy is the geek, playing Dungeons & Dragons with friends Kathleen and Randy, while Jack is the jock, getting into trouble with his buddies.
And then everything changes when neighbor Mister Higgins is killed by a wild animal in his yard. Was it a bear? There’s something big lurking in the woods behind their New Jersey home.
Will the police be able to solve the murder before more Middletown residents are ripped apart?
Trapped — Forget the conspiracy theories about Denver International Airport… this just got real.
When a massive snowstorm shuts down the airport and forces a plane carrying exotic and deadly cargo, those trapped inside the terminal have no idea what’s in store for them.
Can a group of passengers and airport workers band together to face the onslaught, or will they be ripped apart?
Meghan's House of Books 