Are you kidding me? I feel it is my duty to inform the public of this impending disaster! (Or it’s just fun)
What is your latest zombie release?
Zombie Fallout 9 – An Old Beginning
Quick description of it.
We follow along with Mike Talbot and company as they battle the z-poc. Pretty basic I know but I don’t want to give any plotlines away this deep in the series for anyone who may have not read it.
Something unique about it.
John the Tripper is in it. ‘Nuff said.
Links for people to buy it.
All books are available in audio version at Audible.com or itunes.
All books are available in electronic format or print at Amazon.com or Barnes and Noble.com
Your promo links.
Your short Bio.
Mark Tufo was born in Boston Massachusetts. He attended UMASS Amherst where he obtained a BA (and an advanced degree in partyology) and later joined the US Marine Corps. He was stationed in Parris Island SC, Twenty Nine Palms CA and Kaneohe Bay Hawaii. After his tour he went into the Human Resources field with a worldwide financial institution, after beginning his climb up the corporate ladder he found himself laid off. His wife, Tracy who was desperate to keep him out of her hair dared him to write a book, and the Zombie Fallout series was born.
He wrote the first installment of the Indian Hill trilogy in college, it sat in his garage until July 2009 when he published it on Kindle. Mark is currently working on the continuation of the ZF series and a new book due out in November of 2014. He lives in Maine with his wife, three kids and two English bulldogs.
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The stench of frozen rotted meat is in the air! Welcome to the Winter of Zombie Blog Tour 2014, with 10 of the best zombie authors spreading the disease in the month of November.
Stop by the event page on Facebook so you don’t miss an interview, guest post or teaser… and pick up some great swag as well! Giveaways galore from most of the authors as well as interaction with them! #WinterZombie2014
AND so you don’t miss any of the posts in November, here’s the complete list, updated daily:
The World on Fire, my curiosity flag is immediately raised. Does the title mean the world is literally on fire? Or is it insinuating something metaphorical? These and many other questions race through my mind. Obviously, a title like this is a great way to spark interest. Add to that some intriguing cover art, and you’ve got a winning marketing combination.
I’m very pleased to report the story within the book is just as solid and interesting as the title and cover. The World on Fire is a horror-thriller unlike anything I’ve read before. And although the plot synopsis is a bit vague, don’t let that fool you; it is done on purpose. This is a complex tale that blurs the line between right and wrong and makes you reconsider what you know about good and evil.
If you are not familiar with The World on Fire, here is the plot synopsis courtesy of James Ward Kirk Publishing:
A serial-killing-arsonist called the “Angel of Death” is captured and sent to the infamous Spookhouse, a maximum security prison in the middle of the desert where the most horrific criminals are kept. But the impossible happens when he escapes with a journalist and six other psychos from death-row. They embark on an apocalyptic road trip that reveals a scary underground America that’s both mythic and haunting. This is an action packed thriller that will keep you up all night until the knock-out ending.
Author Sheldon Woodbury has a surefire hit on his hands. This book is a delight to read, and it poses some interesting questions. I will not flesh them out in detail during the review because I do not want to give anything away, but I can guarantee this story will make you look at the world differently.
The World on Fire is written well and flows at a smooth pace. The sentence structure and writing style is solid, and Woodbury does a good job of not overstuffing his paragraphs with exaggerated descriptions. I really like this aspect, as it lets the story move along quickly. If it was bogged down with too much exposition, the tale would not have nearly the impact on the reader.
The characters are all damaged but believable, with many too reprehensible to even care about. But that’s almost the point: you shouldn’t like them because of their past crimes, and you certainly won’t like them for what they do in the story. Still, Louis (a.k.a. the Angel of Death) elicits a sort of sympathy from the reader as he spouts his psychotic philosophy of a world ruled by chaos. As a result, he becomes almost likable at certain points…however, he quickly destroys that likability by committing some atrocious act that further solidifies his insanity.
My sole complaint about The World on Fire is a very minor one, and it is more of an observation than a gripe. I found several editing errors, including a couple of sentences with omitted words and one instance where the wrong word was used. This is by no means a reflection of the story at all; I just mention them because some folks are like me, in that these simply take us out of the immersion in the story.
The World on Fire is a major win for me, and I recommend it to anyone looking for a nice dose of mayhem to go with their chaos. Thoughtful, well constructed and downright terrifying, this book will be a treat for anyone looking to get their hands dirty, so to speak. It is available now in a variety of formats, so make a note.
This is a two for one review of two movies that go together like peanut butter and jelly from the always excellent Synapse Films. They were first released as special, and pricey, limited edition steelbook editions, but now Synapse has brought them out as more wallet-friendly versions. How do they stack up to the previous special edition? Well grab your movie ticket, high-rise apartment key, don’t touch any strange metal masks, and let’s find out.
First off, both movies have Synapse Films’ usual great look, thanks to a beautiful new HD restoration and color correction from a 35mm negative. No one, but no one puts more time and effort into making their Blu-rays look amazing than Synapse does. If you want the best possible looking versions of these films ever made, then these will give that to you.
Okay, both movies looks good, but what about the goodies? You know, the extras? Sadly, that’s where these discs could use some work, as they are as barebones as discs get. I guess Synapse did that to keep their limited, special editions, well, special. So if you’re a fan of special features and extras, these might not be the Blu-rays you’re looking for. If you just want these great looking gore classics for a more modest price and don’t care about anything else, then you’ll want to snap up these beauties.
As for the stories behind each film, well they are admittedly thin, but you don’t watch these flicks for the plot of strong characters. No, you watch Demons and Demons 2 for the silly, splatstick and over the top gore gags. That’s where these movies shine. That, and some truly outrageous moments, like the motorcycle/samurai sword slaughter from the first movie. Speaking of the first film, it was produced and co-written by Italian horror maestro, Dario Argento, and directed by Lamberto Bava. In it, a group of people get free passes to a movie theater showing a film about people getting possessed and killed off by demons. Well, life imitates art, and soon the theater is overrun by demon-possessed psychos. Things then become a desperate fight for survival as the non-possessed try to escape the theater with their lives. And that’s pretty much it, but while that plot is pretty simple, there is a reason this movie has a large and loyal cult following. It is fun (if you love crazy amounts of violence and gore) from start to finish, and honestly that’s the best way to describe it. It’s nothing serious or deep, but it’s a hell of a good time.
Demons 2 is pretty much more of the same. Argento and Bava replay their roles from the first movie, and the story doesn’t change all that much, either. It is more people getting possessed, turning into gnarly, fanged, and sometimes horned demons, and then killing people in very bloody, often outrageous ways. Only this time the action takes place in a high-rise apartment building. If you liked Demons, you’ll get a kick out of Demons 2, even if it is the slightly weaker movie of the pair.
So there you have it, two Italian gore classics, now on Blu-ray in two forms from the cinephiles over at Synapse Films. If you are a huge fan of these flicks and want all the bells and whistles, then get the limited steelbook version. If you love these movies but are on more of a budget, now you can get these no-thrills but still great looking Blu-rays. Either way, you can’t go wrong with Demons & Demons 2 on Blu-ray in my book.
This first in a projected series is a wicked treat, featuring five strong stories from some of the genre’s best.
The opening yarn, “Weeds” (1976), is a rare one from Stephen King, and the only reprint in the anthology. Many—if not most—of you have seen the movie version, “The Lonesome Death of Jordy Verrill,” of this great pulpy tale in the King/George A. Romero collaboration Creepshow (1982), starring King himself as the regrettably curious (and under-earning) Verrill. While the Creepshow translation was—and is still—a genuine hoot, its early source takes itself a bit more seriously.
Sure, the humor is there, but Verrill’s mostly isolated existence and social unease lends him a poignant aura, so when the meteor falls and becomes a meteorite we see how quickly Verrill’s life changes. “Weeds,” beyond its pulp luridness, charges the reader with the anxiety and escalating horror of what it might feel like to discover one has some terminal disease. Whether this resonance was intentional, I don’t know—but it’s there. The odd-job man viscerally experiences the truth of that old saw “They grow like weeds,” especially when said weeds come from the unknown black beyond. Even knowing how this ends makes no difference, and is an early example of King’s rendering a bleak situation even bleaker.
Kelley Armstrong’s “The Price You Pay” explores the explosive power of secrecy, especially that between very close friends Ingrid and Kara. Kara’s history of bad choices has caused her serious problems, but now, moved across the country, she’s starting over with new husband Gavin. This doesn’t sit well with long-time thick-and-thin amiga Ingrid, and Armstrong does a superb job of rendering the often painfully subtle difference between narcissistic possessiveness and genuine protective instinct.
Gavin pulls an ugly trick, basically trapping Kara in a poison marriage. Her escape plan—like most of her other decisions—goes not how she expected…nor how you will. Nothing I’ve read by Kelley Armstrong hit me like this one, and those were good stories too.
Bill Pronzini, whose work I’m least familiar with, contributes “Magic Eyes,” wherein an accused wife-killer spins his yarn by way of journal entries suggested by his shrink as therapy (our protagonist is confined to an asylum). Edward James Tolliver may or may not be an unreliable narrator, and those keeping him locked up (keep in mind he’s “good with locks”) consider him psychotic. Tolliver laments his inability to convince his doctor he’s (Tolliver) sane, but after meeting—and perhaps falling for—Dorothy, who dispatched her parents with a meat cleaver, things seem to improve. But not really.
Pronzini gives Tolliver an average Joe believability, which makes the reader want to sympathize. Were it not for the magic eyes (about which I can say nothing without committing a spoiler), Tolliver might be just another depressed guy. Or not.
Simon Clark’s “Murder in Chains” immediately hooked me (pun there). My experience with Clark’s work is limited to Blood Crazy,a powerful, well-crafted novel, and a handful of shorter fiction—and this one ended somewhere both interesting and ominous, took the story nearly into a different genre. A man wakes to find himself in a vast underground chamber. Worse, he’s chained by the neck to another, let’s say, less-than-civilized fellow. Nearby rushes a channel of sewage, and when the other guy wakes our protagonist’s real fun begins. This other only grunts and growls, so we get no insight how he (or our viewpoint man) ended up in this reeking place.
A chance to escape comes up, but is thwarted by bad luck. The conflict in this piece is brutal and realistic, something Clark easily could have phoned in, but luckily for us his integrity won. “Murder in Chains” kept me going—I had to know where it was headed. And wasn’t disappointed when I found out.
Ramsey Campbell never fails—never—to remind me to keep a good 10 feet between myself and unidentifiable refuse in the street. In “The Watched” he combines perceptual ambiguity with the paranoia and tension provoked by a teenaged boy’s being trapped between (mostly) unseen criminal neighbors, the creepy, repellent detective surveilling them, and the boy’s well-meaning but nosy grandmother. As ever, Campbell’s clinical prose chills via suggestion and spectral dread (and often simply the threat of or potential for spectral dread). Over time, his skilled induction of existential nausea has only become more potent. Clearly, like the most honest writers, he’s following his obsessions. Even though I guessed the ending, I still enjoyed “basking” in Campbell’s grim atmosphere.
Dark Screams: Volume One is a strong start to what looks to be an outstanding series.
In Full Moon, Inc., Nick Moon, P.I. (Paranormal Investigator), delves into a hidden world of monsters and creatures of the night as he takes on a case to retrieve an ancient artifact with astonishing power. The film will have a unique southern charm and will shoot in and around Mobile, Alabama, in spring 2015.
The film’s principal cast has also been announced. Khristian Fulmer will take on the lead role of grizzled detective Nick Moon. Erin Lilley assumes the role of his plucky sidekick Daisy O’Reilly. And Leah Christine Johnson has landed the role of Lilah Fontaine, Moon’s mysterious new client.
Fighting Owl Films is no stranger to battling creatures of the night. Their first micro-budget feature The Night Shift, also starring Fulmer and Lilley, was released in 2011. A follow-up short film Night of the Krampus was released for free online last December. That film is still available at no cost on YouTube and DVDs are available at Amazon.com. Fighting Owl Films’ projects have received solid reviews, have appeared in numerous festivals across the country, and have earned a few awards — most recently, Krampus was nominated for a Rondo Hatton Award.
For the latest news, announcements and photos, be sure to Like the Fighting Owl Films Facebook page: www.facebook.com/fightingowlfilms. An official website for Full Moon, Inc., will launch soon at www.fullmoonincmovie.com.
November 24, 2014 – Today the long-awaited new graphic novel by legendary storyteller Joe R. Lansdale & the incredible award-winning illustrator Daniele Serra is officially released!
The book really is something special. Dani has adapted and illustrated Joe’s very dark & brutal love story “I Tell You It’s Love” beautifully! He’s captured the darkness of the story perfectly and the illustrations are a work of art. They could be framed and displayed in an art show, they’re that beautiful.
We really hope that you will enjoy the book as much as we enjoyed creating it.
It’s now available from all good booksellers.
For more information please visit: https://www.sstpublications.co.uk/I-Tell-You-Its-Love.php
With the publication of SNAFU: An Anthology of Military Horrors, the editorial team of Geoff Brown and Amanda J. Spedding scored an undeniable win. Now, with the four novella-length tales in SNAFU: Heroes—An Anthology of Military Horrors, they demonstrate that the excellences of the earlier volume were not merely fortuitous. With contributions by Jonathan Maberry, Weston Ochse, James A. Moore, and Joseph Nassise, there is military action aplenty, enough monsters—and frightening enough monsters—to satisfy even the most discriminating of readers, and sufficient opportunities for snafus on every level, from individuals making faulty decisions to layers of bureaucratic red tape that threaten humanity’s safety.
The first story, Joseph Nassise’s “The Hungry Dark: A Templar Chronicles Mission,” takes Knight Commander William Cade and his Echo Team through a nightmarish encounter with zombies and demons in a village in Germany’s Black Forest. Darkness is a theme throughout: the darkness of night falling over the infected village, the darkness of death and betrayal as the team and a handful of survivors struggle to endure until the dawn, the darkness of a powerful storm that isolates Cade and the others from any hope of help, the darkness of demonic powers intent upon emerging into this world and controlling it. To make matters immeasurably worse, in the early stages of infection, there is no way to identify the infected from the healthy, enemies from friends. Eventually, everything relies on Cade’s intuitiveness, his courage and drive, and his willingness to sacrifice himself for all.
Weston Ochse’s tantalizingly titled “Tarzan Doesn’t Live Here Anymore” is essentially a parable about a broken world and a broken mind. It begins cataclysmically: “The earth was rent as if a leviathan had burst free to sail the galaxy for better worlds to chew.” And from there, we are introduced to an earth fissured and cracked, to innumerable monsters of varying sorts emerging from the scars to wreak havoc on their surroundings. The Sonoran Rift, in the middle of the desert near Bisbee, Arizona, is the setting; among the battalion sent in to destroy any monsters that might rise from it is an incognito reporter, gambling his life in the hopes of garnering a once-in-a-lifetime exposé. And there are monsters—gigantic tarantulas and, more frightening perhaps, equally gigantic tarantula hawks, huge wasps that lay their eggs in the still-living bodies of tarantulas paralyzed by a venomous sting. But that is not the end of the monsters. Andy Fryerson becomes convinced that one of his fellows intends to rape an innocent woman and—just as Fryerson had tried to come to the aid of a girl he had known years before, imagining himself a wrong-righting Tarzan dropping from the trees—he now vows to stop the attack…no matter what. No one and no thing will stop him.
James A. Moore’s “War Stories” represents in some ways a retreat from the expansiveness of the first two. It begins quietly, intimately, with two characters: a young man fresh from appalling experiences in Viet Nam (and equally appalling ones upon returning to the States); and his grandfather, a veteran of both World War II and Korea. Realizing that his grandson is on the brink of a breakdown, the old man sits with him on the family porch and, for the first time, opens up about his wartime experiences and inviting his grandson to reciprocate. Moore skims through this part, as the two establish a powerful bond…powerful enough for the grandfather to relate one final encounter, with Nazis, death-camp victims used for experimentation, unbelievable monsters created from humans, and one anomalous individual who might or might not have been human, or a monster. The story accentuates the inhumanity of war by expanding its characters—literally and physically—as the grandfather and a few others fight against seven-foot-tall monstrosities and the human-monsters that created them.
The final story is Jonathan Maberry’s “Changeling: A Joe Ledger Adventure.” It begins shortly after Ledger has witnessed the death of the second woman he had ever loved, Grace Courtland, and his subsequent descent into a distanced coldness, a ruthlessness that he himself describes as monstrous. Now he is summoned from the prospect of enjoying a baseball double-header on a perfect May afternoon to investigate a supposedly empty scientific laboratory. The place had recently been raided by multiple alphabet-agencies, none of which fully trust the others. Ledger’s enigmatic boss, Mr. Church, is convinced that there is more inside than simply empty rooms, particularly since a dozen or so of the scientists who should have been inside have never been found. Angry at the interruption in his life and at the multiple administrative snafus that prevent anyone from going in, Ledger enters the building. There he discovers—no great surprise, of course—monsters beyond his imagining. But more importantly, he discovers another person already inside, already searching for answers, already more knowledgeable about the lab that anyone should be…or could be. And worse, she triggers excruciating memories of Courtland.
Each of the stories is well handled, deftly written, approaching questions of what constitutes a monster and what constitutes a hero from vastly different directions. Each answers some of those questions; each leaves others frustratingly unanswered. But in the ambiguities inherent in each story, in the unresolved possibilities of the natural and the supernatural, lie the strengths that makes each powerful.
SNAFU: Heroes is the first in several advertised follow-up anthologies to the original SNAFU, that will include SNAFU: Wolves at the Door and SNAFU II: Survival of the Fittest. From the evidence in the first two volumes, these are books to watch out for, the purchase, and to enjoy thoroughly.