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University of Michigan Develops Groundbreaking Virtual Cadavers

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3D cadaver

Though modern day technology has in many ways had a negative impact on horror movies, with computer-generated effects all but replacing the work of makeup masters like Tom Savini and Rick Baker, there's no denying that those same technologies have had - and will continue to have - incredibly positive effects on the world at large. Case in point; this brand new technology created by the University of Michigan, which replaces real human cadavers with virtual corpses.

As reported by Gizmodo, the university has followed in the footsteps of places like Stanford and the University of Calgary, creating a groundbreaking virtual dissection table that allows students to train for surgery not on flayed open human beings but rather on 3D models, which they can slice open and dissect the same way they could real cadavers.

The combined effort of joysticks, projectors and advanced 3D equipment, the project has been dubbed Michigan Immersive Digital Experience Nexus, and it's to date the most advanced virtual dissection technology of its kind. Check out the video below, which explains more about this revolutionary invention.

Did you know that a company recently developed a device that keeps organs alive, outside the body? Technology is a hell of a thing, isn't it?!


Exclusive: Writer Jeff Buhler Talks the ‘Jacob’s Ladder’ Remake

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Jeff Buhler

With director James Foley, LD Entertainment and the producers of the 2011 Fright Night remake set to oversee the re-imagining of director Adrian Lyne’s 1990 psychological horror film Jacob’s Ladder, we caught up exclusively with the project’s screenwriter Jeff Buhler (above) in order to get the low-down on the project. Read on!

Best known to genre audiences for scripting 2008’s Clive Barker-inspired Midnight Meat Train and writing and directing that year’s feature Insanitarium (and who is also penning the upcoming Ghost House Pictures’ re-launch of The Grudge franchise), Buhler said of the feature project (whose source material surrounds a Vietnam veteran suffering Disassociative Identity Disorder), “Jacob’s Ladder came to my attention by the producers Alison Rosenzweig and Michael Gaeta, who are friends of mine.”

“Essentially the conundrum (with doing a remake) of Jacob’s Ladder, is that first of all it’s a ‘cult’ favorite, so the only people that are really aware and passionate about the title are also very invested in the sanctity of the original,” Buhler offered.

“For me, what really has drawn me into the world (as a writer) was that the original, as much as I love the film, came at a time in our culture when we were removed from warfare by a number of decades. It was a period piece when it came out in 1990 (by) Adrian Lyne, a classic 90’s filmmaker.  It was commenting on the Vietnam War, which had been commented on by a number of really great, powerful films, and so for me when I saw it, it really resonated more to me as a psychological, trippy, mind-fuck thriller, as opposed to a war commentary.”

“Since that time we’ve now waged two wars,” he continued, “and people are coming back from combat totally fucked-up. The cultural understanding of the experience of warfare and what it does to people mentally is in a completely different place than it was then. What I really wanted to do was to find a way to bring the story into that world without simply contemporizing elements of the original story, and retelling something we’ve already seen.”

“Essentially with (the original) Jacob’s Ladder, people either love or hate the ending,” Buhler stated of the film, and of his approach to writing the remake.

“A lot of the experience of that film, whether it’s positive or negative, rides on the conclusion, and once the conclusion is done the power of it is removed. It’s like how do you retell The Sixth Sense? It’s like once you know the guy is a ghost, it kind of takes the power of the film away.”

“So I wanted to find a way into the story that allowed us to play with this sort of ‘slipping reality’ that Jacob is experiencing,” he said, “without necessarily going to the same conclusion, and finding a new way to give the audience an experience that is similar in terms of impact and feeling, but that doesn’t play the same tune. It was a very tricky situation in the sense that we were trying to recreate something, but honor the spirit and concept (of the original), while telling a different story.”

As for the production company handling Jacob’s Ladder, “LD Entertainment has a really good gauge for genre stuff, and they are really daring,” said Buhler.

“I think for them, Jacob’s Ladder is an opportunity to tell a really elevated and compelling story within the genre space, and make some noise with that. James Foley (Glengarry Glen Ross, Fear) has been hired to direct, and he’s done these very character-driven, compelling stories, so we are going to get something that really digs into that experience of coming home, and what happens when you feel like you are losing your grip on reality.”

“They are casting right now,” he concluded of Jacob’s Ladder, “and they are making offers to some pretty big names, and they are approaching this not as an exploitation remake of a genre film that has a cult following, but approaching this as an opportunity to tell a new story with A-list talent from top to bottom. The scripts been getting really good reads from people, and the reaction has been very, very positive, so I have all the confidence in the world.”

Vogue Magazine Tackles Domestic Violence With Horror-Inspired Photo Shoot

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Vogue horror

Though it only hit newsstands last week, the April issue of Vogue Italia has already proven to be an incredibly controversial one, and it's not hard to see why. Editor-in-Chief Franca Sozzani, who is no stranger to controversy, decided to use the magazine to tackle the hot button issue of domestic violence, and sandwiched between the front and back covers of the latest issue are photographs that look more like screen grabs from horror movies than anything you'd expect to find in a fashion magazine.

Vogue Horror Story

As we spotted over on Fashionista, the several page spread has been aptly titled 'Horror Story,' and it features female models hiding and running away from weapon-wielding men, with one particularly gruesome photo showing a dead woman lying on the floor, blood pooling around her head. Sozzani says that the shoot is about raising awareness, rather than a provocative way to lure readers in.

Vogue Horror Story

"The horror of life is bigger than the one that you can see in the movies," explained the editor. "This is really a horror show, what we are looking at and what we see every day in every newspaper around the world is how fragile the woman still is today, and how she can be attacked, can be abused, can be killed."

Vogue Horror Story

You can see the full spread over on Vogue's website.

Speaking of freaky fashion, check out some of the coolest horror-inspired outfits that appeared on the runway last year!

Poster and Plot Details for 'The Drownsman' Come Up from the Depths

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Drownsman

The importance of eye-catching poster art simply cannot be overstated, especially when it comes to horror movies, and we must say; this just-released poster for The Drowsman has certainly caught our attention, and piqued our interest.

Breakthrough Entertainment and Black Fawn Films follow up last year's festival hit Antisocial with the Chad Archibald-directed flick, which was written by Antisocial writer/director Cody Calahan. Intended to give rise to a brand new slasher icon, The Drownsman centers on the character of Madison, who nearly loses her life after almost drowning in a lake. Following the incident, she becomes deathly afraid of the water, and soon finds herself haunted by the recurring presence of an evil figure. When her friends get involved, in an effort to help Madison overcome her nightmares, they all find themselves waist deep in pure terror.

"We set out to make a film that created a new supernatural villain like the classic horror films of Clive Barker and Wes Craven, something that has become rare in the horror industry over the last decade," explains Archibald. "Similar to Freddy Kruger, Michael Myers, Pinhead and Jason Voorhees, we wanted to create a villain with a rich history and a juicy hook that could make an appearance in a few viewers nightmares."

The Drownsman will screen at Cannes this year, and the trailer is expected to surface sometime next month. In the meantime, check out a few creepy stills below!

The Drownsman

The Drownsman

The Drownsman

San Diego State University Launches New Course in Zombie Culture

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Over the last decade or so, zombies have gone from a staple of horror entertainment to a major aspect of popular culture, and more and more modern college courses have been examining the undead phenomenon in a serious academic light. For example, this year saw the debut of a zombie apocalypse course at Central Michigan University, and a high school teacher has been using a Walking Dead video game as a teaching aid
 
DOTD_Bub_book
 
San Diego State University professor Emily Hicks acknowledges this trend, and has risen to the occasion by creating a zombie-based course this semester with a pretty unambiguous title: “Zombies.” That's it, no gray area there.
 
"We’re talking about blood and guts and all kinds of things that are sort of leveling, so I’ve found that some students are tired talking about multicultural issues in general in my other classes,” Hicks told KBPS News, “but not in the zombies class.”
 
Zombie_Survival_GuideThe course not only examines society's monster du jour and its impact on popular culture, but examines The Walking Dead series (and source comic), George Romero's iconic Dead film franchise, satiric riffs on the formula like Edgar Wright's Shaun of the Dead, and the literary output of Max Brooks (World War Z) as metaphor, social commentary and fictional models of societal collapse. Brooks' breakout bestseller The Zombie Survival Guide is even required reading for all students taking the class.
 
"[W]hen you do a zombie movie or a zombie book, you can have those same apocalyptic fantasies... society breaking down, government disintegrating, people turning on each other,” Brooks said, “but if the catalyst is fictional, if it’s a zombie then you can still sleep at night.”
 
 
 
 
Other required texts include Kyle Bishop's American Gothic Zombie: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture, and the essay collection Race, Oppression and the Zombie; in addition to the classic zombie films, shows and games we all know and love, they're also screening more obscure titles like Pontypool. As you can imagine, the students are eating it up... so to speak.
 
"I have taught here 30 years and I have never had students so excited about writing a mid-term," says Hicks.

'Bleak Coloring Book' Offers Kid-Friendly Riffs on 'The Shining' and 'The Exorcist'

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There's an insane parody of kids' rainy-day activity books making the rounds this week that lets you color scenes from some well-known movies – which doesn't seem at all unusual until you discover that the scenes depicted within its pages aren't taken from the latest Disney/Pixar blockbuster, but from some of the darkest, least kid-friendly classic movies ever made.
 
Bleak1
Images © Todd Spence
 
Mock-up pages from the aptly titled Bleak Movies Coloring Book by Todd Spence are currently posted at Break.com... and although a full book doesn't actually exist yet, one flip through these samples convinced me that I'd gladly fork over the cash for the real deal, then grab a carton of Crayolas and go to town.
 
Bleak2
Images © Todd Spence
 
No child's delicate psyche is left un-mangled after browsing through line-drawn panels depicting scenes from The Exorcist, The Shining, Se7en, The Fly, Reservoir Dogs and Requiem for a Dream. But the best part is the way Spence has cleverly and hilariously re-written the scenes as G-rated (or at least PG) versions. 
 
Bleak3
Images © Todd Spence
 
The grim ultra-violence is now replaced with Se7en's John Doe presenting Detectives Mills and Somerset with a box of adorable bunnies, The Shining's Jack Torrance reconciling with his son Danny, and the “Brundlefly” deciding which yummy snacks to puke on for lunch.
 
You can view the full gallery at Break.com, and keep track of Todd's work by following him on Twitter @Todd_Spence.
 
If you want to see the exact flipside to this project, check out this artist's outrageous and horrifying collection of gory R-rated illustrations based on children's movies and shows!

Nightmare Magazine Presents: 'Sleep Paralysis'

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FEARNET is proud to present brand new fiction from Nightmare Magazine. Once a month, we'll be featuring a story from Nightmare’s current issue. This month's selection is “Sleep Paralysis” by Dale Bailey. Please tell us what you think and enjoy!

SLEEP PARALYSIS

Dale Bailey

I am subject to dreams, especially one of a curious type in which I wake on my back, unable to move, my arms pinned to my side, my legs straight. My paralysis is complete, and a thick darkness pervades my bedchamber, a darkness of an almost viscous weight, so that I can feel it pressing upon my face and bearing down against the bedclothes. And there is something else, as well: a sense of obscure doom falls upon me. Something worse than death—I am an undertaker, accustomed to death; we are old friends, death and I—though what it is, I cannot say or guess.

For much of my life, I endured these episodes alone, though I sought help (Dreams are but the product of unconscious desires, one alienist told me; I will not speak of his further explanation except to say that I withdrew in distaste). Yet there came a time, and not so long ago, when I found solace during these attacks of narcoleptic horror: a wife, very beautiful and some years younger. How I met her is of no importance, but her loveliness haunts me to this day: the sonorous fall of her auburn hair, the green eyes set like emeralds in her heart-shaped face, the complexion of almost pellucid clarity. I could speak with eloquence on the shapeliness of her body, as well, but here let us draw the veil of marital decorum that should in all cases govern such matters.

One more element I have yet to mention of these dreams: the waking conviction, for so I seemed awake, that could I but move, that could I so much as twitch a finger, the horror that transfixed me would recede. And my wife—I will not name her here—would often hear the whimper that was the scream locked inside my aching jaws, and gently, gently, she would shake me into awareness. Yet frequently a tearful panic would linger—it is not meet that a man should admit tears, but I have vowed complete honesty here—and my lovely wife would ease me in my distress.

There was talk, of course.

When a man of a certain age and means marries for the first time—especially if he marries a woman still in the springtime of her years—there is bound to be talk. I knew this when I undertook the adventure, of course, but there are things one knows and there are things one knows, if you take my meaning, and in this case what I knew I did not know. I had prepared myself for speculation, so it came as no surprise when it was said that a woman of such youth and beauty could have no real interest in a man so old, so plain, and so bereft of interesting conversation. She had surely attached herself to me in the hope of an inheritance, it was said.

These things I had expected. These things I had steeled myself against. But the other whispers—I will not dignify them with name or description—I had decidedly not expected. I’ve never had anything but the utmost trust in my wife, and to see her virtue so impugned stung me deeply. Yet I would be remiss if I did not admit that there was something humiliating in them all the same. They struck at the very heart of my manhood, and such a wound—a wound to the quick of one’s pride and reputation—is a difficult wound to bear. Yet bear it I did, and with the solemn dignity a man of my profession must ever exhibit.

Suffice to say that in her arms, the dreams no longer so terrified me. Yet still they came, and one morning—after an especially enervating night during which they succeeded one another in a quick succession even my wife’s most devoted attention could not relieve—I woke to find the window of our upstairs chamber open. The weather had cooled by then, and fall had set in, rattling leaves down the gutters of our narrow street. I have always loved the crisp chill of that season. I find it especially conducive to the sleep that so often eludes me, and, though my physician had advised against it in a man of my growing age and infirmity, I not infrequently threw open the windows of my chamber at night. Yet on the previous evening, when chill rains were forecast, my wife had forbidden the practice, so when we woke to find the window agape and the carpet damp, she inveighed against the stubborn nature of my habit. I was almost certain—no, I was absolutely sure—that I had left no window open, but I am not by nature an argumentative man, so I did not respond in kind.

When she left the room to commence her daily ablutions, however, I examined the window more carefully. I could see no way that the locks might have come unfastened, nor could I imagine any wind of sufficient force to blow the window open—or certainly none that would not have awakened us (besides, in such an event, the locks themselves would have been damaged). By this point, standing in my bare feet on the wet carpet had become decidedly uncomfortable, so I was relieved to step away—and surprised when I encountered another damp patch some three feet from the window— and another one— and still another one, the full set leading, as though by a large man’s strides, to the foot of the bed. I went to my knees and, examining one of them carefully, descried the faint imprint of a large boot. I had already summoned the housemaid to blot up the mess by the window, and now, swearing her to an oath of secrecy upon her very employment—for above all things I wished to avoid alarming my wife—I set her to work on the boot prints. By the time my wife finished her morning rituals, the worst of it was cleaned up and—as far as she was concerned anyway—the matter forgotten. We enjoyed a pleasant repast of coffee and eggs in the breakfast nook. Soon after, my wife went off to one of her many charities and I was left alone in the apartment.

Dressed in a sober black suit, I descended to the main floor of the house, carpeted with fathomless silence, where the various chapels and viewing rooms are located. I exchanged quiet greetings with my employees (whispers prevail on the first floor) and stepped outside. Ours is an old section of the city. The streets are cobbled and narrow, the houses tall and narrower still, and many of them lean precariously over the sidewalks, though they will stand long after I am laid out myself. A quick inspection confirmed what I had already known. Had the window already been open (it had not) there would have been no way to reach it from the street: no trestle climbed the façade, there were no overhanging trees, and the bricks themselves, despite their age, were too tightly mortared to permit even the strongest fingers to obtain a hold.

Nor was that the extent of it. Imagine I had been able to arrive at a satisfactory explanation of how a large man had managed to scale the wall of my home, unlock a locked window, clamber through the resulting aperture without awakening either of us, and cross the bedroom to stand at the foot of the bed—imagine all that, and another question remained: Why?Larceny? Nothing had been stolen. Vandalism? Nothing disturbed. Rape or murder? No one had been harmed. Yet what could I do other than reinforce the windows and replace the locks with a sturdier variety—and I had given orders to have that seen to before breakfast.

Enough, I told myself. You have already allowed this mystery to consume too much of your morning. In this, as in all things, Occam’s Razor applies. No doubt you left the window open by force of habit, the boot prints were merely footprints, and you left them yourself during a slumberous circuit of the house, checking doors and windows, such as you are accustomed to make when you wake from unpleasant dreams. Now get on with your day. You have work to do.

And indeed I did: a service at three, and two bodies awaiting embalming in the basement of the house, which was devoted to the more unsavory aspects of my trade—though in truth (I have promised nothing but honesty), I did not find them unpleasant. Any properly deferential man in a suit can conduct the public side of the funeral service; the real challenge lies in the work behind the scenes, pumping bodies full of embalming fluid, washing the remains, seeing to the eyelids and lips—that peaceful half-smile is most difficult to achieve—and otherwise making the dead look, as you will so often hear during the wake, alive. They do not look alive of course. Death transcends even the best embalmer’s skill. But the artifice of life, the art of the illusion, is the pride of my trade: and on this morning, I thought, I had better put aside pointless speculation and be about my business. I changed clothes yet again and spent the better part of the morning elbows deep in an autopsy reconstruction, packing the rib cage with cavity fill and suturing closed the Y-shaped incision. At noon, I broke for lunch, and then I cleaned up for the service.

That night my wife attended a fund-raising dinner for orphaned children, so I took my evening meal at the club with a friend, Brownlow, another undertaker and technically my competitor, but in reality nothing of the sort, since there is, as Brownlow is fond of saying, “a plentitude of death to go around.” We’d just finished the main course when he made his usual pronouncement, which served as a transition into the discussion of professional matters, including the other body languishing in my basement, an auto-accident victim whose shattered face would require truly heroic reconstructive work in the embalming chamber.

“Perhaps a closed casket would be best,” Brownlow said as the waiter swept our plates away.

“Oh, certainly. I have encouraged them so, but the family insists otherwise.”

In silence, we considered the difficulty families posed.

“The facial expression,” I said, “will present even more problems than usual.”

“Ah yes,” Brownlow said. “The smile will be especially problematic.”

Cases of reconstruction aside, the face usually poses but one challenge. Glue shut the eyelids. Suture the mouth. Compose the features. And—this is the difficult part—arrange the smile. The secret of the smile is to disguise the very fact of death, the natural downward droop of the lips. The objective is to achieve a peaceful expression and the key to a peaceful expression is the smile—neither a grotesque grin nor a frown at the permanent nature of the deceased’s predicament—but an expression of rest, a subtle, a peaceful hint of a smile.

We pondered this difficulty over drinks.

“Perhaps I could assist you,” Brownlow remarked, “this being such a difficult case.”

“It is a matter of professional pride.”

“Of course,” Brownlow said. “Speaking of pride, however, and I hesitate to speak of it at all” —and he did hesitate— “but as a friend I feel I must address it.” He swallowed. “I must speak of your wife. Do you know what people say of her and her charities?”

“I will not hear ill spoken of my wife,” I said.

“You may not hear it, but that will not stop people from saying it.”

“Forbear. Our friendship depends upon it.”

Brownlow shook his head and drank off his scotch. We departed soon after, with strained bonhomie, but Brownlow’s insinuations weighed upon me—had weighed upon for weeks, if I am to be honest (and I have promised nothing less)—and some nights later, in the privacy of our bedchamber, I found myself saying to my wife, “Do you not ever wish that you had chosen a younger man?”

“Oh, my dear,” she said, “I chose you for love and only love.”

“But” —and now I hesitated— “these charities you so often attend, these luncheons and these dinners. How rarely we see one another!”

“You do so much good in the world, my love,” she said. “I merely wish to emulate your benevolence.”

“But we have no friends your age.”

“That we have friends suffices,” she remarked. “So many people do not.”

We were silent for a long moment and then she reached out and took my hands in hers. “Your hands are so cold,” she said. “You must rest more. You spend too much time with the dead.”

My hands were cold. My circulation was poor. I will say that much only, and then I will let drop the curtain once again and allow you to draw your own conclusions. I was an old man, and she was still quick and young and beautiful, and for the first time I came to suspect her. What if I alone could not satisfy her needs? What if there were some truth to the rumors? She was right: too long had I trafficked with the dead.

Such were my thoughts as I drifted off to sleep—the long thoughts of an old man, and a tired one who feels the certainty of death upon him—and when I woke, I woke to a tenebrous gloom that lay cold and heavy upon my still-sleeping and immoveable body. It was very late (I heard the clock toll the hour of three) and very cold (my breath frosted in the darkness). I had closed the windows that night, and double-checked the new locks. Now, in the endless silence, I heard them slide open one by one, the stealthy glide of oiled metal against metal. The sound of the window slipping open followed, and in that nightmarish half-conscious thought process, achingly unhurried and incoherent, that is the sole province of such dreams, I recalled the tall narrow house, well mortared, leaning over the street, impossible to scale. And then something—I will call it a man, but it was no man—came through the window. It stood at the foot of the bed, a long shadow in the dark, impossibly long in that tall room. Something glinted in its hand (how I knew this, I cannot say), and that sense of imperishable doom that always accompanied the paralytic dream possessed me once again. I moaned, or tried to moan. I twitched my finger, or tried to twitch my finger. I hurled myself toward wakefulness with every fiber of my being. And then—abruptly—my wife reached out her warm hand to me and I was awake.

“What is it—”

But I did not pause to respond. I hurtled out of bed into the empty hallway, and took two turns around the house, finding it twice empty. Yet when I returned to the bedroom, the window stood open. My young wife’s hair fell in in auburn waves upon her ivory nightgown, and I saw how lovely she was to behold and I wondered again if perhaps the rumors were true.

She clutched the nightgown to her breast. “What is it—”

“A bad dream, nothing more.”

“But the window?”

And I lied merely to allay her distress. “I grew warm and opened it for a breath of air.”

Perhaps it was my own prevarication that imparted the sense of falseness to her response. “You must remember that the doctor has warned you against the evening air.”

I slept undisturbed for the rest of the night and woke later than was my habit. My wife was already gone. She had left a note expressive of her love and concern for me and since there were no funerals scheduled for the day, an all-too-rare lull in the endless procession of the dead, I resolved to spend my day with a book in the upstairs apartment. Soon enough—such is the case with all in my profession—my solitary recreation was interrupted. I was called away to collect a body. A redheaded woman had been struck by a car at a busy intersection. In her face, I could detect a crude shadow of my own wife’s features, and it was with an unusually heavy heart that I commenced the embalmment. I felt weary as I had not felt weary in years. I felt the weight of my maladies upon me, and I nearly cancelled my scheduled dinner with Brownlow at the club.

Some months passed by, during which my infirmities increased. I tired easily and my stomach was not well. My wife’s words echoed in my head—Your hands are cold. You must rest more. You spend too much time with the dead—and I began to think of retirement.

“Retire?” Brownlow said over drinks. “Retire!”

“Retire. I grow weary, Brownlow. I want to spend more time with my wife.”

“Bah,” he said, “can you not see what others so plainly see, my friend? This decision you will live to regret.”

Nonetheless, in the weeks that followed, I resolved myself. My infirmities had worsened. Weariness was my constant companion; my own time (how little time we have!) grew shorter. I began to wind up my affairs, reducing both my professional and domestic staff. The cook took up quarters of her own; the maid came in but once a week, and limited her endeavors to those areas of the house reserved to entertainment. I began to refer cases to Brownlow, and devoted myself to leisure in the apartment whose pleasures I had too long denied myself: the warmth of the morning sun against my face in the breakfast nook, the strains of Bach upon the phonograph, a relaxing glass of wine with a good book in the library. Yet one such pleasure was denied me: the quotidian companionship of my wife. One, two, three nights a week and more, my wife returned late from her charitable enterprises—from dinners and fund-raisers, from fancy-dress balls that ran late into the morning hours. Even her days she often devoted to such affairs—to the management of the financial activities of altruistic enterprises, or the maintenance of soup kitchens and shelters for the homeless that in those years thronged the city. Once again the weight of rumor began to weigh upon my shoulders.

“Perhaps you could reduce your commitments,” I said to her one night in our private chambers. “I long to spend more time with you.”

“And I to spend more time with you, my love,” she responded. “But I hesitate not to share our good fortune.”

“We have plenty of money,” I said. “Surely through increased generosity we could compensate for your attendance to more personal matters.”

“Give me some time,” she said, “and I shall do as you ask. It will but take some weeks to withdraw from the work that involves me.”

Yet weeks passed, and still she spent long hours at her work.

I insisted.

She delayed— “A few more weeks and it shall be done,” she said. “I did not anticipate such difficulties, so central have I become to these affairs”—and though her nighttime attentions intensified (I must be honest here; with great reluctance I once again draw the curtain for a breath aside), poor circulation too often afflicted me, the icy curse of an old man’s blood. She was so young, so beautiful, her need so strong within her. Once again, the burden of suspicion weighed heavy upon my shoulders.

By then it was full winter and heavy drifts of snow clogged the streets of the city. The temperature plunged below zero for weeks at a time, and ice sheathed the windows, which remained securely shut. One night we spoke again of these matters. Our conversation grew heated. Dare I say that for a brief moment we lapsed into discord? Tearful apologies on both sides soon were tendered. She promised again to discontinue the greater bulk of her activities; I acknowledged the difficulty she faced in extricating herself from these affairs; and soon, our customary harmony restored, we fell alike into a sleep restorative and deep. Yet sometime in the small hours of the morning, I awoke once again into the helpless dream, this nightmare terror that has haunted me since youth. Once again the paralytic horror. Once again the glide of smoothly oiled locks. Once again the almost silent slide of the lower window into its upper recess. The darkness grew oppressive, dense and weighty upon my face. I felt the inhuman horror enter the room. Long hours, or so they seemed, drifted by—how dreams distort our sense of time!—as its tall thin shadow lay across me, something glittering in one hand. How I knew they were embalming scissors I cannot say, but I have vowed to be truthful in this brief account. And still that tall shadow loomed. A scream battered itself against my locked jaws. With fruitless effort, I strained to twitch a finger. And then, as helpless tears coursed down my cheeks, I felt the shadow move away. What I could not see, I heard: the swish of the scissors in the black air, the meaty tear as they met her flesh, her scream of agony and surprise, so quickly stifled—

And then, abruptly, I was awake, the shadow gone. I must confess to a scream of my own as I hurled myself upright in the sodden sheets. It was all I could do to turn my head to face my wife, yet turn it I did, and took in gasping the blood already soaking into the mattress. Reaching out one tremulous hand, I touched her still warm flesh—

—and she stirred and smiled up at me and said, “What is it, my love? What is it that so terrifies you?”

The blood resolved itself into moon-cast shadow, the dampness in the sheets into my own terrified perspiration. I sobbed in relief, and regretted with every fiber of my heart the dissension that had so briefly parted us. “I am sorry, my love,” I wept, “I am so very sorry,” and she held me in her arms until the convulsions passed.

In the weeks that followed, spring came. The snow dissolved in the sunlight and for a day or two the gutters chattered with its melt. My wife gave up her work and we took our pleasure in sunlight and in the Goldberg Variations, and reading aloud to one another in the library. So our life continued in harmony for a time. We rarely—indeed we never—were upon the town. I gave up my weekly dinners with Brownlow, and we did not often speak even by telephone, until, growing concerned for my welfare, he betook it upon himself to visit. We sat in the library for an hour, sipping brandy, and turned over the gossip of the club, the latest endeavors of our fellow undertakers, and the pleasures to be had in the craft.

“Do you miss it?” he inquired.

“I do,” I said. My infirmities largely passed, I had lately given thought to returning to the trade. I allowed as I probably would. Few pleasures can surpass that of comforting a grieving family with a near-perfect reproduction of their loved one as he was in life—why he looks almost alive, are the words that every undertaker treasures the most, and I longed to hear them once again. Brownlow congratulated me warmly.

“I hope that we can resume our dinners at the club,” he said.

“I had myself so hoped,” I replied. “Let us begin this very week.”

On that note, he took his leave—but, turning in the doorway, he remarked that the rumors about my wife had abated since she had left off her work to spend her time at home, as a woman properly should. “I must be honest,” he said as the door closed behind him: “I had some fear that she would leave you.”

“Oh, no,” I said, “she is with me to this very hour.”

Indeed, she is. In fact—though there are things so private one does not share them with the closest friend—even the dreams no longer trouble me, she provides me so much comfort in the night.

And her smile is perfect.

 

[end]

 

- - - 

 

Nightmare Magazine is edited by bestselling anthology editor John Joseph Adams (Wastelands, The Living Dead). This story first appeared in the Nightmare’s April 2014 issue, which also features original fiction by Martin Cahill (“It Was Never the Fire”), along with reprints by Nancy Etchemendy (“Nimitseahpah”) and Lucy A. Snyder (“Magdala Amygdala”). We also have the latest installment of our column on horror, “The H Word,” plus author spotlights with our authors, a showcase on our cover artist, and a feature interview with bestselling author Darren Shan. You can wait for the rest of this month's contents to be serialized online, or you can buy the whole issue right now in convenient eBook format for just $2.99. It's a great issue, so be sure to check it out. And while you're at it, tell a friend about Nightmare!

 

European 'Vampire Graves' Becoming a Major Tourist Attraction

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If you've been following our stories on the discovery of ancient “vampire burials” throughout Europe, you're witnessing the beginnings of a very popular tourist trend. Medieval graves in Poland and Italy have revealed how those countries' cultures and superstitions dealt with people thought to be vampires, and the different methods they used to prevent them from rising again to prey on their neighbors.
 
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Photo: Dariknews.BG
 
According to Bulgaria's Sofia News Agency, one such site was found on the grounds of a 700-year-old monastery in Sozopol, in which two skeletons bear the marks of vampire prevention: each is staked through the heart with an iron bar.
 
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Photo: AFP/Getty Images
 
While thois particular discovery happened in 2012, dozens of similar finds have been recorded throughout Bulgaria in recent years, and the cultural impact is now being felt around the world: CNN reports that tourists from multiple countries (including the US) are obsessed with viewing the strange corpses – and others like them – as the main attraction on “vampire vacations.”
 
Oddly enough, Bulgaria saw a 20% surge in tourism last year, sending it to the top of the list in the European Union for hotel occupancy. Coincidence? I'm thinking nope.

Candy Artist Creates Homage to 'Dune' with a Giant Gummi Diorama

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The critically-acclaimed documentary Jodorowsky's Dune is making headlines lately, and while genre fans are salivating over the amazingly bizarre images and concept art associated with that project, another artist has interpreted a climactic scene from Frank Herbert's epic sci-fi novel using an even more unconventional medium: legions of Haribo Gummi Bears, a two-foot-long Gummi Worm and a completely edible landscape made of licorice, rock candy and sprinkles.
 
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Images: Candy Warehouse via Flickr
 
In the diorama lovingly created by Candy Warehouse, the candy bears represent the army of “Fremen” – i.e. elite warriors who follow the story's messianic hero Paul Atreides, who is himself shown riding atop the gummi worm, which perfectly represents one of the massive sandworms that dominate the title location, the spice planet Arrakis (a.k.a. Dune).
 
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Images: Candy Warehouse via Flickr
 
Candy Warehouse's images have been making the rounds lately after being featured on popular genre/pop culture sites like io9.
 
Want to make your own Dune-themed edible art? Start with this recipe for a creepy sandworm-shaped spice cake!

Fright-Rags Unveil 'Misfits Double Feature' T-Shirt & Poster Designs

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If you're a Misfits fan – and I'm betting a huge chunk of our readers fall into that category – you'd probably kill (figuratively speaking, of course) to possess this new series of amazing designs coming soon from the fine folks at Fright-Rags, paying tribute to the world's most beloved horror-rockers.

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The limited edition “Misfits Double Feature” series includes two jaw-droppingly awesome Misfits designs: a Hybrid Moments faux movie poster by Ghoulish Gary Pullin, and a grindhouse-style promo for the band's legendary single “Mommy, Can I Go Out and Kill Tonight?” by Jason Edmiston.
 
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The designs adorn T-shirts (limited to 400 units per design) and screen-printed posters (150 units apiece). The shirts go for $27 and the posters for $30.
 
Fright-Rags will be taking preorders starting this Thursday, April 10th at 10am Eastern, and the sale closes on April 17th at 10am. This is the only window for orders, and the items will ship in late May.
 
In other Misfits news... there's still a chance the band's original lineup might get back together this year!

Dangerous Games: 'One Night Ultimate Werewolf' Board Game Review

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The chair creaks as you settle onto it. The candlelight flickers. All around you the ravenous faces of your so-called friends twist in delight as you slowly open the box laid out on the table. Welcome to Dangerous Games! Each week, we'll feature a horror/thriller/monster tabletop game you should be playing. Don't be scared… roll the dice… what's the worst that could happen? 
 
One_Night1
 
One Night Ultimate Werewolf (Bezier Games, Inc, 2014)
 
The moon is full! A plump, yellow, foreboding orb that spells doom (or feast) to you and your village. Are you the werewolf, destined to taste the blood of your fellow townsfolk? Or are you a villager, trying to find and exterminate the traitor in your midst?
 
In One Night Ultimate Werewolf, three to ten players take on various roles in a small town. In the short ten-minute game, players will bluff their way to either victory or defeat. At the end of this fun little party game, the werewolves win if none of their kind have been killed, and the humans win if they nab the monsters.
 
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Gameplay Mechanics
 
One Night Ultimate Werewolf starts with each player drawing an identity card. Some will be werewolves, most will be villagers. Either using an app the game provides or with the help of a narrator, the players all close their eyes for the "night." Then various types of characters do various things. Werewolves open their eyes and silently point to a victim they will kill. The troublemaker switches his identity with another player. The drunk randomly changes their identity. 
 
During the "daytime" phase, players argue, haggle, and vote over who they think is the werewolf. You're saying you're not the werewolf? Why should I believe you? He's saying he was the troublemaker? I don't believe him! Accusations, bargaining, and bold-faced lies rule the game. And the simple mechanics will take a second to learn. In the end, if the werewolf's been hanged, the villagers win. If an innocent has been hanged, well… see you on the next full moon.
 
Replay Value
 
This game got rid of the one aspect plaguing any good game of Werewolf: usually, a game consists of several rounds. After a round some players are eliminated from the game. Well, that's no fun. So they messed with the rules a little bit, and now we've got a quick game where everyone's in it until the end! Does this game have good replay value? Hell yes. You'll be pulling this game out every time more than three of you congregate in the same place. It will become your new addiction. You'll play it during class. You'll play it at Thanksgiving dinner. You'll play it in your sleep!
 
Overall Impressions
 
There have been numerous Werewolf games in the past. The game is actually a spin-off of a party game (that had no official rules and came in no box) traditionally called Mafia. More akin to a type of charades-style party game than an actual board game, Mafia was all about lying to and secretly killing your friends. Werewolf changed the setting to werewolves in a small town, and the game soon took off. It was then codified into rules by several different companies, but Ted Alspach of Bezier Games turned it into a masterpiece with Ultimate Werewolf. The game I just reviewed, his newest incarnation, is an awesome improvement. It's a fast party game with simple rules, and I've quickly fallen in love with it! But if anyone was asking… I wasn't the werewolf. I swear!

FEARNET Movie Review: 'Locker 13'

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In theory, an anthology horror film should be a great way for some filmmakers to put together a half-decent horror movie. As the V/H/S films (and, to a lesser degree, The ABCs of Death) have indicated, if you have a few dedicated squads of filmmakers (and some decent story ideas, of course) you can sew some short videos together with a simple framing story, and voila, you have a solid horror film. Or at least an amusing one.

 
But what happens when people with very few ideas (and even fewer filmmaking skills) try the same formula? The result is something like Locker 13, a broad, obvious, and consistently tiresome collection of "campfire tales" that are about as scary as a half-eaten donut. Given the final product's drearily predictable format, its 20+ producers, and its handful of familiar character actors in very small roles, it seems like Locker 13 was a quickie affair for virtually all involved. But here's what we got:
 
Story #1 (aka "the wraparound") is about a guy showing another guy around an Old West tourist town. The setting serves no real purpose; one simply assumes that one of the myriad producers had access to a set that looks like an Old West tourist town. Occasionally the tour guide (the excellent character actor Jon Gries) will point to an item on a shelf, and just like that we're headed to...
 
Story #2! Rick Schroeder (one of those producers) plays a loser boxer who becomes a killer after receiving a pair of haunted gloves. Since Schroeder is a pretty good actor, and since this story also features some low-key work from the also great Jon Polito, this section isn't too bad. It actually packs a simple but ironic "punch" up until its abruptly disappointing finale.
 
(Back to the Old West tourist town for a bit more nonsense blather.)
 
Story #3 is about a secret group of suburban guys who may (or may not) be part of an actual cult of evil. Again we have a story that goes nowhere new, but there's some decent indie-level 1940s period design here, plus you'll catch a few moments from Curtis "Booger" Armstrong and the always evil David Huddleston as a devious ringleader in a wheelchair. Basic stuff, but not quite terrible.
 
(Quick commercial message from Old West tourist town.)
 
Story #4 is where Locker 13 starts to go completely off the rails. Here we have the overtly New Yorkian character actor Rick Hoffman (Hostel Part 2) sporting a Mexican accent that would make Speedy Gonzalez cringe with embarrassment. Hoffman is an assassin who aims to mentally torture three women in order to get the information he needs. Not only is this story completely pedantic and dreary, but Hoffman's thoroughly cartoonish accent kills any tension that may have arisen. 
 
(Back to you-know-where for a second. Don't forget about that Old West tourist town.)
 
Our final story, kinda, is about a guy who wants to kill himself, only to find himself talked out of it by a stranger with unknown motives. It's as boring as it sounds, and doubly predictable. And THEN we trek back to the Old West tourist town, once again, for (get this) a half-decent Twilight Zone-y story about an unhappy janitor who somehow makes contact with himself from 24 hours earlier. This segment is as choppy and overlit as the rest of the film, but at least it has a few nifty twists. 
 
The end result is a 95-minute anthology that somehow manages to feel about three hours long. That the filmmakers are going more for "ironic thriller" than full-bore "horror" is not the problem. The problem is that, aside from a few fleeting moments here and there, Locker 13 is aggressively generic from stem to stern. As a die-hard fan of the horror anthology film, I take no pleasure in stating that Locker 13's few stray glimmers of quality are not worth the slog it takes to find them.
 

READ FEARNET'S PARTNER REVIEWS OF LOCKER 13

Display Your Love of Cthulhu, Satan or Bigfoot in These Classy Cardigans

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We know it's starting to get warm outside, but thanks to the folks at Fashionably Geek, we've come across some truly awesome monster-themed cardigan-style pullovers that just might make it worth sweating your ass off.
 
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Founded by Austin, TX tattoo artist Ezra Haidet, online shop Middle of Beyond debuted recently with a collection of 100% acrylic-fiber pullovers featuring truly epic monster artwork.
 
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The designs include classy portraits of H.P. Lovecraft's Elder God Cthulhu; the classic Sasquatch/Bigfoot; our favorite holiday demon Krampus; the Grim Reaper; ancient alien hieroglyphs; a blood-drenched werewolf (actually based on a wolf tattoo design, but it's totally a lycanthrope); and even a leering goat-headed Baphomet, which I think just might be my new look for Spring.
 
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Middle of Beyond is taking preorders now, with most designs currently priced at $70, and they're scheduled to ship next month. Check 'em out!

Emma Watson Sheds Her Skin in Creepiest Video You'll See All Week

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Emma Watson

There are some things in this world that are so bizarre that they simply cannot be explained, prepared for or even understood. We must warn you right off the bat that this is most definitely one of those things...

A YouTube video has just come to our attention that's simply titled 'Emma Watson Unmasks,' and it's quite possibly the creepiest goddamn thing we've ever seen. Running only 22-seconds long, the silent video begins with the Harry Potter star talking to someone off screen and it's not long before she lifts up a flap of skin on the back of her neck, peeling her entire face and chest away like it's a Halloween mask. Underneath the disguise? The super sexy Sofia Vergara.

Yea. Don't ask. Because we don't have the answers you're looking for. All we know for sure is that the internet is a scary, scary place.

Check out the nightmarish video below, and good luck trying to figure out exactly what the hell is going on in it!

Remind anyone else of those human skin masks that are causing quite a stir over in China?!

 

This Desert Frog May Be the Cuddliest Little Monster Ever

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If you've been traumatized, creeped or just grossed out by our “real monster” stories lately, I'm here to assure you there are plenty more to come... because let's face it, there's enough creepy material in the natural world to give us, our children and even their children nightmares for life. But on rare occasions we find a mini-monster whose only distinctive trait is being cute. This is one of those times.
 
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The desert rain frog (species Breviceps macrops) is a sand-dwelling amphibian native to the southern tip of Africa, living beneath the sand near the coasts of South Africa and Namibia. While it's unusual to find a typically water-dwelling creature in some of the driest regions on Earth, this little guy seems to be doing just fine... until recently, that is; his habitat is becoming increasingly threatened by road construction and diamond mining.
 
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Breviceps is a featured creature on I Fucking Love Science, who recently posted a video of the frog taken by wildlife photographer Dean Boshoff. In the clip, shot in the coastal town of Port Nolloth in the Northern Cape province of South Africa, the little guy demonstrates what Boshoff calls his “fearsome war cry.” I'm assuming he's being a bit sarcastic there, considering this thing sounds about as threatening as a week-old kitten. Awwwww, right?
 
 
Let's face it, it's tough to find an example of a truly scary frog. Unless, of course, you happen to find one in your salad...

Book Review: 'Rose of Sharon and Other Stories' by Gary A. Braunbeck

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Gary Braunbeck wants to scare the living hell out of you, but he isn't content to do so with the usual cast of characters – your vengeful ghosts, your monsters under the bed. Oh, he can (and will, and does) use those things, and to great effect, but he's also aware that those things are just shadows. In the hands of the truly skilled and talented (such as his), those things can frighten, but even the best constructed shadows can be banished with just a little bit of light. 
 
Rose_SharonBraunbeck likes to dig deeper, to find those things that scare us because they are real and relatable; things like loneliness and regret and ignorance and unfulfilled promise. Those are the types of things that go bump in the night in Braunbeck's collection Rose of Sharon and Other Stories, a group of stories that will haunt you long after you turn the last page.
 
I've written about Braunbeck's work here at FEARNET before, and will continue to do so as long as they let me, because I believe he is a writer who matters. His work, as showcased in Rose of Sharon and in any of the works discussed in the aforementioned article, demonstrates a clear understanding and expression of how people experience, process and deal with emotional pain. Not to mention that he knows how to spin a damn good yarn, how to grab you with the first sentence and refuse to let go.
 
Take "Need," for example, one of the many stories in Rose set in Braunbeck's fictional town of Cedar Hill. Reading the story is like picking up pieces of a jigsaw puzzle and examining them one at a time, the picture revealing itself to you in a series of disconnected images. As you begin to put the pieces of "Need" together you'll see that it's heading for a hopeless conclusion, but you won't be able stop yourself from following it through. 
 
"I Never Spent the Money" is like that, too, although told in a more traditional, linear fashion. It’s really just two guys in a bar, one old and one young, both full of remorse, talking about what might have been for each of them. One of them is determined to take a final shot at something he's always wanted to do, and damn the consequences. Braunbeck holds a couple of important reveals until the very end, things that could easily come off as trite if not handled properly; here, the impact is devastating.
 
"Mail Order Annie" is another highlight, and the closest thing you'll find to a traditional ghost story in this collection. It's a sweet story about a chance meeting at a snowed-in train station, and it features a rarity in Braunbeck's work – a truly happy ending.
 
If you're new to Braunbeck's work, Rose of Sharon and Other Stories is a great place to get a feel for what he does. There's straightforward storytelling sitting side-by-side with experimental sketches and short works that are more about an emotion or an exchange than a plot. There are made-up, movie-ready monsters side-by-side with humans on the edge, deciding if they're going to tilt to the good or give in to the evils of anger and desperation. 
 
A word to the wise: if you do pick this one up, don't read it all at once. There's not a lot of comic relief, and even though Braunbeck's storytelling ability makes it difficult not to charge from one story to the next, there's a lot of bleakness here. Trust me – you’ll want to pace yourself.
 

Blu Gilliand is a freelance writer of fiction and nonfiction. He covers horror fiction at his blog, October Country, and contributes interviews to the Horror World website. Follow him on Twitter at @BluGilliand

 

A Look Back at 'Buffy the Vampire Slayer' Season One

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The Dark Horse Comic, Buffy Season 10 was released earlier in March, and that's as good of a reason as any to look back at the start of the heroine's journey. (Also note that James Marsters and Nicholas Brendon are also a part of the Buffy Season 10 team, as writers. Ohmygodsoamazingwhat!)

During its run on television, and after, Buffy the Vampire Slayer inspired the creation of philosophical books, college courses, Joss Whedon's equally profound and fun spin-off series Angel, and countless Buffy-like fictional characters. Buffy herself became an icon of epic proportions. The show also changed the way people viewed television – not just in the experience of watching it, but how it was considered as a medium for telling powerful stories. 

Season One is where it all began (well, actually ... it all began with the Buffy the Vampire Slayer movie, but I digress) and it's interesting to see how some of the other seasons were foreshadowed in those first episodes, even though much was changed over the course of time. Looking back, one can also marvel at the grand scheme of things, as well as the organic evolution of the characters and their relationships with one another.

Rather than give summaries of the episodes, here are a few notes and thoughts on the first half of the first half of Season One (Though it will be as spoiler free as possible … Warning! Possible Spoilers!):

S1, E1/S1, E2: “Welcome to the Hellmouth” and “The Harvest”

Buffy (Sarah Michelle Gellar) is the new girl at Sunndydale High school, with new girl problems. But, alas, she still has a job to do. 

When Buffy meets Giles (Anthony Stewart Head) it's difficult not to think about how their relationship progressed, from his simply being her Watcher to him being more of a father to her than her own ever cared to be. And Willow's (Alyson Hannigan's) wide-eyed wonderment of Giles and his vast knowledge brings to mind how things played out between them in Season Six. Talk about an epic smackdown (more on that, and Giles, later). 

When Buffy and Angel (David Boreanaz) meet for the first time, you can carve the sexual tension with a knife…or a Slayer Scythe. Of course, the scene played up his mysteriousness and even hinted at what fans soon learned was just below the surface. Angel's change during the two shows was beautifully subtle, brutal, and at times hilarious. “Oh, Mandy! Well you came, and you gave without taking ...”

The introduction of Cordelia (Charisma Carpenter) brings to mind her evolution as a character, not just over the course of the show, but on Angel as well. Cordy 1.0 is vastly different from the woman she became during Angel– someone who would learn to adore weapons and fighting to save her friends, rather than adoring shiny pieces of jewelry and shopping (though she never lost her sense of style). Not to mention other ways she evolved.  

Willow's quip at the end of “The Harvest” about Buffy maybe being able to “blow something up” on a future adventure is even funnier, considering how things turned out. And, of course, the scene also brings to mind one of the best scenes at the end of Season Seven. “The Earth is [definitely] doomed.”

S1, E3: “Witch”

Amy! Poor, innocent, soon-to-be-evil Amy (Elizabeth Anne Allen). She never stood a chance. Much like she never had a chance at being a cheerleader. With a mother like hers, who needs enemies? 

Despite the episode being pretty heavy on Amy, it's difficult to say that much of the future situations and relationships (especially the pivotal one she would have with Willow) were really foreshadowed. Except for the fact that during the show she eventually turned into her mother, so to speak.

However, it's also interesting to note that this episode features a bit of foreshadowing about Spike (James Marsters), with Xander's (Nicholas Brendon's) line about railroad spikes. In contrast, Spike's change was the complete opposite of Amy's, and even more drastic. From “Big Bad” to admirable self-sacrifice for the woman he loves to selfless fighter of the good fight. As a side note, one (of many) of my absolute favorite scenes in all of the Buffyverse occurs in S7, E2: “Beneath You”. “Can we rest now? Buffy? Can we rest?”

Overall, though, this episode really shows the struggles of trying to live up to others' expectations, something that is still a central theme in Buffy's life, in the comics.

Speaking of the comics, did I mention that Buffy Season 10 is on shelves now? I did? Okay, good.

Stay tuned for more.

---

Nancy O. Greene started writing at the age of nine. Her short story collection, Portraits in the Dark, received a brief mention in The Year's Best Fantasy and Horror 2007. Other works have appeared or will appear in ChiZine; Lovecraft eZine; Cemetery Dance; Tales of Blood and Roses; Haunted: 11 Tales of Ghostly Horror; Shroud Publishing's The Terror at Miskatonic Falls; Dark Recesses; Flames Rising; Smile, Hon, You're in Baltimore! and others. She has a BA in Cinematic Arts (Critical Studies) and a minor in English (Creative Writing) from the University of Southern California, and is a former Fellow of Film Independent's Project: Involve.

10 Board Games Based on Horror Movies

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Last week we showed you an absolutely awesomefan-made Hellraiser board game, which you guys seemed to love as much as we did. Unfortunately, it's not the kind of game that's readily available for purchasing, but it got us thinking about officially licensed board games from the past, based on other fan-favorite horror flicks.

So as a follow-up to that post, here are 10 horror movie-inspired board games that you actually can purchase and play!

Dawn of the Dead board game

DAWN OF THE DEAD

Right around the time Dawn of the Dead shambled its way into theaters, a company called Simulations Publications, Inc. put out a board game based on the film, which allowed players to either become the zombies or the surviving humans. The game board was based on the shopping mall that the majority of Romero's second 'Dead' outing took place in, and the object of the game was to either kill the humans or secure the mall and eliminate the zombies - depending on which group of characters any given player decided to be. This game has become increasingly rare over the years, and typically sells for a couple hundred dollars.

Nightmare on Elm Street board game

A NIGHTMARE ON ELM STREET: THE GAME

Two years before the release of the infamous Nightmare on Elm Street NES game came Victory Entertainment's Nightmare on Elm Street board game, the first of two Elm Street-based board games that saw release in the decade that Freddy Krueger dominated. The board set up like a nightmarish dream maze, the object of the game was to navigate your game piece through the maze, and make it out before Freddy got a hold of you and ended your journey. Game cards dictated your movements, either escorting you through the maze and into the safety of the real world or serving you up to Freddy on a silver platter.

Nightmare on Elm Street board game

A NIGHTMARE ON ELM STREET: THE FREDDY GAME

So popular was Freddy in the 80s that he starred in a second board game in 1989, released by Cardinal Industries. Dubbed 'A Nightmare on Elm Street: The Freddy Game,' the game was much more elaborate than the previously released one, with three-dimensional walls bringing the board to life. The game board depicted Freddy Krueger's house and the basic gist was that one of the players was possessed by Freddy, while the other players were tasked with finding out whose body he inhabited and banishing him back to Hell. The game even incorporated the fears of each character/game piece, adding another layer to the fun.

Freddy vs. Jason trivia

FREDDY VS. JASON

More recently, in 2005, USApoloy released a Freddy vs. Jason trivia game, as a tie-in with the long-awaited cinematic battle between the two horror heavyweights. The game tested your knowledge of not just Freddy vs. Jason but also every single film in both the Nightmare on Elm Street and Friday the 13th franchises, jam packed with over 1,000 different questions. A die with different numbers of dead bodies on each side dictated what question from any given card you were asked, and scores were recorded on a fun 'body count' pad, which depicted a decapitated corpse. Not much of a board game, per se, but nevertheless a fun way to put your horror fan smarts to the test.


The Game of Jaws

JAWS

In 1975, Ideal put their own spin on Operation with the release of 'The Game ofJaws,' which was primarily comprised of a plastic, spring-loaded shark. After filling the shark's mouth with things like bones, tires and whatever else a massive Great White would swallow - Quint's body not included - players had to try and fish the objects out of its gullet, and the player who successfully removed the most items was crowned winner. If, however, you weren't careful in plucking them out, the shark's jaws would snap shut, knocking you out of the game. Though the original game is pretty rare and valuable, it's interesting to note that Ideal still sells the same game, under the name Sharky's Diner!

ALLIGATOR

Five years after the release of the Jaws game, Ideal made another go at it with a similar game based on the 1980 film Alligator, which allowed players to both feed the creature and remove food from his mouth. Again, the jaws snapping shut meant you lost the game, and were treated to a family-friendly jump scare. Looking back, it's quite odd that a film like Alligator was given its very own game, and I can only imagine that Ideal was hoping that the movie would end up being as succesful as Jaws. A truly unique piece of horror movie merchandise, and one that's incredibly hard to come by nowadays.

Alien board game

ALIEN

As we recently talked about here on FEARNET, Kenner ran into a lot of problems with their Alien tie-in merchandise, with many parents feeling that the movie just wasn't one that should be marketed to children. In 1979, the same year they released and subsequently pulled a Xenomorph figure from toy shelves, they put out the official Alien board game, which pit players against the titular monster. The idea was to be the first player to get your astronaut into the safety of a space shuttle, in the center of the board. Each player also had a Xenomorph game piece, which they could use to attack other players, and prevent them from making it to safety. R-rated fun for the whole family!

Frankenstein Mystery Game

FRANKENSTEIN, THE WOLF MAN, DRACULA, THE CREATURE FROM THE BLACK LAGOON & THE MUMMY

In the early 1960s, Hasbro capitalized on the success of the Universal Monsters, releasing board games based on all the studio's most popular monster properties. The 'Mystery Games' were all more or less the same, with the main differences being the artwork, themed after each of the movies. They were all simple spinner games, with players trying to avoid being captured by the monsters. As FEARNET's own Giaco Furino mentioned in his post about five vintage vampire board games - which featured the Dracula Mystery Game - it's the unique artwork that makes these games so intriguing, all these years later.

Candyman board game

CANDYMAN: FAREWELL TO THE FLESH

Yes, there is indeed a board game based on the 1995 sequel to Candyman. If you're wondering why you've never heard of it, that'd be because it's a pretty rare promotional item, which I was able get my hands on a couple years back. A tie-in with the release of the film, the game included a simple board - depicting New Orleans - as well as cards, a die and generic colored game pieces, and the object was to navigate through New Orleans, and make your way to the 'Family Mansion' spot. Getting five 'Candyman' cards served as the game's way of making you say his name five times in the mirror, which conjured him up and resulted in you losing. There are also 'Hook' cards, which allow you to become Candyman, and attack other players. A true gem, in the annals of horror movie promo items.

The Shining board game

THE SHINING

We round out the list with an elaborate fan-made game based on The Shining, which is notable for being produced with the assistance of Stephen King himself. It was published and made available on the internet in 1998, and King was in fact the very first person to test it out. One player controls the evil force inside the Overlook Hotel while another controls the Torrance family, and the Overlook's layout is depicted on the game board. The goal for each player is to essentially drive their opponent out of the hotel, and both found objects and paranormal means are used to do that. You can still download and print out the game, for free, over on the Microgame Headquarters.

Continue the board game fun by checking out our favorite vintage games based on horror TV shows!

This Anatomically Correct Body Art Will Blow Your Mind [NSFW]

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body art

What you're about to see is awesome. Like, really awesome. But it's also NOT SAFE FOR WORK, for there are genitals on display. So wait until your boss runs to the bathroom, or hold off on scrolling down until you get home. Ye have been warned!

As we spotted over on Beautiful Decay, body painter Johannes Stoetter is one of the best in the game, and it's not what we adds to his human models that makes his work so special, but rather what he takes away.

Anatomical body part

Using his paint brush like a surgical scalpel, Stoetter effectively peels back layers of skin from his test subjects, revealing the anatomically correct shapes and forms that are covered up by all that flesh. Organs, muscles and veins are all on display in his most eye-catching works of art, which are as beautiful as they are gruesome.

Anatomical body art

While some of his body art is 100% medically accurate, and true to the human form, other pieces are a bit more abstract, as he puts his own spin on the inner workings that keep our blood pumping and our hearts beating.

Anatomical body art

anatomical body art

See more of Johannes Stoetter's incredible body art over on his official website. Trust me when I say that it gets even more wild and abstract than what you see pictured here!

Nicholas Vince Chatters: An Interview with a Cinema Cenobite

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Nicholas Vince has not acted in twenty years due to a combination of things, including the unfortunate passing of his father. Yet he remains in demand with fans at horror conventions today as much as he did decades ago. It is on the strength of two characters, both created on the page by Clive Barker and brought to life by Nicholas Vince - the "Chattering Cenobite" in Hellraiser and Hellbound: Hellraiser II, and the role of "Kinski" in Nightbreed.
 
Nicholas was in town recently for the Monsterpalooza Convention, and swung by Dark Delicacies to drop off copies of his latest book. Nicholas is a delightful man, with a very evident lust for horror. The following interview was conducted in the car as I drove him from Dark Delicacies to his hotel room prior to his flight back to England.
 
Nicholas_Vince2
 
FEARNET: Why did you decide to start writing prose?
 
NICHOLAS VINCE: I was encouraged by Clive (Barker). He said, "You're intelligent enough to write. You really should have a go." This was back in the days when we were doing Hellraiser and he encouraged me to do the comic books.
 
That was your first stab at prose? As it is actually more like scriptwriting.
 
Yes, absolutely. I mean it was a fascinating thing to do because you have to think "How much dialogue, how many panels have I got, how am I going to tell this visually as well as with the dialogue?" Then, when I left the business, I left writing because I had to eat. Then, a couple of years ago, I thought "Okay, I'm going to do this now," and it was just brilliant. I'm going to sit down and write stories. That was it, really. It is what I want to do, and I'm going to do it.
 
Did you have stories running around in your head up to that point that you felt you had to get out?
 
Well, one of them particularly, "Green Eyes," which appears in What Monsters Do (August 25, 2012). I originally wrote it back in the 1980s. I had this idea and I found whole loads of notebooks with story ideas, stuck away in drawers, a lot of which were basically story ideas that were nightmares that had been written down when I woke up in the morning. 
 
Did you find them very cohesive, or just as a springboard?
 
Just a springboard. Like all of these things, you've got an idea, there's a scene... as a matter of fact, when I published the second book (Other People's Darkness and Other Stories, March 1, 2014), I thought: Great, I didn't have to write short stories for a while and could take just a little bit of a breather. Literally that night I had a nightmare. I had a complete scene in my head and I just heard the voice of the narrator. Yeah, I'm writing again.
 
Now you've got two books of short stories, and you're going to switch up what you're writing again?
 
Yes, in two ways. I'm going to be doing a horror anthology film, which actually kicked off last year, but then got delayed.
 
You wrote it?
 
I've written a section of it. I'm working with a director who's worked with Doug Bradley (on a short film called A Hand to Play). He's a gentleman called Mike Clarke. He's a really talented guy, a really nice and interesting guy. So I wrote that script last year. The idea is to get some other writers and directors in and we'll write together. Then I'll probably begin acting in another story as well… I'm going to return to acting as well. So I'm writing film scripts and I'm also working on a new play. We've dramatized two of the short stories from What Monsters Do.
 
So it's a horror play?
 
A horror play. Two one-acts, an hour long. It received 4 out of 5 stars fromViews from the Gods, a London website. This was for the London Horror Festival. I'm now writing a full length play which is about ghosts. It's told from the ghost's point of view, and theater ghosts. 
 
Are you thinking of writing a full-length novel?
 
I'm really hoping my short stories are going to grow up into full-length novels. In my second book, the short stories got longer as I kind of gained confidence. The word count went from an average of about five or six thousand to around about nine or ten thousand. So what I've agreed to with my editor and my husband and a really good mate of mine is that I'm going to produce three proposals for novels, which they are then going to review. Then I'll take their advice as to which one to work on next. I'll probably really start work on that in June or July, which will probably be July/August.
 
Nicholas_Vince1
 
You're also getting back into acting…
 
I'm getting back into acting. I was really fortunate that a couple of people have asked me to do things for them.
 
How long has it been?
 
Twenty-odd years. I actually went back to drama college. I went back to the Royal Central School of Speech and Drama for an 8-week course, "An Introduction to Acting." Acting 101. This is twenty years. I don't feel comfortable. I just need to go back and think about this and remember what it's like. I did one day's filming for a thing called M is for Metamorphosis. A short three-minute film; one day's filming. I play a nefarious doctor. I was also recently asked if I would like to play a really evil clown.
 
Someday, a good guy, huh?
 
Funnily enough, in May I should be shooting a movie which my husband might actually watch (he's not a horror fan at all). In the film I play a manager of a home for people with Down Syndrome. A nice guy who is worried about the hero of the film, who is a Down Syndrome guy who is going through that whole thing about growing up and leaving home. Put it this way: I was in tears when I read the script. So I've got that as well, and I'm appearing in a documentary about Borley Rectory, the most haunted house in Great Britain. It has Reece Shearsmith from The League of Gentlemen in it; very prestigious. I'm really looking forward to it. 
 
You've got a full plate. But you'll be coming back Stateside?
 
Yes, I'm in Texas the beginning of May, and I'm going to be in Atlantic City and Chicago later in the year. I'll also be at Dark Delicacies. I'm looking forward to that. Cheers.
 

Del Howison is a journalist, writer and Bram Stoker Award-winning editor. He is also the co-founder and owner of Dark Delicacies, “The Home of Horror,” in Burbank, CA. He can be reached at Del@darkdel.com
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