Showing posts with label Horror. Show all posts
Showing posts with label Horror. Show all posts

Tuesday, October 15, 2013

Vampires, Imagined and Historical

Much of the modern lore of vampires originates from a place called Transylvania, in part, due to the literary influence of Bram Stoker's original masterpiece, Dracula.  While many people know that, fewer know exactly where this is, and the history surrounding it.

Transylvania is located in what is now Romania, just to the west of the Black Sea in Eastern Europe.  The earliest mention of it as a political entity was in the 11th century, when it was a province under the Kingdom of Hungary.  It has also been a part of the Ottoman Empire, the Habsburg Monarchy, and the Kingdom of Romania.

The region of Transylvania is a temperate plateau, bordered on several sides by the Carpathian Mountains, and most well known for farmlands and castles, many of which have been the inspiration for literary works such as Dracula.  In German and a number of Eastern European languages, the region's name translates to English as "seven cities" or "seven fortresses," a tribute to the colonization of the area by Saxons in the 12th century.

The Hunyad Castle, Transylvania, Romania, © Wikipedia user Koponya25

While Bram Stoker's novel has influenced much of the English-speaking world's view of Transylvania, stories from the region itself influenced Stoker to write it in the first place.  A Hungarian writer friend of Stoker's, Arminius Vámbéry, is said to have shared with him much of the Eastern European folklore, legends, and mythology that formed the basis for the original manuscript of Dracula.

The name Dracula comes from the historical figure Vlad III, Voivode of Wallachia.  His actual name was Wladislaus Dragwlya, of the House of "Drăculești," or translated, Vlad III Dracula.  He was the son of Vlad II Dracul, the patronymic whence the name Dracula originated.

Dubbed "Vlad the Impaler" after his death in late 1476 or early 1477, he was both hero and villain, depending on source of the tales about him.  In Romania, he was revered for his protection and defense of the country; to his enemies, he was a terrifying conqueror known for torturing and executing those he defeated in the cruelest of ways.

Vlad Ţepeş, the Impaler, Prince of Wallachia, anonymous, 16th Century, Public Domain

Folklore involving the dead is quite common, and is the source of much of the vampire lore of today.  One tale that may have been related to Stoker by his friend Arminius Vámbéry is the tale of Petar Blagojević, an 18th century peasant from the town of Kisilova (now Kiseljevo), in northeastern Serbia.  Petar died in 1725.  His death was followed shortly by the deaths of a number of other villagers, each who died rather quickly after short, mysterious illnesses.  A large number of people died in the village the year Petar died, including over thirty children.  The survivors traced these deaths directly back to Petar as those who died claimed on their deathbeds to have been visited by him.

Most of the residents in the tiny village don't care to relate the tale.  To them, it's a stigma on the town that drives others away.  But some talk, if asked nicely enough.  As the story goes, the night it all started was dark and ominous, heavy with fog.  Nine people died in a span of just eight days, each claiming on his deathbed to have been visited by Petar, who had been the first to die.  Before they died, each victim said that Petar had come to their beds and had choked them during the night.  Petar's wife also claimed he had visited her in a dream, asking for shoes.  Other accounts say that Petar's son was brutally murdered after refusing to give him food when he came back to visit.  The mysterious deaths continued.

Village authorities finally ordered Petar exhumed, a full two months after his death.  He was allegedly found in the opened grave, still partially alive.  He had not rotted as a corpse should have; he was still lifelike, his lips still with fresh blood in them.  The villagers were so frightened by this that they demanded action be taken, even against the wishes of the local Austrian official.  They pulled Petar from the grave, stabbed his heart with a sharpened stick, and then for good measure, burned his body at the stake.

After Petar's death and the successive deaths of many more in the village, rumors of what was happening there spread to officials in the local Austrian government in Beograd.  Frombald, the Imperial Austrian head of the locality released a report to the Viennese newspaper, documenting the first recorded instance of vampires in Europe.  And at the request of Frombald, the Austrian military government dispatched a consignment of men to determine whether there were real vampires there, and if so, to determine if it signified the start of a vampire epidemic.

Ultimately, the Austrian commission could not make a determination, but that didn't stop the spread of rumors and tales of spreading, nor did it stop people from taking preventive measures against an outbreak of vampires, real or imagined.  Other such stories exist of vampires in the area at that time.  In each, the bodies of the dead were said to have looked alive, with fresh blood, and newly grown fingernails and hair.  A rash of such incidents of "vampire eradication" spread, where the newly dead were exhumed from their graves, staked in the heart, and burned.

Even today, the legend remains in the village.  Many of the younger generation are leaving, whether because of the tales or just to find work elsewhere, it's hard to say.  But the village is dying.  Few but the oldest denizens are left.  They remain, as does Petar Blagojević, who is still said to haunt the area.  A curse has even originated from the village: "Dabogda te Pera posetio!" - "May Peter visit you!"

The Premature Burial, by Antoine Wiertz, Public Domain

But is there scientific evidence vampires existed?  Maybe.  A while back in Poland, archaeologists found "vampire graves" on a construction site.  The remains buried there were decapitated, and their heads placed on their legs to ensure they stayed dead.  This finding is in line with the older, broader definition of vampires from the Middle Ages, but as with the story of Petar Blagojević, we find little in the way of empirical data.

In the field of medicine, there are a couple of interesting maladies that share symptoms with the more common legends of vampires.  Porphyria is one such malady, a genetic disorder that causes blisters, itching, and swelling of the skin when exposed to sunlight.  Other medical conditions which might lend themselves to such legends are catalepsy and catatonia, which cause states of unresponsiveness, something that without adequate medical training or facilities available could be mistaken for death.  Again, nothing that would indicate evidence of actual vampirism, but possible evidence explaining the root causes of such tales and superstitions.

The Vampire, by Philip Burne-Jones, 1897, Public Domain

So while there is no solid evidence supporting vampirism, the folklore remains.  The story of Peter Blagojević and others like it are quite common, and aren't confined to lore from Eastern Europe or the Balkans.  Vampire stories are rife throughout Western Europe, the Americas, and the rest of the world.  In fact, there are versions of the vampire found in almost every culture on Earth.

As with many such legends, most can be traced back to old wives' tales which attempt to put the inexplicable into terms which could be coped with, as strange as such terms may sound now.  Many of the signs of life as reported in these vampire tales can be explained by modern medicine as the signs of rigor mortis, or other common effects of death in a body.

But just as importantly, all such legends aren't likely to be completely disproved, leaving room for that one minute sliver of doubt in the mind, that one single thought in the back of the subconscious that allows us, every great once in a while, to believe they are true.

Quick note: several of the links in this post are in Serbian-Croatian, which is fine if you can understand them.  For those who can't, I suggest dropping the Internet addresses for them into Google and clicking on the "Translate this page" link.  It'll provide a rather shitty auto-translation that should get the job done for you.

Friday, January 4, 2013

The Next Big Thing

I was tagged by Luke Walker in his The Next Big Thing blog post chain. It's taken me a little while to respond, because well, I wasn't sure I was interested in writing about stuff I was writing. I don't post a lot of what I do, because I don't feel it's right for me to do it. If it's not edited and published, it's probably not my best work, and I don't want to present it until then. This is a bit different, with more of an interview style to it, so I decided to play along. Here goes:

1) What is the working title of your next book?

The Chiaroscuro Portrait. And I so hope that title sticks. They say titles are changed 60% of the time in publishing, which is a pretty decent amount of the time. I have stories whose titles I know will be changed, and that's perfectly acceptable. This one I hope sticks, because it's a really cool title, and it fits the story so very well.

2) Where did the idea come from for the book?

Heh! It came from a doxycycline-fueled nightmare in Afghanistan a number of years ago. Doxy is an antimalarial medicine and was required for us there at the time. It's said to cause stomach unrest and weird dreams. I got none of the stomach unrest and all of the weird dreams, all the time. Lots of folks get their stories from dreams. That's not really earth-shattering. This dream was so wickedly weird that I awoke in a cold sweat, powered on the laptop and pounded a 500-word summary before I forgot what I dreamed. And then I got ready and went out to grind out a long workday just like always.  I wrote the rest of the story during that deployment.

3) What genre does your book fall under?

Young Adult horror. I originally wrote it as adult fiction, but the characters' ages, coupled with the issues they faced in the story, really suit it better for young adult. And with the move to darker YA titles nowadays, it seems like perfect timing.

4) What actors would you choose to play the part of your characters in a movie version?

You know, a lot of people describe their books as making great movies, or being perfect for the silver screen, but I don't think this one would. While it could probably be adapted to a decent movie script, I think unlike some of the other stuff I've written, this story is better told in printed form. If pushed, I'd have to say I'd like to see brand new actors take on the roles for it. I believe a story in film is a little cleaner if the audience isn't watching the performance of their favorite actors and actresses, but rather concentrating on the story itself.

5) What is the one-sentence synopsis of your book?

After his childhood crush comes back to life, Toby must learn how Julie can escape the hellish memories of death, and what it will cost.

6) Will your book be self-published or represented by an agency?

I am currently seeking representation for it.  While the lure of higher royalties in self-publishing is tempting, and while it would be edited and proofed professionally in either case, I feel it's still a better option to go the traditional route with this novel, especially at this point in my career.  I don't think I'd be doing the story justice otherwise.  I don't tend to view literary agents as "gatekeepers" as some authors do, but rather as those who offer ladders in the difficult climb to the top of publishing.  Sure, you can climb the cliff on your own, and a few have made it just fine on their own.  But most don't, and even though there are only so many ladders to go around, they provide a huge advantage.  Besides, if you're doing what it takes to impress an agent to accept your manuscript, you've already taken the first steps to enticing editors and publishers, and by proxy, future readers.

7) How long did it take you to write the first draft of the manuscript?

The first draft went rather quickly.  Three months, I think.  Of course, with adequate time to write, and a story that practically wrote itself, it wasn't that hard to do.  Since then, I've edited it a number of times, and it's gained and lost a considerable amount from the original.

8 ) What other books would you compare this story to within your genre?

I'm a little ashamed to say that's a tough call.  I'm not by nature an aficionado of young adult literature, although I am reading more in the category now that the girl prodigy is reading it profusely.  The fact that this story is young adult is rather coincidental, really.  I like horror, and in that respect, it reminds me a little of Stephen King's Carrie, but without the "documentary" feel.  Some of the themes are the same, with young protagonists in social environs that they're not really all that equipped to handle yet.  It also has some darker parts that deal with certain taboo subjects like death, religion, and the like.  It's quite a different story, of course, and ostracism isn't key to the plot, but there are similarities in how it feels.  I would be lucky to have it see a fraction of Carrie's success!

9) Who or what inspired you to write this book?

The dream I had was the only real inspiration I had or needed.  The title was a bit trickier.  The story didn't actually have a title for the longest while.  I had inspiration, an image of what I wanted, but no title.  I wanted to convey the concept of following eyes, of a portrait painting being almost alive in its detail and realism.  And then I came across the chiaroscuro method of painting, the use of strong contrasts of light and dark to give a picture a three-dimensional feel and pop it off the canvas.  That concept plays rather well into the story.

10) What else about the book might pique the reader’s interest?

I like the relationship between the two main protagonists in the story, and how things are much different in retrospect than they were at face value before.  There's more honesty after the events that form the basis of the story, something not really probable with teenagers facing normal social situations.  The self-consciousness and inexperience Toby has as a teen facing his lifelong crush is rather poignant at times, and lends well to the story.  I also set the story in a small town outside Spokane, Washington, near where I grew up.  It's a fictional town, but anyone who grew up in the Palouse country wheat fields of Eastern Washington would recognize it as any number of the small towns there.

No one else comes to mind when thinking of who to tag for follow-on posts of their own, so if you've got something burning, feel free to take this and run with it.  Let me know and I'll edit this with a link.

Wednesday, October 31, 2012

Zombies!

It's Halloween, folks, and that means it's Zombie Preparedness Day.  They're coming.  They'll be at your door tonight.  Will you be ready?

Zombie Walk 2009 © Katja Sarijeva and Piak


Zombies have largely been myths and legends over the years.  People have disregarded them as nothing more than fictional mayhem, a fun little scare to conjure during the late autumn months when the pumpkins ripen and the corn is ready to eat.

Zombie Walk 2009 © Katja Sarijeva and Piak


But we're now finally taking them seriously.  We're preparing for them.  In fact, today in San Diego, hundreds of Marines, Sailors, Soldiers, police, firefighters and folks from other disaster response organizations will conduct Zombie Apocalypse Training.  That's right - real life training for a zombie apocalypse.  Their goal is to train for preparedness in the case of a natural or man-made disaster.  Or, you know, a zombie outbreak.

Zombie Walk 200 9 © Katja Sarijeva and Piak


So what makes a zombie tick?  Why do they act the way they do?  They're slow, shambling, stumbling; they're after your brains.  But why?  Steven Schlozman, MD, an assistant medical professor at Harvard Medical School explains:



Well, that was comforting.  Or disturbing.  Whichever.  If it helps prepare you in any way for the impending apocalypse, I have done my job, and I'm proud of that.  Helping humanity through troubling times.  That's my job.  That and occasionally scaring the bejeezus out of folks.

But how did zombies get that way?  We've heard of zombies for centuries.  There has to be some kernel of truth behind the legends, some ghost of reality that caused people to repeat these stories and perpetuate the myths.  Let's go to Haiti to find out:



Again, a bit disturbing.  But on Halloween, that's a good thing, right?  I think so.  In fact, what's the holiday without a whole lot of gore and a little terror, anyway?  If you aren't scared at least once today, you're not living.

We plan on getting scared.  Plenty.  We have a list of great horror movies lined up for tonight, including some pretty good zombie flicks like Zombieland and Shaun of the Dead.  Yea, we like a little comedy with our horror around these parts.

How about you?

Update:  The House of Dalar was in full zombie mode last night.  Those little trick-or-treaters really earned their candy, let me tell you!


Thursday, January 12, 2012

Movie Review: Carrie

In light of recent news that a remake of Stephen King's epic horror story Carrie is in the works, I thought this a perfect opportunity to do a review on this story.  It was originally a novel - King's first of many masterpieces - but I'm primarily reviewing the movie here.  The movie differs from the book a good deal, which this gives me a chance not only to address those differences, but to speak my mind on the prospect of a remake, which I'll get into a little later.  And truthfully, this is as much a book review as a movie review.  I'm calling it a movie review because I address the movie more so than the novel, even though the novel is the far stronger work.


Photo © Jonathan Dalar

The story opens with the scene in the shower, where Carrie has her first menstrual period.  It's a total shock to her, and understandable as we learn later from a glimpse into her upbringing.  The scene is gratuitous, graphic, but necessarily so.  It provides stark contrast between Carrie and the other girls in the school, and lets us know immediately as viewers just what that relationship is.  It's a wonderful example of an author showing, not telling, in a story.

It's a solidly character-driven story.  As it progresses, it's really more about the characters and their relationships than it is about plot.  It's about Carrie's fight for normalcy, and her fight against her mother's abuse and restrictive parenting.  The reasons for this are explained much more clearly in the original novel - Carrie's mother is overcome by fundamentalist religious mania, exacerbated by signs of mental illness.  Her mother abuses Carrie and further complicates problems at school because of her eccentric, authoritarian behavior.

We begin to see that the writing's already on the wall for Carrie as the other students begin to make vicious plans behind her back.  She's naturally skeptical of her new-found fortune when she is invited to the prom by one of the cool guys in school, but eventually believes his sincerity.  And he is sincere; those plans are being made without his knowledge as well.

It's definitely a horror story; without those elements, there is no story, simply a teenage girl learning about coming of age.  A large part of that horror is the interaction between the characters.  The horror of human treachery, deceit, and cruelty is often far worse than any amount of blood and gore.  It's a more cerebral horror, one that creeps up on you in the night, when you're not expecting it, instead of slapping you in the face.  And this is where Carrie shines.  The pacing is slow enough to allow the viewer to think about the base evilness at play before much of the action actually happens, and the foreshadowing, as we learn more about Carrie's terrible secret ability, allows suspense to build to the climax.

To me, the key moments in the story are the first moments of the prom, before things turn ugly.  Carrie is there, beautiful in her new dress, the school's star quarterback on her arm, and basking in the sudden but welcome changes in her life.  She has defied her mother's wishes by attending, and she is surprisingly thrust into the roll of prom queen, no longer an outcast.

That moment is key, because it is a life-changing moment, no matter what happens after.  At that precise time, we as viewers recognize that if she were to continue along this path, allowed to escape the devious plans set up for her, her life would change forever for the better.  No longer would she have the crippling self doubt, fearing ostracism and torment from the other students.  And if those plans continue unopposed, the point of no return in the opposite direction will have been reached.

Several things in the movie differ from the novel, and the ending is one such critical difference.  In the movie, the story's ending is weaker, even as it is more prolonged and expanded upon.  Sometimes telling less of the story is a good thing.  Much like lingerie, forcing one to guess what's underneath often does wonders for the experience.  We know what happened without being explicitly told, which allows our minds to fill in the lurid details.

Throughout the novel, we are given excerpts from newspapers, legal documents, and personal accounts of the incident.  We're told the story from the perspective of a town trying to regain composure and put all the pieces back together, both the pieces of the shattered community, and the details of exactly what happened.  In the movie there is none of this, and we lose that perspective, which is a vital one.  That perspective allows us to take a closer look at some of the reasons behind the actions.  Gaining the insight of intent and motive allows us a more intimate experience.

There's nothing new under the sun, and that's especially true in Hollywood, where it's easier to stick to the tried and true formulas and endless sequels and remakes.  After all, they've already established a pattern of success, making it easier to build future success from.  But if they're going to do a remake, Carrie is an excellent candidate.  After all, it's been 36 years since the original hit theaters, and it's one of the best classic horror films of all time.  The original movie is quite obviously set in the 1970's, so a remake now would have a completely different feel.  To put it in perspective, it featured John Travolta in his debut movie roll.

My take?  This new remake could be awesome, and it could be disastrous.  If it sticks close to the novel as it's rumored to, it'll likely be great, because the novel's key themes of ostracism, child abuse, peer pressure, and the limits of human psychological endurance are what drives the horror home.  It could also provide a fresh look at the story, updating it with a more modern take, which could be a boon for the younger generation of horror fans.

It could also flop badly, at least in terms of the retelling, if not the box office.  Having Lindsay Lohan play the leading roll of Carrie would be, in my humble opinion, a bad decision.  It's not that she couldn't pull it off in terms of personality and looks, it's that she's over a decade too old for the part.  She wouldn't make a very convincing Carrie at all, especially not considering the opening credits when Carrie has her very first period.  Hailee Steinfeld, reportedly also in consideration, would be a much better option, as she did a solid job in the remake of True Grit.

So, yea, I have high hopes for the new movie, even as I have reservations.  There are so many more great tools available to movie makers today, with advances in CGI and other special effects.  And even with some of the recent disappointments in mind, this could be the epic rebirth of a classic horror tale, the opportunity to bring the story from the old, yellowed pages of the original novel to the silver screen the way it should be done.

Both the book and movie versions are available.

Thursday, November 3, 2011

National Novel Writing Month

It's that time of the year, when inspiration strikes and authors around the globe begin madly writing.  NaNoWriMo is an interesting and very challenging concept, begun in 1999, designed to help jump start someone into actually finishing a novel, often for the first time.  The goal is to complete 50,000 words in one month.  It's a lofty goal, but one that often works exactly as it's designed to do.  I'm seeing a ton of folks doing it this year, and that's a great thing.  Keep at it, boys and girls!

I'm not participating this year.  Obviously it's not because I don't believe it's a great idea.  It is.  It's just not what I need to be doing at the moment.  I have a stack of finished novels already.  I can crank out another one to add to the pile at any time, and actually have two of them I'm dying to finish.

But priorities being what they are, I'm putting them off for now because I have editing to do.  I'm still working with my editor on Separate Worlds, and will be working on another novella to follow in my foray into the self-publishing world.  As such, they're short term goals, and that is what needs to occupy my mind and my time this month.

And when I'm not working on those projects these days, I'm doing a final edit on the first three books of the Plexus.  That's a much larger project, and one I need to spend some concentrated effort and time on.  It's a whole lot of fun, but it's also a ton of work, something I really shouldn't cut away from to write another book.

I'm tempted to, though.  Boy am I tempted to!  My next two books are very exciting ones, and I'm dying to get into them.  One's a dark murder mystery involving a ghost in Spokane's famous 1909 Looff Carousel.  The other is a chilling tale of horror based on the story I related a couple of posts back, about that terrifying experience on Mount Ellis in Southwestern Montana.  Yes, I want very badly to jump aboard, even a week or two late and throw myself into one of them.

But I can't.  It would be counterproductive, which is the exact opposite of what NaNoWriMo is supposed to accomplish.  NaNoWriMo is supposed to get you off your butt and working on that novel, and working on one of those, while productive in the sense I'd finish up another novel, isn't what I need at the moment.  I need those finished novels edited.  I need to concentrate on getting them perfected and polished further, so they'll be ready for publication.

So, those of you participating this year, know that I'm extremely jealous, but at the same time, I'm perfectly happy editing instead of writing.  The Plexus is a fantastic story, and one I simply must get perfect.  In baseball terms, it's two outs, two strikes, bases loaded in the bottom of the ninth in a tied game.  Sure, I can win the game with a single, but it's a grand slam waiting to happen, and it's up to me to deliver.

And that's why we edit.

Monday, October 17, 2011

The Most Terrifying Night of my Life

It happened back in 1990, when I was living in Montana.  My buddies and I used to hike the trails and wilderness areas of the Bridgers, the Gallatins and the Absarokas, year around.  We were well familiar and perfectly at home there, no matter the time of day or year.

One meadow in particular, below the 8,300 foot Mount Ellis, in the Gallatin Range was a favorite.  I've climbed the peak itself hundreds of times if I've climbed it once, and I've been to that meadow many more times than that.  My high school, named after the peak, holds an annual race to the top.  I won the race four years straight, from 1985 through 1988 primarily because I knew which exact routes were the fastest to the top.  I knew that whole wilderness area as well as my own backyard.

The meadow was beautiful, nestled between the surrounding mountain tops, with pure, ice-cold water gushing out from several natural springs into a small tributary of the trout-filled Bear Creek below.  It ran northwest-southeast, at the base of the ridge between Mount Ellis and the lower Mount Wilson to the north.  It was the idyllic place to camp, relax, and enjoy the beautiful Big Sky wilderness.

Google Earth image of the meadow, looking north, with a snow-covered Mount Ellis at the lower left.

And then it changed.  I don't know when it did, but it was palpable.  Somehow it was completely different.  It happened gradually at first, so gradually that we initially ignored the nagging feelings of uneasiness we felt there.  The feeling grew stronger though, until it could not be ignored.  It was a feeling that something just wasn't right, that we weren't alone up there anymore.  We were being watched.  We were intruding, and whatever was watching us did not like us very much.  We couldn't put our fingers on it, but it was impossible to disregard.


Topographic map of the meadow, looking north, with Mount Ellis at the lower left.

I distinctly remember trying to hike up to the meadow that summer, only to find myself running back down the trail, scared to death.  There was no physical reason for it; I just couldn't do it.  There was something malevolent up there, and I knew somehow I was in danger if I stayed.

As summer turned to winter (there really isn't much of a fall in Montana), it turned more palpable, more deadly in its intent.  The boys and I talked about it several times together in the "Dwarven Bowling Alley", the low, long attic hangout that also served as my bedroom.  All of us had felt it, and in the same way.  None of us could put our finger on just exactly what it was.


Google Earth image of the meadow, looking south, with the slope to Mount Ellis at the upper right.

And we weren't the only ones.  I know a girl who tried riding her horse up the trail and was bucked off when the horse first refused to go up it and finally bolted in fear.  I know of several other people who came back down from the area and wouldn't go back up under any circumstances.  There was something up there, and everyone who ventured into its radius felt it.  Inexplicable, irrational fear was the common theme.

We had a lot of different theories about what it was, but since it wasn't anything more than a mutually shared feeling, it was hard putting any amount of accuracy to them.  We speculated it might be some sort of human ill-intent.  A recent bust in the area had shed light on the fact the mountain was being used as a drop point for drugs.  We also thought it might be a wild animal such as a mountain lion, as the big cats were quite common in the Gallatins.  It could possibly be rabid, or otherwise unsound of mind.


Cougar, © Wayne Dumbleton

Supernatural activity of some sort could not be entirely out of the question either.  Just down the road from the trail head to the mountain we knew of a field littered with arrowheads and chippings.  It was at least an old Indian encampment, if not a religious place or burial ground.  These were all theories, though, and none of them could explain what we felt.

It came to a head one cold November night in the strangest of ways.  Nothing about the incident served as concrete evidence, but when you take everything in perspective, coincidence seems like a pretty bad bet to take.  In fact, the odds of everything happening as it did would be astronomical.

We'd made plans to go up camping in the meadow on the weekend.  Mitch*, one of my buddies, was off on Friday and wanted to go up a day early.  Both I and another buddy, Rick, had to work, but we'd join Mitch the next day.  I had a job slinging sliders on the mid shift in Bozeman then, so I was able to take Mitch up to the drop off point that Friday afternoon before work.

I hiked with Mitch to the meadow so Rick and I could find his shelter easily the next morning.  He decided to camp under a cluster of large trees on the lower side of the meadow, not far from the trail leading into it.  I left soon after, still with that same uneasy feeling I'd felt before, and if memory serves me correctly, I ended up running most of the way back down to the trail head.  All the way back, I had that same uneasy feeling of being watched.


Gallatin Range, near Bozeman, MT circa. 1990 © Jonathan Dalar 

Later at work that night the feeling hadn't gone away.  It usually wore off after leaving the meadow, but this time it intensified, and was to the point where I was on edge and jumpy, my skin crawling with fear.  It seemed like there was something behind me, watching, waiting, no matter what I did.  Finally I was going out of my mind in stark terror.

I worked for a while, but something was terribly wrong.  I could feel it.  It was a feeling of sheer paranoia, and I couldn't shake it, no matter how I rationalized it.  It finally got so bad I'd had enough.  Mitch was in danger and I had to go get him.  I told my boss I was quitting early for the night.  She didn't want to let me off early, but I finally informed her I was leaving no matter what she said.  I told her it was an emergency, even if I had no idea what kind of emergency it was.  I was scheduled to get off work at two that morning, but it was just past eleven thirty when I left.

As I drove home, my hands actually shook at the wheel.  At one point I was trembling so badly I could hardly function, but managed to get my winter clothing on and get my gear.  I was going up that mountain if it killed me, and the more I thought about it, the more I was certain that was exactly what would happen.

I headed out the door, armed and loaded to the teeth.  We hunted every year then, and going out into the Montana wilderness, let alone at night after some unknown danger, was unheard of without several guns, knives and assorted hardware.  I pulled out of the driveway in a cloud of dust, starting out to rescue Mitch.

I got the rest of the eerie story from Mitch and Rick that night in the attic.  Seems I wasn't the only one with such premonitions.  Mitch said he'd gone to sleep early that evening, somewhere close to four or five in the afternoon.  Darkness comes early in the mountains there during the winter, and it was dusk when he'd turned in.

He'd bedded down for the night, but hadn't made a shelter as we often did while camping.  There was no need for one that night, so he'd cleared the snow away, laid down some pine boughs and stretched his sleeping bag and bedroll out.  As he'd drifted off to sleep, he looked out from his bag over the crust of accumulated snow and noticed a red glowing light, like a candle, but still and steady.  He dismissed it at the time, thinking it was a light from one of the houses down the canyon to the north.  He said afterward that before falling asleep, he'd felt peaceful, so strangely peaceful in fact, that he'd wondered about it.  He later told me it was the most tranquil feeling he's ever experienced.  It was pure ecstasy, he said, like nothing in the world was amiss.


Darkness vs Candle, © Ankur Sharma

Later that night he awoke, all signs of his earlier peacefulness replaced by sheer terror.  He told us he'd never been that scared in his life, and has never been since.  He didn't know what was causing this terror, but he couldn't fight it no matter what he did.  It was more terrifying a feeling than anything he'd ever felt.  Whatever was there wasn't just watching anymore.  It was after him.  He could feel it breathing down his neck.  He grabbed his rifle and fired several shots into the side of the hill across from him, thinking to scare off whatever it was there.

Instead, his actions had the opposite effect from what he'd intended.  "It was like whatever it was said, 'oh, there he is,'" he told me later.  "It was like the sound of the shots drew its attention even more and let it focus directly on me."  He threw his stuff together, grabbed his rifle, and began running for the trail headed down to civilization.  He said all his gear had been packed, and he brought it all back out with him, but if he hadn't, I'm sure he wouldn't have cared.  All he could do was run for his life.

Now this is where the story gets really weird, as if it wasn't enough so before.  Rick said later he had awakened in a panic that night around ten thirty or so.  He really doesn't remember many details anymore, so all we've gotten from him is that he knew Mitch was in trouble and he had to go get him.  He's a real lunch pail kind of guy, not given to any sort of unusual flights of fancy.  He's a mechanic and a heavy construction equipment operator, with little room for any sort of such strange nonsense.  It was completely out of character for him to respond in such a way, but respond he did.  He dressed and sped across town and out to the trail head shortly after, and began hiking up toward the meadow.

Mitch and Rick met on the trail just above the split, where the trail to the right sheered off and headed up New World Gulch.  Mitch says he saw something coming up the trail at him, and in his terror did not even recognize it as a person.  He saw it as a threat.  He felt the dangerous presence closing in from behind and steeled himself for a last stand, sure he would not make it out alive.

As soon as he saw Mitch, Rick began yelling at him at the top of his lungs, screaming that he was in danger, and needed to get out of there immediately.  Finally Rick's voice cut through and Mitch realized who it was.  Even then he could hardly lower his gun out of the terror that still surrounded him.


Gallatin Range, near Bozeman, MT circa. 1990 © Jonathan Dalar

Mitch finally lowered his gun as realization sunk in.  "You've got to get out of here now!  Throw me your pack and run on ahead of me," Rick told him.  He grabbed Mitch's pack and shoved him down the trail, following as fast as he could.  They ran down the path, still feeling that ominous presence, following, closing in.  Hunting them.

They made it back down to the car, tore down the gravel road towards home.  They rounded the corner to my driveway a short while later, just as I was backing out.  We almost collided.  Any longer and I would have already been gone, driving up there to get Mitch myself.  Rick and Mitch tumbled out of the pickup, scared out of their minds.

That night in the attic, we put the jumbled pieces of the story together.  As far as we could figure out the timeline, all three of us felt the same panicky feeling that Mitch was in danger at almost the exact same time.  All three of us felt so strongly we were obliged to instantly do something about it.  I begged off work over two hours early, Rick got up out of bed and drove there from clear on the other side of Bozeman, and Mitch knew he had to get out of there as fast as he could.  The coincidence of all three of us simultaneously feeling the exact same terror was certainly unusual.  And the timing was impeccable.  While I had a slight delay responding, that delay was due to an obligation to work.  If I'd have left when I first felt it, I'm convinced we'd have all met at exactly the same time and place on that mountain trail.

We stayed up into the early hours of the morning, talking about what had happened.  What had happened was so staggeringly impossible it couldn't nearly be coincidence.  There seemed no way in the world all three of us had felt such strong feeling of peril for Mitch at the exact same time that we'd done what we had.  Some force more powerful than we knew was at work here.  The only problem was we had no clue what it was.

Even talking about the experience was terrifying.  It seemed the more we talked about whatever it was out there in the mountains, the closer it came.  It felt like it was still on the prowl, hunting for us.  And we felt even talking about it allowed it to focus and narrow its search.  Finally we agreed not to talk further about it for a day or so, even though we wanted to figure out what it was.  Enough was enough, and we weren't taking the chance that talking about it allowed it to find us more quickly.

Afterward, the old timers in the area started coming forth with their stories.  Seems we weren't the first to experience something like that around the Gallatins.  There was even a tale of someone who hadn't had the luck we had.  Rumor had it, a few years prior, a man had been pulled off the mountain just to the north of the meadow a couple of days after he'd gone missing.  He was stark raving mad, and was taken to the asylum in Warm Springs where he spent the remainder of his days.  And he hasn't spoken a word since.

Now I don't know if that last story is true or not.  It's what several older residents of the area have told us.  I do know our story as I've told it is completely true.  Every single word of it is true, or at least accurate to the best of our recollection.  None of us knew what caused our terror, but there was clearly something at work there beyond our understanding.  I don't believe any of us have gone up that mountain or into the meadow since.

We still don't know what it was that night that so terrified us.  Nothing can completely explain it.  Mitch is convinced it was spirits from an Indian burial ground, that something was done to disturb them and cause them to haunt the meadow.  He swears he's seen the place bookmarked as such a burial ground on Google Maps, but when we looked recently, the bookmark wasn't there anymore.  It wouldn't be a stretch to think that though, as we know there are remains of an encampment just down the road a few miles, and the whole area was once their home.


"The Frog", Northeast of Mount Ellis, looking Southwest into the Gallatin Range, near Bozeman, MT circa. 1990 © Jonathan Dalar

I've used the experience as inspiration for stories before, but until now, I've never recorded it with words.  I have a hell of a horror novel outlined, based on what we felt that night and the months leading up to it, but I haven't written it yet.  Mitch begged me not to write it until I was good enough a writer to do the story justice.  I think I'm there now, and as soon as I can work up the courage to address it head on, I'll write it.  Until then, I'll do what I've done for over twenty years, and that is push it to the back of my mind so the nightmares go away and I don't risk it finding me again.

*The names have been changed to protect what little innocence may be left.

Friday, September 30, 2011

Horror at the Core of the Human Soul

October is upon us, which means we're staring down a full month of horror.  Great thing for us horror aficionados.  Ah, horror!  How you make my heart thud unnecessarily fast when I'm watching a movie or reading a book.  I know I'm personally not in danger, but that doesn't make me less squeamish or jumpy at all the right parts.


Amnityville, © Doug Kerr

But aside from the obvious - gore and blood and sudden violence - we think of when we're reminded of the genre, I'd like to delve into horrors of a different kind.  Those that really make you feel it in your gut, sometimes long after the fact.  And sometimes it even takes a while before the real horror of what you saw or read really sinks in.  That's the best kind of horror to me.

Right now, I'm reading HORNS, by Joe Hill, which is a great way to break in the month of October.  It's a fantastically disturbing horror novel, very well written, and in fact one of the best I've read in a long time.  But the disturbing parts aren't shock horror.  No, they're the inner workings of the minds of supporting characters, and they're disturbing because reading it, you feel it hits way too close to home for comfort.  After all, it would be more than a little shocking to discover what people actually thought about you, especially people you loved and trusted.  Downright awful when you find out just how little they think of you.


HORNS, © Joe Hill, used by permission.

I think most people would jump at the chance to be able to catch a glimpse of the minds of those around them, to see what they're really thinking about us no matter what they say.  But for every awesome thought we discover someone has about us, I'm afraid we'd find several hurtful and hate-filled ones.  Now maybe I'm just too much of a cynic, but humankind's seeming inability to keep their inner monologue of snark, angst, and downright nastiness from surfacing everywhere from real life to social media makes me think I'm not that far from the mark.  The novelty would soon wear off into the horror of what you've seen and the dread of what you know is still to come.

I've always enjoyed psychological horror over any other type.  When you get right down to it, it's much scarier than anything physical.  But to get it to really sink in, sometimes you gotta look it in the eye a little longer, stare it down and really let it get to you.  Let it affect you how it wants, not how you let it affect you.  Sometimes it takes you places you don't want to go, places you didn't know even existed within the human soul.

Isn't that what defines horror, after all?  Isn't it simply that which unpleasantly jolts the human psyche?  Blood and gore scratch the surface with a physical reaction, but psychological horror jolts the human soul.  It's easy to imagine a long list of that which horrifies us the most, but I'm betting at the top of that list are things that bare your soul to the public eye, that which lays back all the layers of protection and pares away the falsely modest confessions and admissions and really digs to the heart of the matter.  If there were no governor on the mechanism that allows us to open our souls to others, this world would be a dark place indeed.


The Death Penalty, © Truthout.org

It won't be completely bad, however.  That's where hope comes in.  Like Pandora's box, all things bad are countered by one small thing - hope.  You hope you're right.  You hope things will turn out alright.  You hope you haven't gone too far to take it all back.  Sometimes you have, but regardless of the depth of the situation, there's always hope.  Take away that and your recipe for true horror is complete.

Monday, September 12, 2011

The Darker Side of Speculative Fiction

Horror.  We love it, but oftentimes don't really know why.  It's been suggested before that it really isn't a genre of fiction.  In fact, Douglas E. Winters said exactly that in the introduction of the horror anthology Prime Evil, - "Horror is not a genre...horror is an emotion."  He's right, to a point.  Until Stephen King took it to completely new heights, horror wasn't marketed as such for readers.  It was just literature.

But I think now it's become as much a genre as any of them, and that includes a lot of other genres that haven't been around long either.  Genres are changing.  They have a place, and that is to tell us as readers what kind of story to expect when we read it.  They'll only get more diverse, and that's good for literature.


Scraesdon Fort © Bill Booth, Licensed for further use under Creative Commons License

Good horror often has the fear of the unknown.  Much of what scares us is simply something banal which we do not fully understand.  Looking at a deep, dark set of steps leading down into nothingness sets our imagination on fire, especially if it's in the context of horror.  There's no telling if the stairs lead down to things that go bump in the night, or just a bare room full of cobwebs.


Spooky in Broad Daylight © Jonathan Billinger, Licensed for further use under Creative Commons License

A graveyard is not nearly as unnerving in the daylight, when we know the histories of those entered.  It's a place of history, of silence and solitude.  Of loss and reflection.  Sadness is not the same as horror.  Not by a long shot.


Logie Kirk © Marc Curran, Licensed for further use under Creative Commons License

But add a touch of the unknown, and the possibility of danger and things unnatural, and it becomes an unnerving place.  Make those things a probability, or even an eventuality, and it becomes terrifying.  In fact, it becomes so much so, it has been a staple feature in horror film and literature since horror was first written.

Even a touch of fog changes an old graveyard into something straight out of a horror film.  Just imagine walking through there at night, with nightingales and hoot owls calling in the surrounding trees, and maybe a dog or two snuffling around in the brush, just out of sight.  All harmless creatures, but one certainly wouldn't be assuming they were harmless in such a scenario.

Part of that fear of the unknown includes the supernatural.  Our minds make it morph into something dangerous, deadly.  Even if we've never actually seen ghosts, devils, demons, ghouls, zombies or any other supernatural creature, and even if we truly don't believe they exist, they'll scare the bejesus out of us with the right setting and plot.


West Cemetery Chapel © Hugh Mortimer, Licensed for further use under Creative Commons License

Horror affects us based on what we let our minds get away with.  There's nothing in a book or movie, in spite of what we've been told by writers of the genre, that will hurt us.  We can sit down and read the words of a horror novel off the page as easily as those from any other genre.  Nothing inherent in the movie itself will hurt us watching it in the movies or on our television screens, but we sure jump at the parts the director wants us to.

The topic is certainly worthy of discussion, and is actually one that will be addressed in the new horror exhibit at Seattle's Science Fiction Museum beginning October 2011.  They'll take a look at some of the psychological aspects of horror, according to EMP's Senior Curator, Jacob McMurray, and "why we as a culture are drawn to these macabre narratives, and how fear and horror are a vital component to our human identity."  I'll be visiting that exhibit sometime before the end of the year, and will report back my experiences there, so stay tuned for that.

I have a buddy who says he doesn't like horror at all.  "Not a bit!" he proclaims.  "I hate the way it messes with your mind."  Actually that last part is a G-rated paraphrase of what he said, but the point is the same.  Now he's read several of my horror stories and loved them.  Couldn't put them down.  In fact, I got an awesomely nasty voice mail message one day telling me he hadn't been able to put my novel down until he finished it at three o'clock in the morning, when he had to get up and go to work at six.  Nice.


© Jonathan Dalar

One has to ask, why, besides the fact that he was a very good friend, would he finish a book in a genre he doesn't like?  Or more precisely, why couldn't he put the book down and finish it at a more reasonable hour?  My first reaction was that it was a damn good book.  I'd like to think so anyway.  I'd like to think it was all my writing.  I'd love to believe it was written so well, so gripping, that it's almost impossible for the majority of readers to put down.  And I wish I'd kept that message!

But in spite of my devoted interest to fantasy and things that don't really exist, I'm a realist.  I understand the psychological aspects of it, and I think the horror itself was what contributed largely to his sleepless night with the book.  I think it's personal, and the reason he couldn't put it down lies in the genre.

Horror is an emotion, and it drags us in a little closer than some of the other genres do.  It's more invasive.  It gets all familiar and moves into our head.  How many times have you woken in a cold sweat from reading romance or mystery, after all?  I didn't think so.

From the time we're very small, we're on regular speaking terms with horror.  It's the thing that goes bump in the night.  It's waiting for us under the bed, after our mommy tucks us in.  It lurks just around the corner, waiting for us to drop our guard just a little bit.  It's the embodiment of all the bad that could be, and all that might be.  It calls on our deepest emotions and provokes that instant and primal fight or flight instinct that lies within us.

And it's also a rush of adrenaline and endorphins - our body's own morphine-like substances which dull our pain and make us feel good.  These are the same chemicals we produce during exercise, excitement, love and even orgasm.  It's no wonder we're somewhat attracted to horror, even if we profess we don't like it.

Friday, September 9, 2011

Movie Review: Heavy Metal

I think I was hooked on this movie before the opening credits even finished rolling up the screen.  I mean, how much cooler can you get than a 1960's Corvette used as a space ship, set to a rock n' roll soundtrack?  They really don't make 'em like that anymore.  I saw it for the first time on a bootlegged VHS tape in the early to mid-eighties over at a buddy's place.

It's very crudely drawn, campy at times, and is straight out of the 1980's no mistake there.  In spite of this, it often hearkens back to an age of film making even older than itself.  Some of the lines, especially in the New York sequence, sound like they're straight out of an old black and white 1940's film with Cary Grant and Katharine Hepburn.  That's where the similarities stop.  Other than the spoken lines, it's nothing like the old ones.  It is decidedly a trip back down 80's memory lane, though, that is for sure.

One of the greatest aspects of the movie is of course the soundtrack.  It's a compilation of some of the greatest classic rock n' roll artists all packed into a science fiction production.  To refresh your memory, should you have forgotten:

Black Sabbath
Blue Oyster Cult
Cheap Trick
Devo
Donald Fagen
Grand Funk Railroad
Sammy Hagar
Journey
Nazareth
Stevie Nicks
Riggs
Trust

Yep, that's some rock n' roll awesomeness right there, and I dare you to find an all around better soundtrack out there.  There may be one, but that's a pretty high bar to reach.

Before I get started, let me make a disclaimer.  The movie's rated 'R'.  Probably only barely, too.  It has a ton of nudity, violence and coarse language throughout.  Animated or not, it's not one for the kiddies.  Yet.  They'll watch it someday, I'm sure, whether you forbid them or not.  It's a cult classic, and a really great science fiction flick, even up against all the modern, special effects-heavy movies being produced now.  I'll try hard not to give away the plot if for some strange reason you haven't seen it yet.  Instead, I'll concentrate more on the style and feel of the film, one sequence at a time.




Soft Landing

This is the opening credits of the movie, where the astronaut drives his Corvette back from outer space to bring back a gift for his little girl.  Too bad it's the Loc-Nar.  Like I said, it's hard to beat an opening like this one, no matter how awesome the movie is.


Grimaldi

I think one of the most telling parts of this sequence is where we see the alien miners using their noses to vacuum up the dust of the planet when they find the Loc-Nar.  It's supposed to convey images of how evil the Loc-Nar is, but instead conveys how hedonistic, and yet strikingly innocent the 1980's were.  Ah, yes.  Good times, those.


Harry Canyon

One of the coolest scenes is the dystopic, futuristic New York sequence "Harry Canyon".  That's the guy's name, by the way, an indication of how completely cheesy, bold, and totally unassuming the movie is.  I think that sequence is one of the best old fashioned futuristic science fiction scenes ever made.  It's got the übermodern inventions, with flying cars, neat space vehicles, huge satellite dishes and aliens, but it's coupled with the grime, and hurry, and that singular in-your-face New York attitude.  It's a snapshot of pure dystopia at its finest, which makes it one of my favorite sequences of the movie.  Ironically, the Twin Towers are seen in the opening part of this sequence, coupled together with what looks like a pair of giant tubes.


Den

John Candy.  'Nuf said.  One may not normally associate him with this role when thinking of movies he's starred in, but I think this was one of his better roles.  He's fantastic in it, with that unassuming, boyish wonder.  He really makes this movie what it is.  And we get so much more of the comical dialog and wild and fantastic imagery with this sequence.  Suffice it to say, it would have been interesting to have been there when they wrote this part.


Captain Sternn

The Dr. Jekyll and Mr. Hyde aspect to this sequence is made so much more awesome for the great soundtrack and the fact that it's set aboard a giant space station.  And of course, they use another fantastic name with the character Hanover Fiste.


B-17

This has got to be one of my favorites out of all the sequences.  More than just because it's a scene with wartime aviation, the imagery and music used throughout are what makes it so.  What makes it work are the number of classic horror elements used.


So Beautiful and So Dangerous

This segment is so weirdly implausible that you can't help enjoying it, but it's got a very humourous sci-fi vibe to it, along the same lines as The Hitchhiker's Guide to the Galaxy.  It starts off with aliens abducting a couple of folks straight out of the Pentagon and goes downhill from there.  It's already weird, but the "plutonium nyborg" drug references really push it over the top.  Add stoned Canadian aliens and robot sex just for kicks, if you're up to it.  At this point, you just have to sit back and enjoy the ride.


Taarna

With this scene, both the opening music by Black Sabbath and the visuals give it a much darker feel.  This scene is set on an alien planet, with a long-forgotten race of saviors, summoned to save the world from destruction and chaos.  To me, it calls to mind everything from the legend of King Arthur to Wonder Woman, and was yet original in its own way.  The imagery with Taarna flying her steed across the land of huge, steel pipe cities to avenge the deaths of those massacred is probably the best part of this sequence.


Epilogue

I won't give it away if you haven't seen it, but to me it ended perfectly.  It gave symmetry to the story in a poetic sort of way.


***

One of the more interesting parts of the film is how it was filmed.  Each sequence is so strikingly different than any of the others.  Each is unique in the part of the story it tells, and it isn't until they're all together as one do you really get an idea what was happening in the movie.  The scenes cover almost every aspect of speculative fiction, all wrapped up into one story, from space travel to dystopia to fantasy to horror.

Of course, the movie being what it is, a violent, sexually graphic, drug-inspired tale of speculative fiction, all you really need to do is sit back with a bag of popcorn or whatever else might suit the moment and watch it for pure entertainment value.

Oh, and it's available on Amazon, should you somehow not have it in your collection.

Tuesday, August 30, 2011

The Science Fiction Museum and Hall of Fame: Avatar and Battlestar Galactica exhibits

This past Saturday, I took the family down to one of my favorite places, the Science Fiction Museum and Hall of Fame.  Located in the Experience Music Project, a wildly colorful and uniquely designed building, it sits in the shadow of the Space Needle in downtown Seattle.


© Jonathan Dalar

The building was originally built for the Experience Music Project, which was a way for creator Paul Allen to bring something to the local community that wasn't available anywhere else.  His vision was to engage people, inspire them, and get them excited about music, not just show them artifacts in a museum.  He expanded this concept with the addition of the Science Fiction Museum and Hall of Fame in 2004, bringing us exposure to artifacts and unique memorabilia we otherwise wouldn't have been able to see.


© Jonathan Dalar

The museum has a very large number of artifacts, but shows very few at a time.  Not only is this done to preserve the artifacts, so as to not display them for a long time, it's also to continue to engage a large membership and refresh exhibits with a variety of content.  After all, who wants to go see the same old thing all the time?

The Science Fiction Hall of Fame is currently closed, as it is being renovated along with the rest of the downstairs in preparation for the new horror exhibit opening soon.  That was a disappointment to me, because as a writer of science fiction, it's always an awesome experience to walk along the row of glass-etched tributes to the genre's greatest writers.  Authors like Philip K. Dick, H. G. Wells, Ray Bradbury, Issac Asimov, William Gibson and many others in that Hall of Fame have been a great inspiration.  It opens back up next summer, so I guess I'll just have to wait and visit again then.

The displays exhibited currently are James Cameron's Avatar, and Battlestar Galactica, as well as the Jimi Hendrix and Nirvana exhibits on the EMP side, which I personally found equally fascinating, but a little off topic for the blog.  Avatar runs through September 3, 2011, and Battlestar Galactica through March 4, 2012.



Avatar

To start this part of the discussion, here are Director James Cameron and Actor Giovanni Ribisi talking about the project at the opening of the exhibit in a Seattle Times news video:




Before you even get inside the Avatar exhibit, you're met with a very cool interactive experience.  Floating jellyfish-like creatures from the movie waft around on a large screen at the entrance, and react to the shadow you cast on the screen.  If you stand still long enough, they will land on your hand.


© Jonathan Dalar

Once inside, you find a wonderful array of interactive exhibits, such as one that allows you to digitally design your own plants that might be found on Pandora.


© Jonathan Dalar

Further into the exhibit are memorabilia from the movie such as handmade models of the Na'vi characters...


© Jonathan Dalar

...and the full-sized Armor Mobility Platform (AMP) suit.


© Jonathan Dalar

Definitely the exhibit that garners the most attention, however, was the interactive motion capture 3D studio, where you can create a clip of yourself, digitally reconstructed to one of two scenes in the 3D Avatar world.  It essentially enables you to star in your own 30-second Avatar movie clip...


© Jonathan Dalar

...which of course, I did.  The clip instantly uploads to YouTube, where you can have it e-mailed to yourself and view it later.  This was my experience.




I'm evidently not quite ready for Hollywood, but it was certainly entertaining and educational.



Battlestar Galactica

This exhibit was my son's favorite part of the trip.  He plays the online game, and found it fascinating to see what he was playing "in real life".  The only downside for him was worrying about spoiling the ending for himself, which I found quite amusing.

The exhibit features three full-size prop spaceships, probably the coolest part, in my opinion.  They're all scuffed up, and look like they've seen their share of battle.

The Viper Mk. II:


© Jonathan Dalar

The Viper Mk. VII:


© Jonathan Dalar

And the Cyclon Raider:


© Jonathan Dalar

In addition to the ships, there are a large number of costumes and other props, as well as interactive exhibits that focus on the shows' concepts and conflicts.


© Jonathan Dalar
© Jonathan Dalar

























As an author, another interesting part was the genesis and time lines of the two shows (1978 and 2003).  I find myself drawn to the behind-the-scenes work that goes into a project, and the decisions that help shape them into their final versions.  Comparing the two shows allows a glimpse into that, or at least it does for me.



Coming in October

And now for a sneak peek at the new horror exhibit, Can't Look Away, opening for members on October 1, 2011, and to the general public on October 2.

EMP's senior curator Jacob McMurray has been putting together the new downstairs horror exhibit for more than a year now, and it sounds like a lot of chilling fun!  He's been working with directors Eli Roth (Super 8), John Landis (Animal House, An American Werewolf in London), and Roger Corman (Little Shop of Horrors, Death Race 2000), to curate a selection of films to serve as the launch pad for the exhibition.  The goal is to cover a wide range of the genre, looking at different generations and different kinds of films.  They'll examine the psychological aspects of it, looking at why we as humans are so fascinated with horror, even though it scares us.

Interactive exhibits will include a scream booth, where you can go into a soundproof booth, watch a horror film clip, where hopefully you'll scream on cue.  Your scream will be captured on film and shown on the screen outside the booth.  Is it bad that the first thought that came to me about this exhibit is that it will probably appeal most to the husbands and boyfriends in the crowd?

There will also be a shadow monster interactive, where your shadow is captured and digitized, allowing you to turn different body parts into strange grotesques and create monsters from your own human form.  I can see my kids spending a while at this part of the exhibit.

For the behind-the-scene geeks in the crowd, there will be exhibits on sound in horror movies, focusing on sound effects and music, and how they are layered together to create the desired effect in the movie.  Again, the geek in me comes out.  I'm really looking forward to this one.

In addition to the interactive areas, the exhibit will house a number of iconic artifacts, including one of Freddy Krueger's gloves, one of the Jason Voorhees masks from Friday the 13th, and Jack Torrance's axe from Stephen King's The Shining.  Perhaps the most exciting artifact is an original manuscript from Bram Stoker's Dracula.  Seeing those alone will be worth the price of admission.  I know I'll be one of the first visitors there when it opens.



© Jonathan Dalar

Finally I'd like to extend a special thank you to PR Director Anita Woo and the rest of the staff at the EMP.  They were very knowledgeable, and more importantly, were willing to take the time to answer all of my geeky questions.  For directions to the EMP, tickets and further information, you can visit the EMP's Website.  You can also find them on Facebook and Twitter.