Fangs for the Fantasy Book of the Week

We're back after the holidays! Did you miss us?

It's time for 2014's first podcast - and like all  the Fangs for the Fantasy podcasts (archives here) we read a book and discuss it on the show. 

To give people a chance to read along with us, especially over the holidays, we include a list of our planned books of the week for the next few shows, so people can get the books, read them and join in the conversation.

 Our podcast will be at 7:00pm EST tonight 

22nd December - 13th January: Tempest Unleashed by Tracy Deebs

6th January - 13th January: Fury of the Demon by Diana Rowland

13th January - 20th January: Bloodlines by Eileen Wilks

20th January - 27th January: Written in Blood by Anne Bishop

27th January - 3rd February: Under Attack by Hannah Jayne

Fury of the Demon (Kara Gillian Series #6) by Diana Rowland

Kara and Mzatal are desperate to find Idris before the coalition of Lords holding him use him for whatever nefarious plans they have. After months of training in the demon world, she has to follow the trail to Earth, reconnecting with all her old friends – and dealing with the changes they’ve made in her absence

But retrieving Idris is far from simple, even with a demon lord as powerful as Mzatal – great power means little if there are innocents in the cross fire, and less when you don’t even know what sinister forces you’re opposing. Even more complicated, Ryan’s cover for the exiled demon lord Szerain is cracking and Zack, one of Kara’s greatest friends, is torn with his loyalty to Rhyzkahl, Kara’s greatest enemy; can she even trust him any more? And what about his relationship with her best friend, Jill?

And under it all, Rhyzkahl and his fellows are still determined to have Kara.

I could see the disaster racing towards me and, like all the best horror movies, I just couldn’t stop it. It seemed simple, just a little reading before going to bed.

At 2:00am I was still reading. I knew I should put it down and go to sleep, that would be sensible.

At 3:00am I was still reading. Things were getting dire, all common sense dictated I should put the book down… just one more chapter.

At 4:00am I had actually tried to go to sleep 3 times but each time I made some easy excuse to read just one more page

I was saved at 6:00am, when the book ended. Though I did have 10 minutes of shocked disappointment that it did end. Who said it could end?

There, it’s awesome – go buy it.

What you want more detail? Fine. Let’s start with a quasi, almost, sorta criticism. This book actually starts fairly slowly – so slowly that, for a brief, terrible moment, I suspected this may not be as toweringly awesome as the previous books in the series. But there is a reason for that slowness – there’s a lot of recapping and reminders, telling us who everyone is, the demons, the world, the various magics and the many events that have come together to get to this point. It’s a problem that can hit any book series once it gets past book 5 and especially for a series where we have moved and changed so much since the first book. Normally I’d say just to not bother, recapping 5 books worth of content in a few chapters never works – but in this case it isn’t even recapping for the sake of recapping – all of this vast amount of information was relevant to the plot in this book. Much as it made for a slow start, I can’t say the recapping was unnecessary.

Dracula, Season 1, Episode 8: Come to Die

Grayson needs to top up his angst levels so mopes about when he was first captured by the Ordo Draco. Renfield again tries to get Grayson to drop his obsession with Mina since he’s stalking her again

Mina herself is busy jeopardising her hopes and dreams and career by searching for Van Helsing’s serum (vampire blood). She’s nearly caught but it’s only her dad wondering why she’s avoiding everyone and pointing out he’s spotted her obsession with Grayson. She describes her obsession; and I’m pretty sure her dad has basically advised her to chuck Jonathon and go for Grayson. I have to agree. One is an unholy blood drinking demon, the other is Jonathon.

Demon it is then.

Lady Jayne remembers she’s a hunter and points out the vampires she’s killed to Lord browning who praises her in the most patronising terms. She’s sure there’s another elder about, what with so many young vamps trolling the town

She goes out hunting and finds another vampire – she demands to know the name of her master. The vampire is initially reluctant but gives up: The One, Vlad the Impaler the first etc etc super special. Lady Jayne is suitably impressed. The vampire shoots herself in the head rather than tell her any more

(Oh a WOC she lasted… 10 seconds? 20?)

She reports that to Browning, Davenport and another Order member (both of which think Dracula is a myth and she’s being very very silly). She recounts Vlad’s history (including his one membership of the Order) and how he was created. While Browning doesn’t dismiss her out of hand, he still wants proof.

To Jonathon and he’s still fretting away at how Grayson manipulated him with the fake story – and tells all to Szarbo. Szarbo gives him a gun in case Grayson tries to silence Jonathon like he did the actress.

Jonathon goes to Mina and gives a list of things he thinks Grayson has done in the name of advancing his project – not just General Shaw, but Lord Laurent as well. She asks why he keeps working for Grayson if he’s evil – and Jonathion basically says “REASONS!” and tells her to stay away. Which doesn’t look like he has a hidden motive AT ALL.

Grayson gets another dose of daylight drug and Van Helsing criticises him for his unfortunate killing of the head of Scotland Yard. After renewing his vow to get his revenge somehow, Grayson pops in on Lady Jayne. Who doesn’t want to see him – she confronts him with his love for Mina and he agrees. She won’t play the game any more and he leaves.

Lord Davenport’s plans also advance – he has arranged to have some “reliable” men “introduced” to Mina.

Grimm, Season 3, Episode 10: The Eyes of the Beholder

“I am glad it’s night, you do not look on me, for I am much ashamed of my exchange.”

Juliette is having dinner with Alicia and gently trying to confirm that this time Alicia is not going to return to her abusive partner again. Grimm joins them for lunch and everything’s bright and happy. When Alicia goes to the bathroom, Nick lets Juliette know that Alicia is a Wesen – not in the “run, she’s scary” sense but more worried that when Alicia finds out she’s rooming with a Grimm she may have the screaming meemies and run back to Joe

To the crime of the week – a guy, Jarded, leaves a diner after flirting with his girlfriend, Joy the waitress to a much less pleasant sight – 3 men beating up a fourth, severely, with a woman screaming for help. The man on the ground briefly woges before being knocked unconscious. Jarded distracts the attackers by shouting and they move towards him – but someone else leaves the Diner and the attackers flee – as does Jerry, panicked, seen by the new witness.

Wu, Hank and Nick arrive to learn the man who was attacked, Alonzo, died and the attackers didn’t even rob him. Of course the witness thinks Jarded was responsible since he saw him leave the scene. Joy, talks to Hank mentioning that she thought Alonzo was in a gang – or at least not someone to be messed with – something she repeats to Jarded when he rings her wondering what to do; say nothing, don’t draw attention or he could be next – she certainly doesn’t think the police can or will protect him.

The attackers ominously talk about Jerry and whether they need to do something about him. Just in case we’re slow on the uptake

To Juliette and Alicia and now we know the real reason Nick never told her he was a Grimm – she’s awful at keeping secrets. After acting really clumsily and unnaturally for a bit, Alicia realises there’s something up. Juliette spills the big secret – she knows Alicia is a Wesen! And Alicia… has no idea what she’s talking about and she gets quite snappy about it.

She goes to see Rosalie for advice and Rosalie explains to her how used to hiding most Wesen are – and how a few Wesen are in denial anyway.

At the police station Nick and Hank confirm Alonzo’s gang affiliations – which naturally raises the question of gang warfare and Wu turns up surveillance footage of Jerry leaving the scene in his sister’s car. Of go Hank and Nick to see… Hank’s physiotherapist, Zuri. Yes Jarded’s sister is Zuri – he arrives while Hank and Nick try to figure this out – and he runs. They chase him and catch him – and Hank now has zero chance with Zuri.

At the police station they confirm that Zuri and Jarded have clean records – unlike their father who is in prison (which means Zuri is looking after her brother alone), Nick thinks Hank is awfully close to this one but Hank’s not dropping out – and he’s pretty sure Jarded’s innocent. They question him but he’s following Joy’s advice and saying nothing. Hank tries to talk Zuri into convincing Jarded to talk but she isn’t a fool – she has no wish to see her brother testify in a gang case.

Helix, Season 1, Episodes 1 (Pilot) & 2 (Vector)

Since this is a double episode, it's a long recap: skip to the end for my first thoughts on Helix.

2 days ago

It was apparently very cold and windy (in a place that looks like it’s always very cold and windy) and we have an isolated underground bunker and people in Hazmat suits and a computer voice over saying “contamination over and over.” Well that’s set that scene. 2 Haz-mat clad people calmly walk down the halls, elsewhere a man, not wearing plastic, runs in sweaty panic; until someone grabs him from behind.

The Haz-mat suited people arrive in a room full of dead people – messily dead people, a jaunty tune playing on the Ipod shows the director has his art-schools staples down. There is one survivor, suffering on the floor with prominent veins and black goo coming from his mouth. When one of the haz-matted men offers him water he seems afraid – when he calmly squirts some down his throat the ill man starts convulsing and his throat bulging nastily.

Eerily clam and disturbing haz-matted man calls this “progress”.

To the CDC in Atlanta – possibly the present. Introducing Dr. Alan Farragut (giving a lecture on historic cholera outbreaks, epidemiology and John Snow whose name doesn’t appear in the history books nearly enough. He also loses things) and Dr. Sarah Jordan (finding the things he’s lost). He has a flare for the dramatic, throwing vials of cholera around to teach his new class of CDC operatives what’s at stake if they fumble. The drama and joke afterwards is interrupted by a woman entering with a very serious look on her face. She’s Dr. Julia Walker

He’s lead to a conference lead by Major Sergio Balleseros about a private company’s arctic research facility having an outbreak of some kind which is a Bad Thing. People are dead, he wants to take a CDC response team to the site: for extra problems, because it’s about the 89^th parallel, there’s apparently no jurisdiction and they’re getting access because Artic Biosystems is generously allowing it – yeah that sounds very very very bad (shouldn’t the WHO be called then?). Now for some personal bombshells – Dr. Walker was specifically requested, but she wants Dr. Alan Farragut (everyone’s going to end up being called by first names by the end of this, I’m too lazy to keep this up) because one of the infected is Peter – Dr. Peter Farragut. Alan’s brother.

I hope there’s a reason for giving Alan the personal connection – as a CDC member, as he already dramatically lectured, it’s his duty to do this stuff anyway. Does he need motivating with a family connection

Day 1

Back to really cold place (yes I see the personal motivation to get him there now – that place is really cold). They helicopter into the zone, all the people we’ve seen plus Dr. Doreen Boyle who Does Not Like pharmaceutical companies. Or, well anything else for that matter since she gives grief to Sergio as well – but she takes grief back as well – I think I’m going to like her.  Extra personal drama, Julia is Alan’s ex-wife and Sarah, Alan’s protégée has an epic crush on him – or so Doreen guesses (she quickly uses this knowledge to quite cruelly tease Sarah). That sounds like enough personal drama, let’s focus on the illness now… oh wait, no Alan doesn’t mention Peter or Julia because he caught them in bed together.

Oh dear.  That’s far too much romantic personal drama established in the opening minutes of the pilot. This doesn’t bode well.

They’re greeted by Daniel Aerov (head of security) and Dr. Hiroshi Hatake (head of research and the sinister guy in the beginning with the water bottle). They’re perturbed to find that Hiroshi hasn’t initiated quarantine but there’s only been three infected, all of which worked in the same lab; it hasn’t spread so no quarantine (there were only 3 people in the big room o’ bodies?)

They have ID chips implanted into their hands to give them access to the base and, ominously, the helicopter leaves because it’s too cold for it to stay. And we see how big the place is – huge – employing 121 people

They suit up (Alan and Julia having a “we still have feelings” moment and confirming that she and Peter are not together) and Alan sees Peter – the man who was given the water at the beginning of the episode. He does not look good. While they try to treat Peter, Sarah talks to Daniel learning that they only get 1 hour of satellite connection (internet connection) a day and that Daniel is Hiroshi’s adopted son. Peter is somewhat aware, says something about a “white room” and surprising Julia by having black blood – and surprises everyone by going berserk and trying to stab Alan. He yells “everyone lies” before Julia manages to sedate him.

Brief sad-music-look-how-upset-we-are scene before joining Doreen and Sergio swabbing down Peter’s lab. Daniel is very cagey about Peter’s projects and even tries to discourage Sergio checking some things – Sergio’s not impressed or willing to take the hint. Doreen also doesn’t believe Daniel’s claim that they have no monkeys, only lab rats (that has been engineered to have no sex organs).

Meanwhile, Julia, Sarah and Alan go check out the body bags of the other two victims – they’re just skeletons in bodybags full of black, viscous fluid (Sarah vomits in her face mask which is probably one of the most awful things I can imagine).

SYFY Q&A for Bitten with Laura Vandervoort and Kelley Armstrong

We have another SYFY Q&A that we wish we could have taken part in (curse the weather), this time for Bitten. Having read Kelly Armstrong’s books, we’re certainly eager to see how this translates to the TV screen. Bitten begins on Monday.

Operator:               Ladies and gentlemen, thank you for standing by. Welcome to the Syfy Conference Call, Bitten. As a reminder, this conference is being recorded Monday, January 6th of 2014. I would now like to turn the conference over to Gary Morganstein. Please go ahead.

Gary Morgenstein:      Welcome everyone. Thank you for joining us. On Monday, January 13th at 10:00 pm Syfy's delighted to premiere the new series Bitten starring Laura Vandervoort—who's here—the series based on the bestselling author Kelley Armstrong's novels. So, welcome both of you.

Operator:               Our first question comes from the line of Tim Holquinn from ScreenFad. Please go ahead.

Tim Holquinn:       I'm a big fan. First to Kelley. I wondered - I noticed that the show runner, Daegon Frynklind -- she wrote the pilot. I thought she did a really good job. I probably murdered her name there. But IMDB also gives you writing credits. I wondered if could confirm that and perhaps tell us how many and which episodes coming up that you wrote -- if any.

Kelley Armstrong:      And no. I have not written any. There was talk of that early on. They had asked if I wanted to. And I definitely did. Nothing came of it, but maybe at some point in the future.

Tim Holquinn:       Okay. Great. Just a quick follow up. Let me thank you for the inclusion of the martial arts aspect. I really enjoyed the sparring scene with Elena, Nick, and Clay. I thought that was great.

Laura Vandervoort:    Oh, great. Yes.

Tim Holquinn:       For Laura, I know you have a background in martial arts. Are you glad to be able to exercise that skill in this role? And was it part of your audition process in any way?

Laura Vandervoort:    Yes. I grew up doing martial arts. So Elena feels like, you know, the other part of me. I relate to so much about her. Obviously, not the werewolf part, but the fact that she can take care of herself physically.

                              And I think it was great that the writers wrote in some extra hand-to-hand combat scenes. And especially in the finale -- we have this epic fight that I just had a great time doing. And we had great stunt coordinators that help us so as incorporate the animalistic side to the fighting.

                              It wasn't a part of the audition, but, you know, I think it definitely benefits the character. The fact that most of the actors on the show are physically able to do the fight scene sequences.

Tim Holquinn:       I agree. I also found them really enjoyable. Well, I have more questions, but I'll get back in line. Thanks.

Kelley Armstrong:      Thank you.

Operator:               Our next question comes from the line of Erin Willard with SciFi Mafia. Please go ahead.

Erin Willard:         Hi. Thanks so much for taking the time to talk with us today. I hope you both really for a good long run with this show because it is really terrific. And my husband enjoys it as well -- which is not true of every supernatural show I watch. So it's great and I really love it. Thanks so much. But my question is for both of you and would like to know how you each began your involvement with Bitten. So for Kelley, what was your inspiration for the book series? And for Laura, how did you first get involved in the TV series?

Kelley Armstrong:      Okay. For the books, Bitten actually came out of an X-files episode. I was in a writing group. And as part of a writing group you're expected to actually write new stuff. I was trying to come up with an idea, sat down and watched X-files.

                              It was way back in their first season. Their one and only werewolf episode. It was your typical big guy who changes into some beast like thing and goes around slaughtering people under the full moon. And I said that's not how I would do werewolves.

                              And for a writer, that then sparks how would I do them? And I wrote a short story with this character named Elena and I loved that world so much that I wrote a book.

Erin Willard:         Great.

Laura Vandervoort:    I had no idea it was the X-files. That's really cool for me to know as well.

Kelley Armstrong:      Which goes to show you how long ago I started writing Bitten. It was the first season of the show; it is old stuff.

Laura Vandervoort:    I actually - yes, I love the X-files. Like I was watching that as well. So that's cool to know.

Erin Willard:         And Laura, how did you get involved?

Laura Vandervoort:    I actually received an offer for the role -- which was amazing, first of all. And ended up speaking to J.B. on the phone just to get an idea of the premise of the show and how it would look and how the wolves would be done.

                              And so we spoke for about an hour. And I heard how passionate he was about the project – he's our executive producer. And it just sounded like something I'd really been looking to do—such a layered thing—and the character who is both flawed and strong.

                              And so I read the books. I read Women of the Otherworld and Bitten and did a bit of research. And as soon as I realized the amazing quality of what was there I jumped on. And we did some auditions and chemistry reads with the guys and we just sort of hit the ground running—no pun intended.

                              And I mean it was the most challenging six months I've had thanks to Kelley and the writers. Every day was a challenge for me. And there were days where I didn't know if I'd be able to handle the emotional side of it or the physical side of it or just being in every scene. And I did. And I'm so grateful for the experience.

Mistworld (Twilight of the Empire #1) by Simon R Green

Mistworld is a planet under siege. The only thing preventing them falling to utter destruction at the hands of the empire is a psychic shield and some rusting, cobbled together technology. But the empire is patient and resourceful and is constantly looking at ways round Mistworld’s defences – and sometimes, one of their weapons gets through.

The inhabitants of Mistworld already have a hard time surviving on the chaotic world, with little law, few resources, bleak conditions and technology that dwindles with every harsh year, life is already a struggle. The empire’s machinations could drive them over the edge.

My first note has to be on the genre of this book. When I was emailed and asked to review this it was heavily implied that the book was dark fantasy… I had my doubts but I’ve read and liked the author before so didn’t need much convincing. It’s not an accurate genre description – this leans more sci-fi than anything else: with strong dystopian elements and a dash of the mystical in the form of psychics (or espers).

I think this book is a perfect example of “gritty”. Actual gritty – not Grimdark. So this means that we have some very real characters, they’re not perfect or shiny or super special, but they’re very human. And they’ve been put in a very hard situation, it’s not a fluffy story, it’s not a friendly world setting, life is hard and they know it and act accordingly. But it doesn’t cross the line to throwing in endless gore and rape and random horrors just to convince us how DARK AND HORRIBLE it all is.

So we have Mistworld. A world that is independent from the huge and dictatorial empire, though the empire is not very happy about the fact and does have a pretty extreme response to anyone who makes them unhappy. Mistworld maintains its independence in part by having a large number espers – people with special powers – who have flocked to Mistworld because the empire isn’t very accepting of them.

Of course, they’re under permanent blockade and Mistworld itself isn’t exactly hospital or brimming with resources and what little they have requires smugglers to bring it in; their technology is obsolete and held together with duct tape and chewing gum. This is all shown very well – there’s some telling, but it’s more their daily experiences and views, like being unable to afford to pave roads any more, to plastic being seen as an incredible luxury, to characters being unused to the glare of electric lights

This alone would create a fascinating setting, but on top of that we have a large cast of characters that are very real and very realised – all of these characters bringing extremely different viewpoint from the different structures of the society. We have the aging hero who helped build the society from its independence, we have the corrupt – but not TOO corrupt – councillor working hard to do his best (though a little lining his pocket). The on-the-edge fence who just wants to get by and all these life-or-death-the-planet-is-at-risk are a little beyond her. Or there’s the dedicated and lethal Inquisitor suffering a major identity crisis and beset with pressures of the past while still trying to do her very best in the present.

Revolution, Season 2, Episode 10: The Three Amigos

Some rather worried Patriot people look at the aftermath of what happens when Aaron gets really really angry and the nanites listen to him. It’s messy and probably smells really bad.

Monroe and Charlie save Gene – no I don’t know either, it makes about as much sense as Charlie being pally with her brother’s killer, just run with it. They take him back to the precious Rachel so we can have apologies and hugs (“sorry I aided and abetted murderers and torturers honey!” “oh it’s ok, we’re with Monroe, we’re totally fine with murdering and torture these days!” “yay! TORTURE HUG!”)

Aaron has no interest in torture-hugs. He is now working on his new super power: killing people with his glare. On a more practical standpoint, they want Gene to treat the infected Miles before he dies horribly. Gross but effective primitive doctoring follows.

Aaron continues riding the angst train and we have a flashback reminder of some place in Oklahoma the Nanitechild mentioned in case you forgot (I did). No-one’s heard it but Rachel is very kind and careful about the hallucinations-experienced-by-the-man-who-can-burn-things-with-his-mind. Gene arrives with one of his magic apologies but given Gene turning Aaron and Cynthia in led to Cynthia getting killed, Aaron isn’t feeling the love.

Miles wakes up demanding whiskey (not a bad idea, many past societies used weak booze as the staple drink since the water was often full of gribbly diseases. And life as a medieval peasant is probably more pleasant if you’re slightly buzzed) and Monroe wants to know where his hidden son since he’s filled in his side of the bargain – Miles agrees to show him

Who bets that his son, Connor, is in Oklahoma?

Rachel tries to talk Miles out of it – but if Miles shows him he hopes he can keep Monroe around because a murdering torturer (who can fight) can be a nifty tool. He always wants Rachel around to stop them doing anything stupid. HA! Oh that’s a classic! I never knew this was a com- oh my gods he’s actually serious. Rachel as the voice of reason…

On the road Miles keeps distance between himself and Monroe and wants to know exactly what Monroe hopes to achieve meeting the 25 year old son he’s never seen before. Monroe just wants to see his son because it’s special and important and Rachel gives him dagger eyes – hearing the man who killed her son wax on about how special it will be to see his son does not make her happy.

While they’re gone Aaron also leaves on his own with the electricity pendant, presumably heading to Oklahoma. Naturally, Gene and Charlie decide to chase him (though apparently he hasn’t told them where he’s going and they don’t track him so how they hope to follow him I do not know – pick a direction at random?) On the way, Gene decides to follow and watch a patriot supply train head into Willoughby because… because… I dunno, low attention span?

Charlie apparently did try to track him following Aaron’s trail but Aaron cleverly covered his tracks. Charlie hasn’t yelled at her grandfather for being a colossal screw up and traitor because yelling at old people is ineffective (cross reference: Rachel) and Gene wants them to sleuth out the wagons in Willoughby because they haven’t put themselves in enough danger yet.