An Interview with Charles Phipps

33971268I have recently read Phipps’ latest novel, The Tower of Zhaal (you can read my review for that here) and was intrigued by the originality of the Lovecraftian Post Apocalyptic world. As Such I felt inspired to ask the man a few questions about the book.

1) Your bibliography is filled with detective stories and science fiction, so exploring Lovecraftian horror is quite a departure. What inspired you to take on the Elder Gods?

I’ve always been a fan of post-apocalypse stories, Fallout and The Walking Dead especially, but zombie stories felt played out. I decided that the coming apocalypse was a constant theme in the works of H.P. Lovecraft but the monsters never actually succeeded. It seemed a natural fit to examine what the world would be like after they rose from their epoch-long sleep. I also drew from Stephen King’s Dark Tower and The Stand while thinking up how I wanted the world to be.

2) I am not an expert when it comes to Lovecraft, but I recognized a large majority of creatures and references. How much effort did it take to craft a universe with so many connections while maintaining continuity?

Lovecraft never really meant for there to be a coherent narrative to his universe and probably would think codifying his universe missed the point. However, I was a lifelong gamer long before I read his stories so it wasn’t that hard to start mentally classifying them and how they all fit together. I could have also drawn from other Lovecraft scholars like the good folks behind  Call of Cthulhu: The Roleplaying Game but decided to go my own way.

3) Of the creatures I didn’t recognize, were they original creations of yours, or did you dig deep into the Cthulhu mythos?

I created a few new creatures in the story as I figure if I’m going to delve into Lovecraft’s works as deeply as I was, it wouldn’t be fair not to add some of my own spin. In my sequel, The Tower of Zhaal, I create my own Great Old One in the Undying Horror as well as his servants in the Faceless Ones. The Cthulhu Mythos, or Arkham Cycle as Lovecraft called it, is really a grab bag he intended everyone to be able to dip into.

4) I recognized many location names and some of the background characters also seemed familiar. It was hard to place a clear setting in my mind. Where did you imagine this story took place?

Well, the apocalypse has occurred so the environments of the Earth have radically shifted. Despite taking place in New England around the Massachusetts area, the land has become a large radioactive desert with ancient ruins brought up from primordial epochs. It’s the Wild East, if you will, with a supernatural touch. Really, the world is so strange and unusual now, it’s arguable not even entirely Earth anymore. That’s what you get when you expose a mortal planet to the Old One’s dreams.

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The latest volume in Charles Phipps’ successful Supervillainy Saga.

5) You have thrown everything in this book except the kitchen sink (or was that in there too?) Were you worried about over-saturating the book with ideas and diluting the impact of the cosmic horrors?

As mentioned, Stephen King’s The Dark Tower was an influence as well as Lovecraft’s own Dream Cycle. I felt this was very much a road trip where they got to see just how terrifying and unusual the world Post-Rising was. I did try to do my best to make sure the supernatural was never “mundane” despite this being a weird post-apocalypse society, though. Encountering even the least of the monsters wandering the world should be a terrifying experience even if humanity is more jaded than the driven-to-madness by rats in the walls heroes of some of HPL’s stories.

6) You have recently left Ragnarok Publications and joined with Amber Cove and Crossroad Press. Most authors sign exclusively or self-publish. What has led you down the road you have taken?

In fact, I wrote for three years trying to get published by Permuted Press which gave me a somewhat substantial backlog of stories to publish. Some of the stories fit with some publishers while others fit with others. I’ve since terminated my relationship with Ragnarok Publications and am moving my books with them to the other two you mentioned but I’m pleased to say they have a good working relationship. Jim Bernheimer (Amber Cove) actually introduced me to David Wilson (Crossroad Press). Also, my frequent audiobook narrator, Jeffrey Kafer, does work for both.

7) When did you discover Lovecraft’s writings? What did you think of them when you first read them?

I was a teenager and a regular gamer so I knew of HPL from the Call of Cthulhu roleplaying game as well as Call of Cthulhu: Dark Corners of the Earth. I decided my love of horror necessitated me to read his short stories and bought a few anthologies that introduced me to most of them. Honestly, I felt the prose was a bit purple even back then but the stories had a way of sticking with you well beyond works I thought were better.

Like the parasite in Alien, they wrapped themselves around your face and laid eggs in you until you had ideas burst out. I can’t say what my favorite of HPL’s work is but I know every detail of The Shadow Over Innsmouth, The Dunwich Horror, and The Colour from Space. I’m also very fond of some pastiche authors like Brian Lumley’s Titus Crow novels and the Laundry Files by Charles Stross.

8) What is your favorite eldritch being? I am a fan of the Dark Young of Shub-Niggurath, and also Nyarlathotep. It’s fun to say, and “Black Goat of the Woods” and “Crawling Chaos” are such brutally evocative names.

I have to say Cthulhu himself as he remains an iconic monster for good reason. I admit, though, I actually have the crazy theory that Lovecraft created Cthulhu as Squid-Dragon Jesus. Think about it, he’s a dead god who will rise from the grave to end the world and is worshiped by people across the world from every walk of life. People who are eager for his return and believe (rightly or wrongly) they’ll be saved from his wrath. I’m also a huge fan of ghouls and think of them as a much better creature than the Deep Ones.

9) How would you survive the Cthulhu apocalypse?

I wouldn’t but if I was able to find a Silver Key somewhere, I’d journey to Ulthar and hunker down there in the Dreamlands. Seriously, screw Earth, that place is full of monsters and things which go bump in the night. The Dreamlands might not be much better but it has a few safe places if you know not to hurt a cat.

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Once again, I thank Charles Phipps for taking the time to answer these questions. The Tower of Zhaal is available now on Amazon. For more information on Charles Phipps or any of his books, visit his site on WordPress today. Visit here to read my review of The Tower of Zhaal.

 

The Tower of Zhaal by Charles Phipps

33971268Phipps’ sequel to Cthulhu Armageddon, The Tower of Zhaal is a dark and forlorn tale; a hybrid of cosmic horror and weird-west. For those unacquainted with cosmic horror, it is a sub genre, also known as Lovecraftian horror, inspired by the works of Late Victorian-era author H. P. Lovecraft. Known for it’s philosophy called cosmicism, this style of writing focuses on philosophically intense horror based on the occult or the unknown, almost always with the dominant themes of helplessness or hopelessness.

The Tower of Zhaal does not shy away from it’s nihilistic roots. Henry Booth, our protagonist, is slowly transforming into a monster. When cultists from the University approach Booth and his lover Mercury, they offer to save him in return for one task; they must hunt down a rogue cultist who is determined to release the last Great Old One, an ancient cosmic deity that exists outside of time and space.

In the tradition of weird-west epics such as Stephen King’s The Dark Tower, Charles Phipp’s The Tower of Zhaal is a milieu adventure filled with as many creatures and concepts from Lovecraft’s works as you could imagine. A dark world that your imagination paints with roiling black clouds across apocalyptic orange skies, rusted and corroded buildings, dead trees and wastelands in every direction.

Not bogged down by plot, it is a strong character-driven tale. The new threat to an already desecrated world doesn’t motivate the heroes; they are literally only concerned about Booth’s transformation. His character arc is the driving force behind the entire book – without his growing disability he would never venture forth, nor have been contracted to save the world (or have been capable of the deed.)

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Phipps’ previous novel: Cthulhu Armageddon

I found that the book’s main weakness was it’s assumption that the reader was familiar with the first book. Many elements felt rushed: characters, locations and events cropping up from the previous tale and being mentioned only in passing. As a first-time reader of Phipps’ work I feel I would have enjoyed the book more if he had slowed down and spent some time reminiscing for the reader’s sake. Also, the book reached a point where, instead of feeling dread or anxiousness for what was going to happen next, I became tired with the introduction of more, and more, and more creatures. Sometimes less is more, and I think this book could have used less villainous creatures and given the remaining ones more impact.

But these aside, the book was very enjoyable. There have been many high profile authors try their hand at Lovecraftian horror – the most notable being Stephen King or Ramsey Campbell. The difference being, most writers try to craft an intense story set in our world, facing the threat of cosmic horrors… Phipps has challenged himself to make the heroes of those books fail, to allow the darkness to swell over the Earth and corrupt it. As the past decade’s obsession with zombies and Y/A dystopias starts to wane, it is a treat to read a more unusual version of the end of the world.

Recommended for those who enjoyed Stephen King’s The Dark Tower, David Gemmell’s The Jerusalem Man, or Robert McCammon’s Swan Song. You can read my interview with Charles Phipps about this book here.

The Factory World by Joseph Edward Ryan

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An imaginative work that is equal parts intriguing and disturbing.

The Factory World is very similar to Stephen King’s Dark Tower series, Tad Williams’ Otherland series, or the screen adaptation of Mutant Chronicles. With dark and gritty tones, vivid and unsettling imagery, a mixture of science fiction, fantasy and horror elements and a milieu-based story structure, The Factory World draws inspiration from thirty years of slipstream cross-genre novels.

Ten year old Simon wakes up in an outflow pipe in an abandoned factory in a dark and strange world, where purple meteors rain down and scour deep black holes through the earth. He is dressed in a Lion costume from a play of The Wizard of Oz and meets a nameless stranger whom he calls The Tin Man. Together, they roam an eerie and ominous world and encounter strange and terrifying creatures and wondrous technologies, all in the search for a way to return home.

The post-apocalyptic fantasy setting immediately felt like I was reading Stephen King’s The Gunslinger, and as the Wizard of Oz elements started showing up I felt like I was reading King’s Wizard And Glass. Normally, it would be a compliment to be compared to something as epic and masterful as Stephen King’s magnum opus, but in this instance Ryan falls flat. The author’s voice and ideas are lost in the comparison to King; The Factory World is too similar and disappears beneath the shadow of a greater work. Ryan’s world has many brilliant ideas and concepts which are unfortunately often glossed over when they should have been expanded; despite the vivid and fantastic imagination the world lacks a critical depth that makes it feel real and cohesive.

There wasn’t enough characterization to make me care for the protagonists; any initial emotional connection I felt was soon lost as the book progressed. However, luckily for Ryan, the protagonists weren’t the main characters. The true hero of this book is the world itself; it is a reflection of our own subconscious, a dark and confusing and scarred entity struggling to survive.

#Warning: the following part of this review contains spoilers and will majorly disrupt your enjoyment of the novel if you have not read it. Please do not read any further if you have not yet read this book and intend to.

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The ending of The Factory World was a severe disappointment. After what builds itself up for a powerful and climactic ending, the author ends with an epilogue showing us that it was, in fact, all a dream. Seriously. It’s the same ending that we all used on our creative writing assignments at school when we were eight years old. This ending killed any enjoyment of the book for me – what could have been a fantastic and intriguing journey was suddenly halted by a lazy ending that is offensive to the reader. However… this ending could have worked, if Ryan had foreshadowed it in the book correctly. It is true, the characters question if anything is real – just as we all do at some confusing and distressing point in our lives – but this merely humanizes the characters, it doesn’t justify the cop-out ending. For a “dream sequence” to be valid, it must be integral to the plot. Even without embedding meaning and metaphor into the book, Ryan still could have linked the ending to the beginning of the book by changing the very first line from:

“Simon woke in the drainpipe and was cold all over.” to:

Wake up. Simon woke in the drainpipe and was cold all over.”

That simple addition would have made the audience read the ending and go, “Ohh, I see,” instead of saying, “Really? That was it?” None the less, still a mostly entertaining read. The most important parts of a book are the first and last chapters, and unfortunately such a weak ending heavily impacts the overall feel of the book. 4/10 stars.

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