Roger Zelazny’s brilliant examination of horror tropes

 George R. R. Martin described A Night in the Lonesome October as ‘The Last Great Novel by one of the giants of the genre.’ A fair description. It’s also an absolute hoot. Roger Zelazny was a fun writer who left us too soon (I have a friend who routinely curses Zelazny for being a chain smoker) and A Night in the Lonesome October may be his funnest book.

I wanted to add a fun read to my Halloween October reading and rereading it proved to be a great choice.

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A Night in the Lonesome October is about Jack the Ripper trying to keep the Great Old Ones out of our world and is narrated by his dog.

But, oh, it’s even more fun than that.

When the full moon falls on October 31, it may be possible to open a gate into the elder gods realm. Strange and mysterious people will be drawn to the place where this could happen, openers who want to let them in and closers who want to keep them out. And they all have talking animals for buddies.

Taking place in Victorian England, the cast includes the Wolfman, Count Dracula, Doctor Frankenstein and his Monster, Sherlock Holmes and Rasputin. Zelazny lovingly filed serial numbers off of all of them while making it clear who he was talking about.

The whole book is a love letter to so many horror themes. One whole chapter is basically a synopsis of Lovecraft’s Dream-Quest of Unknown Kadath. And Zelanzy isn’t writing a parody. All of the characters are written with thoughtful respect. (Indeed, the Count in the two scenes he appears in is fascinatingly disturbing)

And it is all tied together by Snuff, Jack the Ripper’s dog who may actually be a transformed demon. Snuff has a cynical, world weary voice like other Zelanzy narrators like Conrad from This Immortal or Corwin from the first five Amber books. I have heard the tone described as hardboiled but it’s more like Rex Stout’s Archie Goodwin than Dashiell Hammet’s Continental Op. They are always more hopeful than they will admit.

And A Night in the Lonesome October is very much a meditation on hope. The Mythos deities are too nightmarish to actually appear. Jack cursed murderous nature is understated but clearly there. As I mentioned before, Count Dracula is an unnatural hole in reality.

But the Great Old Ones can be held off. People will do the right thing at great cost. And friendships are real.

A Night in the Lonesome October reminds us how much we lost when Roger Zelazny died so young.

Tiny little In Hand game from Alexander Shen

 I recently tried a game called Leap Frog, a title that has been used a whole bunch of times. In this case, it's an In Hand game by Alexander Chen. 

It consists of a small deck of cards. There are pictures of frogs from egg to full grown on the cards but all that actually matters is the numbers. There one 1 and three 2s,3s,4s,and 5s and two 6s. Really, you could make the deck out of a regular deck of playing cards if you wanted to.

Your goal is to get the cards in numeric order. It can be ascending or descending order. You don't use the whole deck, just seven of the cards. In the normal game, it's six random cards and the 1. In the challenge game, it's seven random cards period. You can swap a card with another card that it's value of spaces away. There's no time limit. Just keep going until you are done or you're sure it's impossible.

Now, here's the thing about the normal game. Having the 1 means you can always dink away at moving cards and any hand will always be solveable. It's only in the challenge version that you can have seven cards that are impossible to put in order.

A couple years ago, Shen made another In Hand game called Tumbling Thru Time that had a similar goal of putting numbered cards in order. In that game, when you used a card, you used it up so there were a limited number of moves in the game. I didn't enjoy Tumbling Thru Time and found it frustrating. 

Leap Frog, with its unlimited moves, is a simpler and definitely easier game. Even in challenge version, it's not as frustrating. The only restriction that Leap Frog has that Tumbling Thru Time doesn't have is that you can't wrap around from one end to the other.

Alexander Shen designs tiny, little activities that basically take a cup of coffee to do. Which doesn't sound like much until you see how badly so many games like that are. Within their chosen niche, Shen is pretty brilliant. Leap Frog is a very simple game. I'd say it is the simplest In Hand game I've played but I've played Down. If you are looking for a real challenge, you won't find it here. If you are looking for a quick brain break, Leap Frog might work for you.

I think Shen's dice and more conventional card games are better than their In Hand games. But I do like having Leap Frog around.

Dungeon Crawler Carl is deeper (and darker) than its thumbnail suggests

 Earlier this year, I mentioned in passing that I had started to read the Dungeon Crawler Carl series by Matt Dinniman. However, I wanted to get properly into the series before I commented on it. 

And I’m glad I waited because I really feel like the big picture only started to take shape in the third book. I’ve read five of the books and now I feel like I can have some opinions.

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Aliens invade the Earth, wipe out almost everyone and create a sadistic reality show out of the survivors. Clarke’s third law kicks in hard as the interior of the Earth has been transformed into a vast dungeon where magic functionally works.

To avoid being freezing to death in a decimated winter-time Seattle, Carl goes into the world dungeon carrying his ex-girlfriend’s cat Doughnut. Who quickly gets uplifted to become a snarky but adorable magic-using kitty.

The world dungeon functions like a RPG with the ‘participants’ fully aware of their stats, able to get special abilities and access to a functionally infinite inventory in hammer space. A major element of the books is Carl constant search for exploits and loopholes in the system.

The game master is an insane AI with vast reality warping capacities (which would be needed to make the world dungeon even function) whose major goal (at least at the start) is to make the hellish dungeon crawl as entertaining as possible for the galactic empires who are watching.

Now, there is clearly a lot of potential for comedy in this setup. And there is a lot of funny stuff. Doughnut is a cat who can shoot lasers out of her eyes and is overloaded with pop culture references (They left the TV on to keep her company and she remembers it all) The insane AI’s item descriptions are desperately edge lord.

However, the premise is that the human race was all but wiped out and the survivors are being tortured for intergalactic civilization’s entertainment and Dinniman does not let you forget that. The trauma that the survivors go through is a part of that entertainment. The series is as much horror and it is comedy. Sometime, much more.

The Dungeon Crawler Carl series sometimes goes to some very dark places. We spend a lot of time with Carl and Doughnut. Their struggle for not just survival but also sanity is part of what makes us care. 

While the seeds of the bigger picture are there from book one but I felt like they didn’t become prominent until the third book. First of all, Carl shifts from just trying not to die to trying to keep the remnants of humanity alive. That’s part of his story from book one when he strives to keep the elderly survivors from a nursing home alive in the world dungeon but the scope of his efforts to keep everyone alive just keeps getting bigger and bigger.

The other element that increases the scope is, somehow despite being trapped in the world dungeon, Carl begins interacting with the alien governments and cultures. That’s justified because this is entrainment. Carl ends up being pulled out to be on talk shows and similar venues.

Because, beyond entertainment, the series is also a critique of capitalism. In particular, of a 1% who view the rest of the world as a commodity. Who are actively offended by the idea that the other 99% would want or deserve any kind of autonomy. 

To be fair, I think it’s a critique well worth making.

On top of that, the alien civilizations seem to be built on ancient technology that they don’t seem to entirely understand or have complete control of. Pretty sure that’s foreshadowing some things to come.

I’m not saying Dungeon Crawler Carl is secretly a deep, philosophical work. No, I’ll save that argument for Terry Pratchett’s work. But it does have something to say beyond being escapist fluff.  

The first five books are strong. I hope Dinniman keeps it up.

Games, puzzles and wallets

 A few months ago, I made a bunch of puzzles that were all one card each, making them perfect for my wallet. For years, I have gotten into the habit of having some sort of solitaire game in my wallet. Mostly so that I have something to keep my brain occupied while waiting in the car.

There are several requirements, pretty much restrictions, to such games. Size being the first one. Nine cards is really the max and, as I will get to, even that doesn't always work. In Hand is also important. Plus, being a game that I actually want to play.

Down from a 2016 design contest was the first game that became a wallet game for me. At the time, it was quite the novelty for me. However, the limited decisions in it ended up making a game whose sole value was playing it while waiting in the car.

Its successor is another story. Flipword is probably the game I've used as a gift more than any other. And having a copy in my pocket at all times made it easy to just say "You like it? Here. I'll print out another when I get the chance." Word games aren't one of my big interests but it's one that I keep coming back to. However, when I got a smaller wallet, it no longer fit.

The Starspeaker is one I sometimes still use, as it has small, skinny cards. It also has short rounds with different challenges so it offers a decent variety for nine cards.

However, One Card Mazes, as well as Flipuzzles, have been what the most rewarding since I had to give up Flipword. 

Each one is just one card, which means carrying around two or three is basically nothing. Yes, I have to periodically change them when I solve them. Fortunately, One Card Mazes has a large library at this point so it’s easy to do.

And I try to have one of cards that introduce the rules in case I want to give it away.

My standards for R&Ws have gotten higher. I think that’s a good thing

Roll or Robot is a game that would have made a lot more of an impression on me six or seven years ago. 

My feelings about Roll and Writes have come a long away over the last few years. I went from thinking they were different flavors of Yahtzee and that crafting a PnP one counted as ‘cheating’

 since the most construction I'd do would be laminating a page or two to making them a major part of my gaming life. I honestly feel that a well-designed R&W can give you a boxed game experience in an economic package. (And I've moved on to ones that have more construction than one page lol)

Roll and Robot was an entry in the 2024 Solitaire Design Contest (Not Roll and Write Design Contest) and I came across recommendations for it on one of my regular R&W searches. In it, you take the part of a Roomba-style automatic vacuum cleaner. You have to try and vacuum up different kinds of dirt while avoiding obstacles.

Okay. It's grid. You roll dice and pick shapes from a table to draw a continuous line on the grid. Try to hit spaces that give you points and avoid obstacles that give negative points and can end the game early. Twenty rounds. Most points wins.

So, it's basically Snake as a R&W and drawing shapes on a grid. Both of which I have seen plenty of times.

Points in its favor: You only draw one shape each round but you roll two dice and each pip has two shape options. So, as long as you don't roll doubles, you have four shapes to pick from, which is a very open decision tree. It has multiple variations (and two boards) and the basic one lets you cross your own path, which is usually a no-no in games like this. In other words, Roll and Robot is a generous game, which can be nice if you need to chill.

The house you are cleaning also has three cats that you have to avoid and I love me some cats.

I would call Roll and Robot a solid game but not a brilliant one. It does what it does well but it doesn't do anything new. The touches that make it nice aren't innovations, just quality of life elements. Last month, I learned Gem Getter Pro which has a much more interesting decision tree. Roll and Robot just doesn't measure up to that kind of standard. As I said in the beginning, a few years ago, I'd get more mileage out of Roll and Robot if I hadn't already played so many games like it.

I do try to make a point to learn new Roll and Writes on a regular basis. Roll and Robot checked that box for me. Truth to tell, between the chill factor and the cats, I'll probably get ten plays out of it. However, I have a list of games I'd recommend before it. 

https://boardgamegeek.com/thread/3314081/wip-roll-and-robot-2024-solitaire-pnp-contest-cont

And that’s why I didn’t know Candyman was based on a book

 I recently learned that the movie Candyman was based on a novella called the Forbidden by Clive Barker. I wasn’t that surprised since that seems happen a lot for Barker.

Sometimes, though, not only is the movie better than the book, you’re not missing anything not knowing there was a book in the first place.

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I cannot help but compare Candyman and The Forbidden to Hellraiser and the Hellbound Heart. Clive Barker works that became movies. Simply put, the Hellbound Heart is a little masterpiece while the Forbidden is just okay.

The core concept in both works is the idea of belief making urban legends become real. And those legends will take steps if anyone creates doubt.

The Forbidden is set in a fictional British estate that’s less than four years old. The Candyman is an undefined collection of urban legend traits and is actually unnamed until almost the end. And he looks like a jaundiced white guy in a clown outfit based on candy wrappers.

The decision to move the story to a real life setting, the Cabrini-Green projects in Chicago that had a long history, is probably the most significant change. It grounds the story, as well as adding a meaningful racial element. Filming some of the scenes on location helped that.

The movie’s version of the Candyman, in addition to having a much better wardrobe, is introduced as a concept much earlier and much more developed. The book version of the character walks in without any introduction.

And Tony Todd could fill a stadium just by reading the phone book.

Despite being a book lover, I have to admit that sometimes a movie improves on a book. In the case of Candyman, it’s like comparing the Greatest Gift of All by Philip Van Doran Stern with It’s a Wonderful Life.