When Francis Ford Coppola's movie Bram Stoker's Dracula came out, my Vampire: The Masquerade gaming group debated its merits. The part we universally enjoyed was not the stylish costumes, or the goofy reincarnation plot, or Keanu's acting, but the opening ten minutes when Vlad Tepes is in plate armor spearing his enemies and throwing swords at crosses. "Why," we asked, "doesn't someone make a movie just out of that bit?"

This book is for that gaming group.

If you ever wondered what Dracula did between his death as Vlad Tepes in the late 1400s and the time of Bram Stoker's story, wonder no more. Vampire Wars is a short story collection about some of those missing years. It begins at the time Dracula (here using the Romanian, "Draculea") barely had two underlings to rub together. It progresses over the centuries to a climactic battle against the only unearthly horror that could possibly stop his minions or dampen his nigh-unbreakable will.

Along the way, Vlad kills, maims, tricks, or strikes bargains with more dead things than you'd find in a Kansas City slaughterhouse. Sure, he has a few monstrous minions such as lycanthropes and humans fed vampiric blood, but in the undead world there are revenants, Persian, African, and Russian vampires, and two notable vampire rivals from China (whom, as far as I could gather, do not hop like in Hong Kong horror comedies, because that's about as terrifying as sparkling).

Some of these undead are wholly original, while many others are well-known in horror circles from mythology, fiction, and history. Johann Faust, Erzsebet Bathory, Mircalla "Carmilla" Karnstein, and a conga line of undead from public domain works make appearances. For some extra spice, there's a cameo by some Lovecraftian byakhee and a passing reference to Angelus from you-know-where. If there's an overarching theme to the world-building here, it's simply "It's true -- all of it."

As other reviewers have pointed out, it's essential to view the chapters as individual stories and not a novel. Practically all my quibbles with the narrative style came from the expectations of reading a single story. The author repeats some information (like Vlad's minions' roles and his powers) quite often, which is irritating in a novel, but makes perfect sense in short stories where one can't be assured of reading the previous installment. Because the stories can't depend on each other, Vlad's rise to power is less a long-term campaign with masses of legions, and more a series of small-unit attacks on powerful undead. Decades go by between stories, giving it an episodic feel, and Vlad's minions are often done in during the fighting or just as often, killed off-screen before a new story begins. By the time we get near the climax, Vlad's survival alone seems like reason enough to crown him as the ruler of the vampires. While Vampire Wars is the first in a trilogy, the ending had enough closure to leave me satisfied, which is usually a sticking point for me.

My remaining quibbles are mostly with editing and the odd anachronistic phrase. Vlad uses "thee" and "thy," but his minions will occasionally pipe up with modern language like "you have to be kidding." As for content, I personally wanted to see a bit more interaction between Draculea and his allies apart from the campaigns, and it appears I am not alone in this. The sequel, Brides of Dracula, appears to cover exactly that ground. So though I took off a star or so for not being a work I would reread obsessively, I think I will be checking out more by the author.

At about 200 pages, Vampire Wars is pretty fast reading. I personally got it on Kindle. I'd recommend it to Lovecraft fans, vampire buffs, and yes, to my old gaming group.

Note: I can't find the author on Booklikes, nor am I able to add him, which means I can't add this book, either. Navigate to Amazon/Goodreads if you are curious.

[I received a copy of this book through Netgalley.]

This novel picks up where the previous one left (if you haven’t read it yet, stop here), or roughly, after Emily Lovecraft and Daniel Carter, alogn with Detective Harrelson, have been stranded in the Unfolded world for a few months, slowly adjusting to their lives in Arkham-instead-of-Providence.

And it’s not easy, because even though the Unfolded world is fairly similar when it comes to daily life (and better, in some ways, as in when Emily realises she own a nice house here instead of renting a flat), in many other ways, it is tremendously different. For starters, World War II ended much sooner, when the Third Reich dropped an A-bomb on Moscow in 1941, obliterating its whole leadership; and the Reich is now one of the world’s superwpoers, having been accepted because, well, the Holocaust didn’t concerned Jews but Communists, and for some reason this was much more acceptable to the West who turned a blind eye and ha-hemmed in a corner while it happened. Which infuriates Dan and Emily just as much, a different kind of evil still being evil after all; also, the Nazis are welcome in the USA and racism much more prevalent, so the Unfolded world isn’t so peachy for Emily herself.

(On a side note, I wish we had seen more of that. I don’t enjoy racist slurs in the least, but in terms of ‘show, don’t tell’, it never felt like Emily was really ostracised, apart from a couple of instances when some Gestapo guy said ‘who’s that black down there’ or something to that extent. In turn, the ‘lessons in political correctness’ given at times didn’t have the impact they could’ve had.)

The world is definitely not right by our heroes’ standards, who want nothing more than bring back its Folded version, but have no clues where to start… until Emily finds out she has the Necronomicon in her safe, Henry Weston is at his shenanigans again, and Daniel gets hired to spy on a joint German-US project in Miskatonic University. Weird stuff ensues, veering into spy-thriller-weird more than HPL-weird at first, but no worries, the latter is never too far behind.

Although I was hesitant at first about the spy thriller part, probably because of its apparent simplistic aspects (US vs Communists or US vs Nazis, it’s kind of the same... also Nazis make easy enemies: Instant Evil! Just add water!), the way it was handled was all in all interesting, in part because, let’s be honest, it makes for contrived enemies… but it also makes for entertaining scenarii. In fact, it reminded me of the Call of Cthulhu/Adventure! Crossover RPG I had played a few years ago, as well as of Indiana Jones movies, and I soon found my bearings again in that kind of plot and setting. We get typical but useful ingredients: scientists working on a secret project infiltrated left and right by Gestapo, Abwehr and probably a few others (Daniel even manages to throw the CIA in all that, and it blends in perfectly); research influenced by esoterism; evil cultists who’re all the more evil because they treat sacrifice as if it was a mere bureaucratic matter; a secret research facility on a remote island in the Pacific Ocean; not exactly human beings; and this mix works fairly well here.

Another thing I liked was that the focus shifted slightly in this book from Dan to Emily. We already know by now of Dan’s ancestor and the abilities he’s inherited, and there was a solid risk of Emily remaining more of a sidekick (a badass one, but a sidekick nonetheless) when it came to the weird/non-Euclidian parts. Well, let’s just say that reading can indeed empower people. (I bet you can already tell where this is going.)

Conclusion: 4 stars, it was an enjoyable read in spite of the few peeves I had about it, and I breezed through it, and now I want the next instalment.

The Early 20th Century writer HP Lovecraft has spawned a whole sub-genre of horror dedicated to his ideas, often called the Cthulhu Mythos or Lovecraftian horror. Not surprising that nearly 100 years later, people are still re-imagining his work and characters. "Carter and Lovecraft" is a different spin on Lovecraft. What if Lovecraft, frankly a huge bigot and racist, had descendants of color and one of them ran a bookshop? What if one of his recurring characters, Randolph Carter, actually existed, and his descendant was a police officer? And they team up in a story? Well, that's this book. Daniel Carter is a detective who has lived through the trauma of his partner killing himself in front of him after they rescue a kid from a serial killer. His last words referring to "the twist". Carter resigns from the police and becomes a private detective. Shortly thereafter, he inherits a bookstore from a person he never knew in Providence, Rhode Island. When he goes down there, he meets Mina Lovecraft, an African American woman who runs the bookstore for her uncle, who disappeared months ago and has been heard from since. Around the same time, Carter is hired on a case that leads to some very strange murders committed by a rogue mathematician. Could all these things be related? Yes. So this is a very strange book. It's relatively short, but there's a lot here to chew on. Howard knows his Lovecraft. This book is full of nuggets and easter eggs for Lovecraftian enthusiasts. I was encouraged to look up some elements of the story, and it gets deep into the Mythos. I think he captured the aspect of Lovecraft in that you feel like you have no idea about what's going on and you probably won't find out. He also touches on the visceral horror that is integral to Lovecraft. In some ways, he develops some aspects of the Mythos better. His characters are more fleshed out and are used as more than devices to spread the feeling of fear and fatalism about an indifferent universe. He picks up some concepts and themes from some of Lovecraft's stories and creates a new story out of them set in the 21st Century. But my favorite part is how Howard subversively dissects Lovecraft's bigotry and racism. Mina is a descendant would have done Lovecraft proud if he could get past his white supremacy and racism. She's thoughtful, intelligent, emotionally stable, well-read, and loyal and very strong. She had a matter-of-fact approach to weirdness, which is enviable, considering some of the events that happen in this family. She seems to be the antidote to Lovecraft's claustrophobic fear of the Other and conviction that some people are just genetically inferior. Daniel Carter is a good co-lead. He's a decent guy. As a cop, he tends to be a skeptic about things, but in the face of weirdness, he doesn't shut down, he follows the lead. I like that he had to confront his own hidden prejudices and comes out a better man after he did so. He does feel at times the helplessness in the face of events beyond their comprehension that is emblematic of Lovecraft's protagonists, but doesn't give into and doesn't allow it to break his mind. There's a developing connection between Carter and Lovecraft, but it's nascent. They become friends, and its likely what they go through will only strengthen that bond. It is possible that things may become romantic over time. But more importantly, they know that they have each others' backs. Of course, there had to be some weird people, because it's Lovecraft. The rogue mathematician, the Waites, femme fatales who are simultaneously sexy but also deeply wrong, and their brain dead spouses, the mysterious lawyer who informs Carter of the bequest. Enough to make any reader feel uneasy about everything. So why the <b>3.5/5.0 star </b>rating? The main feeling I came out of this was "What did I just read?" It feels short to me. It was a book that kept my interest, and I liked the main characters, but I also felt like there was a lot that I didn't get or understand when it ended. There are some gruesome elements to this story and subject matter that made me uncomfortable. This one is not for young readers. Frankly, I was a bit disturbed by some imagery. The rogue mathematician who discovers a way to manipulate reality is a profoundly damaged individual lacking in morals. His acts are unconscionable and bizarrely cruel. To him, murder is manipulating the odds. It's always hard to read about people like this for me. Readers who like having the questions will enjoy this book. I think I would have preferred a longer book that delved a little deeper into those unanswered questions. This is going to be a series, so maybe things will be more fleshed out in later books. I like the main characters and the concept, so I'll keep reading.

This is going to be short. This story was terrible and it has Lovecraft's racism and xenophobia on full display. I think if he could have torched New York and wiped it clean of those he saw as inferior he would have.

The Horror at Red Hook tells a story taking place in the 1920s with a New York police detective named Thomas Malone. Malone is left disturbed by an incident that left several people dead.

Lovecraft then works backwards telling how a rich and eccentric old man named Robert Suydam. Suydam ends up buying property in Red Hook and people are disappearing. The police believe something nefarious is happening, but can't prove it. And then suddenly Suydam seems to be slowly reverse aging and marries a young 20 year old distant relative of his.

The story jumps around too much to really get a handle on the story. Lovecraft doesn't include the Chulthu mythos at all. Instead it seems to be about human sacrifice and Lilith. I don't get what caused Suydam to be turned against unless that was the plan all along. And the ending with Malone being buried after falling into another portal and witnessing what Suydam was up to was pretty lame. The story honestly put me to sleep for a few minutes and I was not happy when I woke up and realized I still want done right this story. It is short though and I finished in it about 25 minutes (nap included). 

Yeah I still don't like Lovecraft, but I wanted to read the source material that inspired Victor LaValle.