Contents

  1. Editorial: The Straight and Narrow
  2. Interview with Jared Stearns
  3. “Think Pink!: The DePatie-Freleng Story” Chapter Excerpts from the Book By Mark Arnold
  4. Advertisement: Booked on Rock
  5. Interview with Mark Arnold
  6. Advertisement: Madame Cruller’s Couch and Other Dark and Bizarre Tales by Elizabeth Massie
  7. Healing The Broken-Hearted Night By Tyson Blue
  8. Advertisement: Less Than Human Gary Raisor
  9. Yōkai of the Rising Sun By Eric J. Guignard
  10. Interview with Eric J. Guignard
  11. Advertisement: Unfit to Print by G. Wayne Miller
  12. Advertisement: Horrible Little Stories
  13. Space Girl Returns By Thomas M. Malafarina
  14. Advertisement: Sharp Turns by Jason Norton
  15. Interview with Paul Sabu by Lucy Hall
  16. Interview With Patricia Keiller
  17. Politics Are Crazy !!!
Editorial The Straight and Narrow

Editorial: The Straight and Narrow

So… I’ve started to exercise. Wait! … Hear me out. Like I said, I’ve started to exercise, and I’ve realized the oddest thing. You’d think it would be that I feel a little better, and I do. You might think that it’s knowing I might live a little longer, and it is.

But the thing that is really shocking me about exercise is the same shock I’ve been having my entire life. Every time I succeed at anything, I have the same shock, and it is this:

“You mean, all I had to do was create a checklist, use a proven method and stick to it, and I could’ve had this a long time ago?”

I’m not sure if this is the first time I’ve made the connection. I know that’s how I’ve always found any success, but I’m not sure if I’ve ever realized the larger picture before.

Perhaps it has a way of eluding us once it’s done its job. Maybe it is too heavy a truth for any single person to carry for any specific amount of time. Am I like Naomi Watts’s character in The Ring right now, placing the VHS tape on some random shelf? Am I the character who, having now carried the inspiration for too long, is sharing my secret with someone else only to forget it tomorrow?

God, I hope not.

I hope not because the answer is as simple as this.

Note to self:

“Chauncey, pick anything that you want to do and set aside the smallest amount of time to learn how to do it and to practice doing it. If you do that, you will succeed. Otherwise, you will spend the rest of your life doing what you are doing now, and that is trying to decide what you should be doing.”

Which is ultimately the problem, isn’t it? While writing this, I was reminded of one time that I got super-high while lying on the couch. For those of you who don’t know, super-high is like that one time you got high, only it’s more high.

There I was, lying on the couch, high as all hell, and it came to me. It was like a puzzle piece just fitting into place. I figured out the secret to everything.

The purpose, how things worked, the answer.

I know it sounds like bullshit, but it really happened. It came to me, and I got, like, high within high. My body started to vibrate. At first, it was like shaking, like when you are cold. But then it was eventually vibrating. Vibrating so fast that I started to get warm. Then warmer.

Finally, I was hot. I was lying there; I couldn’t move, my body vibrating so fast that I felt like I was going to burn up. I was scared. I was more than scared. I was fucking terrified!

So terrified that I totally forgot what I was thinking and forgot the answer to everything.

So, you should probably not take my advice as fact. But, I have realized as of late that if you stick to the straight and narrow and follow a checklist, you can really achieve some amazing things.

Interview with Jared Stearns

Interview with Jared Stearns

Jared is the author of the book Pure: The Sexual Revolutions of Marilyn Chambers.

Jared, for the readers, can we get some background on you? Where are you from, what kind of childhood did you have?

I’m originally from the greater Boston area. I grew up there, but after graduating college, I moved to San Francisco, where I’ve lived for the last twenty years. I’d never been to San Francisco before moving there; instinct guided me there. New England winters are brutal, and I wanted to get as far away as possible.

I studied journalism at Emerson College in Boston. While I was a full-time student, I also worked on the night cops beat at The Boston Globe. It was the lifestyle I could have only maintained in my early twenties.

My childhood was normal. My parents were high school sweethearts, and they’re still married. I have an older sister who’s married with two kids. It’s all rather banal when I think about it.

Were you always a writer? Who were your influences?

I didn’t become serious about writing until high school. I had an excellent English teacher named Ms. Geary in my senior year. She encouraged me to write, which helped me decide to study journalism in college. I worked on the college newspaper as the arts and entertainment editor. They can teach you all the basics of reporting in the classrooms, but no amount of school can prepare you for reporting on breaking news in real life and going to murder scenes at 2 a.m., which I did many times.

I always had aspirations to write the Great American Novel by the time I was thirty. I still might, but I can’t see myself writing fiction anytime soon.

The two best books I’ve ever read are Lolita and Valley of the Dolls, which should give an idea of my varied tastes. The best biography I’ve read is Clara Bow: Runnin’ Wild by David Stenn, which inspired my biography of Marilyn Chambers.

You picked a fascinating subject for a book: Marilyn Chambers. Why did you decide to write a biography on her?

I’ve always believed that the subject chooses the author, not vice versa. I never met her, but I first encountered her when I was about thirteen. I went snooping in my grandfather’s dresser drawer, looking for adult material, and I found it in the form of a VHS tape. The label read: Marilyn Chambers’ Private Fantasies #2. Since my grandparents weren’t home, I watched the videotape, and she instantly struck me. She had star quality that was palpable even through a tape. Then I would hear her name referenced on television shows in the nineties, and it struck me how famous she must have been. Even then, I found it odd because there are still so few “porn stars” who are household names. More than fifteen years later, while living in San Francisco, I saw Resurrection of Eve, the 1973 X-rated film Marilyn made with the Mitchell brothers. I had a similar experience in that theater as when I first saw her on video. She captivated me. For nearly a decade, I researched her and collected memorabilia. It wasn’t until 2019, when I met her daughter that I formally committed to writing a biography—but I had always thought about it.

For some readers who do not know who Marilyn Chambers is, could you give them a rundown of her life and times?

Marilyn Chambers became famous in the early seventies. She made an X-rated film, Behind the Green Door, in 1972. It was released two months after Deep Throat, which is still considered the most famous porn film of all time. For a brief, shining moment, porn became respectable. It was reviewed like any other movie and became the thing to do for young couples. There was no such thing as a “porn star” before Marilyn Chambers and Deep Throat star Linda Lovelace. And keep in mind that the only way to see an X-rated film then was in a movie theater. 

Then, in May 1973, it was revealed that Marilyn was the model holding a smiling baby on the boxes of the new Ivory Snow laundry detergent manufactured by Procter & Gamble. It seems quaint in context to what’s considered controversial today, but the idea that a symbol of young American motherhood could also be the star of a hardcore sex film caused an international scandal. She was able to parlay her notoriety into a surprisingly versatile career in show business. She desperately wanted credibility as a serious actress, but she was never able to shake the “porn star” label. 

Were there times you felt you would never finish the book? 

That’s an interesting question. I always knew I would finish the book, but there were many times when the stress of finishing it became unbearable.

You got the approval of Chambers’ daughter. Were there any other obstacles or people standing in the way of the book being published?

Some of Marilyn’s friends and family were hesitant to speak with me. They loved Marilyn deeply and missed her, and they loved her daughter. Marilyn was taken advantage of more than a few times, so some people thought I might be trying to do the same thing. Once they realized I was legit and passionate about telling Marilyn’s story honestly, they shared memories of Marilyn with me.

You interviewed many people for the book, including David Cronenberg. How was he to interview? 

Needless to say, I was delighted when he agreed to an interview. He’s such an intelligent, erudite gentleman with that soft, mesmerizing, Bob Ross-style voice. I tried to keep him on the phone as long as possible so that I could hear him talk. He was very gracious and kind, and he told me he was speaking with me because he enjoyed working with Marilyn so much, and he loved that someone was finally telling her story. So, I’m very grateful to him.

As you have explained in several interviews, Chambers was an Iconic personality from the 70’s. Do you think she could have made it as a mainstream actress? Tracey Lords did, although in a less successful career, are they comparable in pop culture?

There’s no question that Marilyn Chambers could have succeeded in so-called mainstream films had she been given the chance. She had talent, and she knew how to act. The right director (and screenplay) could have brought out an incredible performance. She was also very witty and had great comic timing. I don’t know if I could see her doing something brilliantly sardonic, like Paddy Chayefsky’s work, but she could have easily done light comedy or romantic comedies in the seventies. Honestly, I’m not sure what to say about Traci Lords. She and Marilyn remain part of a few successful actresses who got their start in X-rated films, but Traci Lords’ experience was vastly different than Marilyn’s. The world of adult entertainment had changed dramatically by the time Traci Lords appeared on the scene in the eighties. 

Getting back to you as a writer, what other subjects would you like to write about, or are you done with nonfiction?

I love biographies, and I love my fellow biographers. One thing for which I am incredibly grateful is getting to become friends with extraordinarily talented biographers. Even though our subjects might be polar opposites, we learn from and help each other. Writing a biography is a unique skill and a subset of general nonfiction. That said, I’d love to do another. I have several ideas and subjects in mind but haven’t settled on one yet. It’ll reveal itself to me in time.

I’m interested in picking your brain in a few subjects that are kinda touchy. How do you feel about censorship?

I’m against censorship of art in any way. Art is subjective, and artists are truth-tellers. It’s our job to evoke feelings with our work and drive complex conversations, even if those feelings and conversations are uncomfortable. It’s mind-boggling to know people out there still want to ban books. It’s arcane and archaic. If there’s anything that’s show cause for censorship, it’s the evening news. Why are scenes of war and atrocities OK to show on television, but a woman’s bare breast or a man’s penis are considered “offensive?” I’m not suggesting that the news shouldn’t be reported. It should, and it’s the media’s job to be a government watchdog…which seems like wishful thinking at this point. However, there have been numerous studies over the years that show information overload and the negativity of the news media have far more harmful effects on our mental health than pornography ever did.

How do you feel about the trend to hide, suppress subject matters, or “cancel” creators of the past? Change already published books to appease some people who are offended?

“Cancel culture” is about acting based on perceptions and feelings rather than knowledge and intellect. “Canceling” creators of the past is akin to pretending like what they did never happened. That’s worse than confronting the controversies and the complicated history of America, in my opinion. However, we’ve gotten to a point where it seems like every one of us will be canceled at some point. We’re human. We make mistakes. Should every statue of every historical figure be removed? Probably not. Yet some are justified. Why should we keep a statue to glorify a known and proud racist, for example? But we’re not asking ourselves, “Why did we put that statue up in the first place? And how can we ensure we do a better job next time?” We live in a world of instant gratification. People want the satisfaction of participating in a cause when they don’t know why. 

When it comes to pop culture, what are your favorite films, music, TV, art  and books?

When it comes to pop culture consumption, it’s movies before anything else. And generally, it’s old movies. However, I love horror, so I’ll watch new horror movies. After film, it’s music. I don’t keep tabs on the Billboard charts like I used to, but I love pop. TR/ST has a new album coming out in September, and I’m looking forward to that. I typically avoid television unless it’s a comfort show like The Golden Girls. But a friend turned me on to this great comedy out of Australia called Fisk, and I’m obsessed. It’s brilliant.

What projects are you working on now?

My next project—hopefully—is something music-related. I’m waiting to hear back from the publisher, so I can’t get into details. I’m also narrowing down topics for my next biography. I think I’ve landed on one, but it really has to light a fire in me. I also have to see what type of research materials are available.

If you were stranded on Gilligan’s Island, who would be the first person you would kill and who would be the first to be romantically involved with?

(We can delete this from the interview if you like, I just want to interject some humor into the interview.)

Oh, man, this is tough. I have a person in mind for who I’d kill, but I can’t say it for fear of the wrath of this person’s rabid fanbase. As far as romantically involved, Pedro Pascal is pretty damn sexy.

Jared, where can people find you on the interwebs? 

You can visit www.jaredstearns.com and sign up for email updates. You can also find me on the socials: Insta: @jaredstearnssf; Twitter: @privatechambers; Facebook: @jaredstearnssf; YouTube: @MarilynChambers-JaredStearns 

Think Pink Article

“Think Pink!: The DePatie-Freleng Story”

Chapter Excerpts from the Book

By Mark Arnold 

DePatie-Freleng Story Mark Arnold

BAILEY’S COMETS

Judged by some to be one of the worst concepts that DePatie-Freleng ever conceived of that actually made it on the air, it was also the first DFE series to not air on NBC, airing instead on CBS, being given the green light by the VP of CBS programming, Fred Silverman.

The show was also a ratings disaster, and was shifted from the Saturday morning schedule and moved to Sunday after only four months on the air. Its bombing kept DFE out of commission with any new series until 1975, including the cancellation of a proposed animated Evel Knievel series for the 1974-1975 season, announced in January 1974.

As a result, only two new DFE produced specials debuted in 1974 that were both sequels to other DFE projects: Clerow Wilson’s Great Escape and The Magical Mystery Trip Through Little Red’s Head.

Announced in December 1972, Bailey’s Comets is about 15 competing roller derby teams, skating around the world for a prize of a hidden treasure. 16 shows were produced consisting of 32 episodes. Joe Ruby and Ken Spears created this show for DFE and it turned out to be their last for the company, for obvious reasons. They went on to start their own animation studios, with much greater success than this show.

The competing teams consisted of:

  • Bailey’s Comets – A team of teenagers named Barnaby Bailey, Candy, Sarge, Wheelie, Bunny and Pudge.
  • The Texas Black Hats – A team of outlaw cowboys riding horses
  • The Jekyll-Hydes – a team of top hat-wearing English Doctors
  • The Ramblin’ Rivets – a team of a professor and his robots
  • Duster Busters – a motorcycle gang
  • Roller Coasters – a circus performer team
  • Stone Rollers – a team of cavemen and their dinosaur
  • Cosmic Rays – a team of space aliens
  • Gargantuan Giants – a football team of giants
  • Rockin’ Rollers – a rock band
  • Roller Bears – a team of bears
  • Broomer Girls – a team of witches
  • Mystery Mob – a team of skaters immersed in a huge cloud of dust
  • Yo Ho-Ho’s – a team of pirates
  • Hairy Mountain Red Eyes – a team of hillbillies

There were also two commentators named Gabby and Dooter Roo.

Martin Strudler remembers, “Bailey’s Comets was a roller derby. That almost killed us. It was only on for one year and it almost broke the studio. It was a disaster. It was six teams on roller derbies and each team had six members. There were witches and one with hillbillies, etc. and you had to do them roller-skating. You had to animate six characters roller-skating right and then six characters roller-skating left and then six characters skating towards the camera and then six characters skating away from the camera on six different teams. So, we were animating forever with that because there had to be stock footage while they were racing around the world. Then we had to do the backgrounds because the race went to Paris and we had to do Paris backgrounds. Getting the stock footage for that show was a disaster.

DePatie-Freleng Story Mark Arnold (9)

“Today they would do it with a computer and it would be five times as fast, but this was all hand animated; six characters and eight drawings for each foot. It was 16 drawings before you could start a repeat and six different teams. It was a huge amount of work. I don’t think they realized that when they got started. They signed on for it and then they had to do it. Dave DePatie had a fit. He was on the business side. The art directors did it in order to sell it and I don’t think he knew what he was getting into when he signed on for that. Boy, it was a toughie.

DePatie-Freleng Story Mark Arnold

“They became a producing concept studio of just the two of them. Someone would come up with concepts or ideas and we’d sketch them. If they sold a concept, then they’d find a studio to produce it, and DePatie-Freleng was one of the ones they used. And Bailey’s Comets, that was a time when roller derby was a big deal and it sounded like a great idea, so would you like to do it? I mean, you had no idea about the panic that set in on a time schedule where the stuff had to get done. You had the whole animation staff working on stock footage and it couldn’t move without it. 

DePatie-Freleng Story Mark Arnold

Art Leonardi continues, “I did titles, storyboards and animation but Bailey’s Comets was a nightmare because there were groups of roller-skating teams and they’d be running and there were these villains and cars and all this stuff going on. The problem with that was say you were animating the show as a group of kids like Scooby-Doo or something. They’re just standing there talking. You cut to this one. You cut to that one. You cut to the other one. But these guys were always skating, so you had to keep them moving like they’re rolling and the backgrounds had to keep moving. It was a lot of extra work. They never stopped. They were always roller skating.

DePatie-Freleng Story Mark Arnold

“It was a crazy show. I was doing storyboards on it and one time the scripts called for a scene for which I said, ‘This is insane to do this. There’s a lot of production.’ You’ve got to have five or six or four or whatever it was people roller skating. The villains are in a stagecoach and with contraptions on it and there was a chase where it was snowing and I remember it said on the script that you have to illustrate the characters chasing the stagecoach, they had to crash into the stagecoach and they all break up and tumble around and another one was an avalanche where you want to see all these people be covered by snow. I went to them and I said, ‘You know, there’s an easier way to do this and we’ll still get the impression across without doing all this work for the animators and everybody in Ink and Paint to show six people on roller skates crashing into a stagecoach with horses and all that and actually animate the crash.’ I said, ‘I can do it and make it exciting by having quick cuts of the Bailey’s Comets coming towards you and they got a shocked look on their face. You see the back of the stagecoach and you see the shock on them as the camera is moving back on them and then back to the Bailey’s Comets, back to the stagecoach and then a big explosion. Then, slowly pan across the Bailey’s Comets half in and half out of those clumps of snow, the wagon all beat up with a wheel spinning, so the audience would swear that they saw the contact and crash the way you shoot all these quick shots and the explosion and sound effects and you get the same effect without all the work.’ They said, “No, no, we want you to do the storyboard like our script. I refused to follow that section of the script. This was the first time that I didn’t complete an assignment! What they asked for with their version added unneeded production cost. The Bailey’s Comets series became a financial problem for DFE!.”

DePatie-Freleng Story Mark Arnold
DePatie-Freleng Story Mark Arnold

The concept of different roller-skating teams competing in a race around the world to different locations searching for clues that will lead them to the million-dollar prize sounds exactly like the reality show Amazing Race (2001-present)…except the roller-skating part. Also, like that show, the teams interfere with each other and there are outside forces and subplots that step in to hinder the racing teams’ progress.

DePatie-Freleng Story Mark Arnold

This series owes a lot to Jay Ward’s Tom Slick, Blake Edwards’ The Great Race and of course Hanna-Barbera’s Wacky Races. Don Messick, Bob Holt, Daws Butler and Frank Welker return to DFE to voice. Sid Marcus and Bob McKimson directed the series and Doug Goodwin provided the music.

DePatie-Freleng Story Mark Arnold

DOCTOR SNUGGLES

Possibly the oddest of DePatie-Freleng ventures was Doctor Snuggles. It was an animated series created by Jeffrey O’Kelly based on artwork by Nick Price. The show was a co-production between British and Dutch producers.

Snuggles has unusual adventures with his friends, featuring scenarios which usually involved Doctor Snuggles inventing something outlandish such as a robot helper, a time machine or a diamond-making machine. Snuggles travels by means of a talking pogo-stick/umbrella and a spacecraft made of wood called the Dreamy Boom. Most of his friends were anthropomorphic animals. He lived in a comfortable home with his housekeeper, Miss Nettles. His arch enemy was a crazy magician named Professor Emerald.

There were English, Dutch, German and Spanish language versions. For the English-language version the title character was narrated by veteran actor Peter Ustinov, who as previously mentioned was supposed to be the original Inspector Clouseau before Peter Sellers took the role. The show debuted in 1979, but the Ustinov version did not appear until 1980, and consisted of 13 half-hour episodes.

Two episodes (#7 and #12) were written by Douglas Adams and John Lloyd, both dealing with ecological issues. Adams is best-known for his Hitchhikers Guide to the Galaxy series and his work with Monty Python.

Although most of the cast and crew were British, the animation company was based in the Netherlands, and this is also where Doctor Snuggles had its world premiere. The show was shown during October 1, 1979 – August 21, 1981, on AVRO.

In the UK the show featured as part of the Watch It! strand for children on the ITV network and later got repeated on Channel 4 and in Ontario, Canada, on TVO. It also aired on the ABC in Australia and ran from 1982 to 1991.

The Dutch dubbing was directed by Frans Voordrecht, by with voices by Jules Croiset, Trudy Libosan, Dick Scheffer and Rupert van Woerkom.

A German dubbed version was also produced, starring Walter Jokisch as Doctor Snuggles, produced by the Bavaria Atelier GmbH, that premiered in June 1981.

The Swedish version features John Harryson and the French version Roger Carel as Doctor Snuggles.

In the US, Doctor Snuggles was first shown on the cable channel Home Box Office (HBO) in July 1981. It was shown on multiple nights of the week usually at 5:00, 5:30, or 6:00 p.m., and often in one-hour blocks (i.e. two episodes per night).

The show entered syndication in September 1981, and after the initial run (September 13 – December 6, 1981), the same 13 episodes were shown continuously Sunday mornings until September 1983. The airdates listed here are the first-run syndication airdates on network television. It should be noted, however, that the airing order was not the one that has subsequently become the conventional order among fans: episodes 10–13 were shown first, and then episodes 1–9. The series also aired on Nickelodeon’s Nick Jr. block.

Creator Jeffrey O’Kelly discusses his creation on the official Doctor Snuggles website, “It was in 1966, at the Regents Palace Hotel in London and I was having a cup of tea in the lobby when the idea came to me. I started to write on the back of an envelope, and I got through quite a few envelopes and old theatre pamphlets from my pockets before the porters kindly gave me some paper. But they probably regretted the idea when I was still writing at midnight! I had a chameleon which I called Mooney Snuggless, which gave me the idea for the name. He had quite a character. Once he ran away and I couldn’t find him anywhere. I had almost given up looking for my little green lizard when I spotted him clinging to the curtains. The curtains were green and yellow, and so we he! I was most impressed. Later, at the home of Ted Hughes, where I was writing my first film, I completed the philosophy of Doctor Snuggles being a benign little character, an eternal optimist who wants to make the world a better place and solve the problems of mankind as I saw then.

“My favorite episode is “Doctor Snuggles and his Remarkable Wormobile,” where the inventor journeys to the Amazon and meets Snarky Quark, and where Uncle Bill is turned into a butterfly and the Great Llama helps them in their quest. My favorite invention is The Dreamy Boom Boom rocket and the Multi-Wherabouts Machine, but I also like Mathilda Junkbottom and all the other inventions which Dennis and the animals build with the help of the Badergraph.”

Animator and cartoonist Charles Brubaker describes the show, “This is an unusual work from DePatie-Freleng. Doctor Snuggles is a Dutch series about a scientist and his friends. It was produced by Polyscope Production, but they contracted out animation. The first seven episodes were sent to Japan at Topcraft Studio (the same company that Rankin-Bass used). The remaining episodes were sent to DePatie-Freleng; however, this was right around the time the Cartoonists Guild went on strike, so before that happened David DePatie arranged Nelson Shin to go to South Korea and set up a team so that they could make Snuggles over there. An early example of outsourcing animation to Korea.”

Incidentally, Topcraft studio eventually went bankrupt in 1985, but it reorganized and became Studio Ghiblii, a studio known for My Neighbor Totoro, Swept Away and Kiki’s Delivery Service.

Barbara Donatelli recalls working on Doctor Snuggles, “Yes, I do remember that. That was at DePaties towards the end. It came from the Netherlands and this was the most complicated disaster for me as a checker. Everybody hated working on this show. It’s my own opinion. I disliked working on it. It had actor Peter Ustinov. Peter Ustinov was the voice of Doctor Snuggles and he talked in such a manner that you couldn’t really understand what he was saying. It was just not my favorite. We did work on it. Some people liked it, some didn’t.

“I’m not sure, but I think David may have a deal to have it sent it over and we were supposed to try to put it together but I can’t exactly remember how. Just so many things were missing. I think they wanted our camera department to film it at that time at the end, DePatie hired Ray Lee, Steve Willsbach, Bob Mills and Ralph Migliori as the camera department. Johnny Burton had his own separate camera room. Johnny did the special stuff and the TV series was shot by the other camera guys. Now that you’re talking about it, it’s hard to remember. I believe that the Netherland studio sent the work over to us, but so many things were missing. They didn’t have the backgrounds and cels weren’t there and there were just a lot of technical problems. It was a series that wasn’t one of our favorite things to work on.” 

The entire series was released on DVD in the UK in 2005 by Firefly Entertainment. It has not been officially released on DVD in the US except on VHS. A new series pilot was made in 2002 by Animatrix, Ltd.

Mark Arnold
Mark Arnold

Mark Arnold is the host of the wildly popular Pop Culture podcast Fun Ideas. He is also the author of several books on Pop Culture:

  • The Best of The Harveyville Fun Times!
  • Created and Produced by Total TeleVision productions
  • If You’re Cracked, You’re Happy, Part Won and Part Too
  • Mark Arnold Picks on The Beatles
  • Frozen in Ice: The Story of Walt Disney Productions 1966-1985
  • Think Pink: The DePatie-Freleng Story
  • Pocket Full of Dennis the Menace
  • The Harvey Comics Companion
  • Long Title: Looking for the Good Times; Examining the Monkees’ Songs (with Michael A. Ventrella)
  • Aaaaalllviiinnn: The Story of Ross Bagdasarian, Sr., Liberty Records, Format Films and The Alvin Show
  • Headquartered: A Timeline of The Monkees Solo Years (with Michael A. Ventrella)
  • The Comedy of Jack Davis
  • The Comedy of John Severin
  • The TTV Scrapbook (with Victoria Biggers)
  • Pac-Man: The First Animated TV Show Based Upon a Video Game
  • Stars of Walt Disney Productions
  • Not So Happy Together: The Turtles A to Z (AM Radio to Zappa) (with Charles F. Rosenay!!!)
  • Unconditionally MAD, Part 1 and Part B

And the forthcoming  Crazy: The Magazine that Dared to be Dumb (With Mark Slade)

Visit: http://funideas.50webs.com for more Fun Ideas Productions!

Interview with Mark Arnold

Interview with Mark Arnold

Mark, tell everyone a little about yourself? 

I was born in 1966. Although I grew up in Saratoga, California, officially I was born in San Jose, California. I have friends who say they were born in Saratoga, and they could have been if they were born at home. Otherwise, the closest hospital at the time was in San Jose. 

I have always had comic books and records and toys around and that’s the stuff I have collected to this day. 

I wasn’t planning to be a writer. Originally, I wanted to be a comic book or comic strip artist. Later, I wanted to become an animator. Finally, I decided to go to college for film and TV. I originally wanted to be a director, and then discovered that the really creative position was the writer. 

I hated writing growing up, but later I realized why. I never have liked writing about things I don’t care about. I still don’t. I used to have to write book reports and papers about subjects I hated and didn’t think I even was a good writer. That all changed when I discovered that if I am writing on a subject I care about, be it fiction, non-fiction, scripts or any sort of writing, I really enjoyed it if I cared about what I was writing about. 

When you were looking to write your first book, how did you settle on the subject and were there alternatives to it?

My very first book was The Best of The Harveyville Fun Times! which was a compilation of my long-running fanzine of the same name. It was an exercise to see if I could publish a book, since no other publishers were interested in publishing my work. Since I was already publishing a Harvey Comics fanzine, it seemed to be a natural progression. 

What I really wanted to write was a complete Harvey Comics history, but no publisher seemed interested in publishing it until after I self-published this first book in 2006. 

You also have the Fun Ideas Podcast. Who were some of your favorite guests to interview, and who were the more difficult ones you had on your show?

So many good guests. I liked interviewing actor Ronnie Schell, singer Melanie, and various comic book and humor magazine people such as Sam Viviano, B.K. Taylor, Stan Mack, Tom De Falco, Mike Carlin. I don’t really want to talk about the difficult ones, but I will say that they probably won’t be asked back to the show. 

Your latest books are MAD Magazine part 1 and part B. What led you to write about the magazine and its creators?

My Harveyville book caught the attention of Ben Ohmart at BearManor Media. He also saw my article on TTV, the company that produced Underdog and Tennessee Tuxedo. He asked me if I could expand this interview into a book and I said yes. 

After the TTV book was successful, I mentioned to Ben at some point that I owned every issue of Cracked magazine and he wanted to know if I could do a history of the magazine. I responded with “Does anyone even care?”

I went ahead and did the Cracked book, which is the two-volume If You’re Cracked, You’re Happy. Afterwards, Ben kept bugging me to do a MAD book and I kept putting him off, knowing that a MAD book, if done correctly, would take me quite a long time to research and write.

You have written quite a lot of articles on comic books and Animation. Have you had an interest in a subject, started the article, and had to abandon it because of lack of information or lost interest?

The only times I have had to “abandon” a project was usually due to one of two things. One, there was no interest by a publisher, which is why I never got a John Sutherland book published after I got an article published by “Hogan’s Alley” magazine. The other reason was that someone else was doing a similar book to my own and I felt they were doing it better than what I was doing. That happened with a National Lampoon book I was contemplating and also with a book about the origins of the comic bookstore. This latter subject also proved to be too complicated for me to research and also had too many egos involved who would be out to stop me along the way. 

What is it about Humor Magazines that you keep writing books about? You’ve covered nearly all of the mid twentieth century humor mags.

I have always loved humor magazines ever since I started reading MAD at the age of 7 in 1974. I soon discovered Cracked and Crazy by 1975, and National Lampoon by 1976. I was aware of Sick and Plop! and a few others and eventually discovered older ones that were before my time like Help!, Snafu, Wild, Bughouse, Madhouse, etc. 

Most comic book history is centered on superheroes especially those published by the big two, Marvel and DC. I have taken it upon myself to try to cover the more neglected stuff like Harvey, Archie, Dennis the Menace, the humor magazines, and most any other obscure stuff. People seem to like my focus as not everyone is a superhero fan. 

You’ve also written quite a few books on music. The Monkees, the Turtles. Are you mainly a 60’s Rock ‘N’ Roll fan?

When I originally became a music fan outside of children’s records, I tended to like only ‘60s groups and songs. By the early 1980s, I became hooked on New Wave, so I said for years that I loved ‘60s and ‘80s music. As time has gone on, I have developed an appreciation for all genres of music, even country and jazz and classical. 

At the heart of it all, I still like ‘60s rock and ‘80s New Wave best. 

I also have an extensive humor and children’s record collection.

Would you ever consider writing a book about bands that were fictional? Like the Archives? Or Spinal Tap?

Certainly. I have already written books about The Archies and Alvin and The Chipmunks, so….

Who is your favorite band?

The Beatles.

Who do you think is the worst popular music or Rock ‘N’ Roll band?

I tend to not care for much of today’s music when it is (usually) a female singer surrounded by a bunch of dancers and none of them are playing any instruments and the singer’s voice is not distinctive or ruined by Auto-Tune.

Traditionally, I have not cared for raspy voices like Rod Stewart or Kim Carnes and also don’t care much for really heavy heavy metal like death metal, but I’ve had my moments. My tastes also change over the years. For instance, I never liked Disco when it was popular or groups like Black Sabbath, but now I can comfortably say that I like both. Age and wisdom have broadened my tastes. 

What is your favorite TV Cartoon and what is your favorite TV show of all time? And why?

“The Adventures of Rocky and Bullwinkle” (although officially that is two series: “The Adventures of Rocky and his Friends” and “The Bullwinkle Show”) is definitely #1 for me. High up there are things like “Monty Python’s Flying Circus,” “The Mary Tyler Moore Show,” “The Bob Newhart Show,” “Gilligan’s Island,” “The Brady Bunch,” “SCTV” and the first five seasons of “Saturday Night Live.” 

I love humor and I love good writing. I also love semi-cheesy sci-fi like “Lost in Space,” “Star Trek,” and “Batman.”

Ben Ohmart has published many of your books. Tell me three truthful things about Ben and three untruths about him.

Egad. Truthful: He has been a great help to me and my published book life. He has taken on books that other publishers have said no to. He always tries to fix issues and problems with my books or royalties.

Untruths: He has a third nipple. He’s moving back to the United States. He hates my books.

If Hollywood was to make a movie featuring the four humor book mascots, Obonoxio (Crazy Magazine), Sylvester (Cracked magazine), Alfred E. Neuman (MAD Magazine), The Nebbish (Crazy Magazine). Who would be cast in the film?

Obnoxio – Bobcat Goldthwaite

Sylvester – Owen Wilson

Neuman – Traditionally, Ted Koppel or David Letterman, but these days, maybe Jimmy Fallon?

Nebbish – Steve Carell

Give us a rundown of the weirdest cartoons to appear on TV.

The Brothers Grunt

Rubik, the Amazing Cube

Spunky and Tadpole

Jot

Look them up on Wikipedia.

Have you had anyone look at you weird because you started telling them about something not general knowledge?

All the time. That’s what being a nerd is all about.

I recently interviewed Frank Santopadre, and he said people are always looking at him strangely because he knows some kind of information that most people don’t. He watched the credits. Were you like that?

Were you the kind of kid who watched everything, made lists, and needed to know more about what you watched?

Of course I was. I didn’t always read ALL credits. I wanted to know actors, animators, directors and didn’t care too much about other roles. 

In the pre-Internet days, I made lists all the time of things as most books with information were out of date, or missing information or it was generally incorrect. 

How do you feel about censorship?

I don’t like anything censored, but realize that some people are more sensitive than others about such stuff and they need those disclaimers and such in order to get through life. 

I did a three-issue fanzine about censorship called “Censorshi*” back in the ‘90s. It stopped because it got to be too difficult to do, but I did an issue about The Smothers Brothers, an issue about The Comics Code Authority and an issue about Beavis & Butthead.

I hate it when things get censored and banned to where NO ONE can reference it, even for scholarly research. 

What projects do you have in the works?

Crazy: The Magazine That Dared to be Dumb

TV Cartoons That Time Forgot

A book on Plop!

And maybe, the long-awaited Warren Kremer book….

Healing The Broken-hearted NightShort Story By Tyson Blue

Healing The Broken-Hearted Night

By Tyson Blue

Auburn, New York, holds a dark secret as a man follows a recently released prisoner through the shadowed streets. What begins as a quiet pursuit takes a dangerous turn when a stranger with his own agenda steps in. With a private investigator now in tow, a tense game of cat-and-mouse unfolds as they trail the ex-convict, hoping to uncover the whereabouts of a long-hidden stash from an old heist. But in the dead of night, alliances blur, and danger looms. Who will make it out alive, and who is hiding the biggest secret of all?

I was walking along a street in Auburn, New York. To my left was a row of modest residences, a little run-down but not too bad. To my right was a high, featureless wall. Ahead of me, where the street intersected with another, was a guard tower. I couldn’t see the armed guard or guards manning it, but I knew they were there.

Auburn Correctional Facility is one of the oldest functional prisons in the country, and was one of New York’s maximum-security facilities. It wasn’t someplace I wanted to be, not even this close. I reached the corner, stood there for a moment, then turned left and headed down the street away from the prison. I found a dark spot and turned to look back down the street.

About halfway down the next block was the main entrance to the prison. It was a small, blockhouse-looking building which projected out from the administrative building. This was topped with a tower, atop which was perched a statue of a Revolutionary War soldier, facing into the prison. He was known as “Copper John,” and had watched over the massive old pile for most of its existence. 

I checked the clock on my phone. It was 11:57 p.m. Not long to wait. The night air was cool, and I turned up the collar of the denim jacket I was wearing.

Right at the stroke of midnight—a literal stroke, from a clock tower somewhere nearby—The front door creaked open and a man stepped out. He was dressed in a cheap suit made of coarse cloth, and it was dark—I couldn’t tell the color for sure under the glare of the streetlights.

He stepped out to the street and paused to light a cigarette. The glare for the match underlie his face for a moment. He puffed a cloud of smoke, glanced left, then right, and crossed the street. Reaching the other side, he turned right and strode briskly away. I hung back to give him a good lead, then fell in behind him, keeping to the shadows as much as I could.

My crepe-soled shoes made minimal noise as I walked, and there was enough ambient sound to mask what little sound there was. The man I was following didn’t look back, but kept going straight ahead, southbound toward downtown Auburn.

Before reaching town, he turned left at an intersection and made his way to group of homes about two blocks east of the prison. As I followed him down a residential street, I noticed a man wearing a leather jacket trailing behind me about three hundred feet back. When he didn’t turn to follow me down the street, I turned and took up the trail again.

About halfway down the block, the man turned to the right and walked down a short walk, climbed a set of steps onto the front porch of a two-story house and stopped at its front door, raised his right hand and knocked loudly. I blended into the bulk of a tree-trunk down the street and watched. 

There was the sound of a lock rattling, then the door opened. I couldn’t see the person who opened the door, not hear what they said, but the man stepped inside and the door closed and the lock clicked shut. I leaned away from the tree, preparing to move in closer and see if I could hear anything that might be said inside, when a voice spoke quietly from behind me.

“Hold it right there,” It was a gruff voice, not that of a young man. I turned to look over my shoulder. It was the man in the leather jacket I’d seen a few minutes ago. He had crept up behind me, and now stood just outside my reach. I didn’t see a weapon, but that didn’t mean there wasn’t one. I started to turn to face him.

“I didn’t say you could turn around,” he said.

“You didn’t tell me I couldn’t,” I answered.

I took a second to look him over. He was between five-five and six feet, with gray hair, a mustache and a few days’ stubble.

“So what’s your business with Bart Streeter?” he asked, cutting his eyes toward the house behind me.

“Who says I’ve got business with him?” I asked. 

“You following him from the prison over to here says,” he answered back.

“Why do you want to know?” I asked.

“Because I have business with him, and I want to make sure I don’t have to deal with you, too.”

I gave a thoughtful nod or two.

I was actually there to kill Streeter, but I wasn’t about to tell him that.

“Before he got sent up, he took part in an armored car job, “ I said. He interrupted me.

“The job he was sent up for.”

I nodded.

“Right,” I told him. “He stashed the loot somewhere, and my employer wants to know where. Since he’s out now, I’m hoping he’ll head right for it and lead me to it.” 

That wasn’t entirely true. I’d been hired by one of the other robbers, but only to take him out for stiffing the rest of the gang. If I found out anything about what happened to the loot—or what was left of it—that would just be icing on the cake.

The man in the leather jacket winced and shook his head.

“Well, that’s what I’m after too,” he said. “Insurance covered the bank’s losses, but they hired me to see if any of it can be recovered. I’m a private investigator.”

“You got a name?”

He reached into his jacket pocket and handed over a business card. I took it, then glanced up at him.

“Dennis McMurtry?” I asked. He nodded.

“And you are…?” he asked.

“Tim Foster,” I told him, giving him the name of a deputy I’d had a couple of run-ins with down south a few years back. I didn’t think the name 

”Ray Vincent” would mean anything to him, but why tempt fate?

McMurtry held out a hand.

“Pleased to meet ya,” he said, and we shook briefly. 

“So,” I said, “You want to work together on this?”

McMurtry mulled it over for a moment, then nodded.

“For now, why not?” he said. “That way, we outnumber him.”

“Okay,” said, “What do we do if he goes somewhere from here by car? We’re on foot, so how do we track him then?”

“My office is a couple of blocks away from here, and my car is there, “ he said. “You stay here and try to listen in on what they’re saying, get an idea of what’s going on, then text me to let me know where you are and I’ll pick you up and we can go wherever we need to. Sound like a plan?”

“It does,” I answered. I gave him my cell number—it was a burner, and would be discarded before I left town—and with that, he turned and headed back up the street the way he’d come. 

I edged myself closer to the house Streeter had entered, and spotted a single lit window in the back of the building. Trying to be as quiet as possible, I stepped as close to the house as I could, making sure not to step on anything that might make a noise. 

I stood as straight as I could beneath the lighted window, straining to hear anything that might be said. My head was still about two feet below the sill, and all I could hear was a faint conversational buzz from the room. I tried to hold my balance so as not to knock up against the side of the house and tip them off to my presence. 

As I stood there, I felt my cell phone begin to buzz in my shirt pocket. I crept quietly down the driveway and up the sidewalk a way before pulling it out and answering it.

“Yeah?” I said quietly.

“It’s me, McMurtry,” the detective said. “I’ve got my car,” he said. “What’s going on?”

“He’s still in the house,” I told him. “Why don’t you come on down here and park up the street a ways. That way, if he borrows a car to go somewhere, we can follow him.”

“Sit tight,” he replied. “I’ll be right there.”

After about ten minutes, a black mid-size car pulled over near the tree I was standing beneath. McMurtry shut off the lights and motor. I walked over to the passenger side and slid into the seat, easing the door shut. 

I looked over at McMurtry.

“And now we wait,” I said.

“Yup.”

“So how long you been doing this?” I asked him.

“I started in the early ’80’s as a welfare fraud investigator,” he said. “Then I went private, worked in New York City for a few years, then things got a little hot for me down there, so I moved back here. After a few years living hand-to-mouth, I lucked out and solved a cold-case murder that made headlines all over and boosted my business a whole lot.”

“I think I remember hearing about that,” I said. “Girl got raped and murdered by a cop, wasn’t it?”

“Yeah,” he said, his eyes looking off into the distance, or maybe the past. He was quiet for a few minutes, then shook himself slightly and went on.

“I was able to open a more respectable-looking office, and business picked up, and stayed pretty steady. This isn’t exactly a hotbed of crime, so there wasn’t a whole lot of gunplay and stuff, so the retirement age came and went, and I saw no reason to stop doing it.”

He fell silent for the time it took to turn a corner and drive two blocks.

“But then the aches and pains started, and the joints began making little squeaks and pops that they didn’t make a few years ago, and getting out of it seemed to get a little more attractive.”

“Do you have a time frame in mind yet?” I asked.

He thought a minute.

“Maybe in the fall,” he said. “maybe begin to taper off a little, take on a few less cases, then just do one every once in a while, and then, one day near the end of the year, just not do it anymore.”

There seemed to be an air of melancholy about him as he talked about this.

After a short pause, he asked, “What about you? How much longer will you do whatever it is you do?”

I hadn’t ever really thought about it. I live in a cabin in the woods out in the middle of nowhere in New Hampshire, and just take on jobs as they come to me. The pay is really good to the point that I don’t need it, and that’s not mentioning the proceeds from the sale of a stash of Confederate gold that I lucked into awhile back, which was nestled safely in an overseas account.

“I don’t know,” I finally told him. “I’m an independent contractor, and I can pretty much pick and choose what I do. Haven’t really thought about stopping it anytime soon.”

McMurtry thought this over, then nodded.

“Must be nice,” he finally said.

We had left the city behind and were driving through countryside. Houses were few and far between.

A turn signal flashed on Streeter’s car, and he turned right into a storage  lot. We pulled over and turned out the lights, and watched as he drove down a road between two sets of storage units. When he got out of sight, we slid out of the car, the dome light turned off, and eased the doors shut quietly. I bumped mine once with a hip to make sure it was snug, then the two of us walked to the entrance and eased around the gate. 

We were both wearing crepe-soled shoes, which made hardly any noise on the gravel. We came up to the end of the left-hand row of storage units and peered around the corner. 

There was no sign of Streeter or his car along this row. Beyond it was another identical row of units on each side, and there was no sign of him along that row either. Keeping closer to the side of the building, we headed down along the row of sliding metal doors.

Outside the storage area, the soft sounds of night traffic could be dimly heard, but inside the surrounding fence, there was no sound. Reaching the end of the building, I stuck my head around the corner, motioning for McMurtry to hold back. Seeing no one, I loped quickly across the intervening roadway to the next building. I eased along the end wall and peered around the left-hand corner. I saw nothing. 

Listening, I didn’t hear any sounds that would tell me where Streeter had gone.

I crossed back the way I had come and trotted over to the building on the right-hand side, and moved to the far end. As McMurtry moved quietly up beside me, I eased my head out to where I could look down the side of the building with my right eye. 

About halfway down the row of storage units, I saw Streeter’s car. I saw him standing between the car and the door of the storage unit, reaching out toward the lock. His right hand was touching the lock, which appeared to be a combination lock.

I turned to McMurtry.

“Are you carrying?” I asked him.

He patted his left side .

“Nine-mil,” he breathed. “You?”

“Glock,” I said.

“I usually carry a Colt Python,” he said. “But that’s a little noisy for this kind of work.”

I nodded. 

“We should head down the other side and come up on him from the other end,” I suggested. “Less likely for him to see us coming.” I suited my actions to the word, went to the other side and started down the opposite side of the building from where Streeter was working. McMurtry followed. As we neared the end of the building, I could hear the metallic rattle as the door went up on the other side.

I reached the end and turned right, going along the wall as quietly as I could. Reaching the other end, I eased my head around and looked toward Streeter. I saw the car, but not the man. A dim light shone out onto the car. He must be inside, I thought, and eased around the corner, easing the Glock out of its holster under my jacket as I moved toward the open door. McMurtry was behind me. 

Reaching the door, I eased my head around and looked inside the unit. Streeter was there, busily moved plastic storage bins from a stack of them, setting some beside him and forming a new stack. His objective looked to be a metal strongbox about two-thirds of the way down. As he lifted the last bin off the box, I moved out until I was standing in the door directly behind him.

I leveled the Glock and shot him in the back of the head. He gave a twitch, then toppled over on the floor of the unit.

“What the fuck?!” McMurtry exclaimed. “What the hell did you do that for?”

“It’s what I was hired to do,” I told him calmly. “His partners wanted him taken out for stiffing them on the armored car job. If I ran across the loot, that was nice, but they really wanted him punished for running out on them.”

“You-you’re a….a hitman?” McMurtry gasped.

“I prefer the term ‘contractor’”, I told him.

He hesitated, his empty hands twitching.

“Don’t try it,” I told him. “I don’t want to hurt you. I’ve done what I came here to do. I can leave you here with the strongbox.”

“Strongboxes,” he said, nodding his head in the direction of the storage unit.

I moved to continue covering him while I turned to glance into the unit. When Streeter had fallen to the floor, he had dislodged a stack of bins next to the one he’d been working on. Two more strongboxes, identical to the first,  were visible behind them. I turned back to McMurtry.

“Well, I don’t know how many boxes were taken in the robbery, but it seems to me you can turn these in, along with any more that might be squirreled away in there, and complete your job in high style. I’ll even help load them in your car.”

McMurtry hesitated.

“I don’t know,” he finally said. “You’re right as far as it goes, but I’m an eyewitness to a murder, and if I don’t tell the cops what I know, that makes me an accessory, and I’d lose my license and probably draw a nice long prison bid.”

“But you’d never turn me in,” I said.

“You don’t know that.” he said, indignation written on his face. “You’ve only known me a few minutes!”

“That’s not what I mean,” I said.

I watched his expression change as understanding set in.

“Oh,” he said.

We were at a standoff position, not sure where we were going. But before we could get much further, the decision was taken out of our hands.

As if they were synchronized, headlights blazed on from either end of the building, as car engines revved. McMurtry and I were hemmed in from both sides, with only Streeter’s car or the storage unit for shelter. That was not much. They advanced together and stopped about ten feet from us on either side. Behind the blaze of the lights, I heard doors open and windows humming down.

“I think my employers decided to check up on me,” I said to McMurtry. “maybe they wanted the money more than they let on.”

I reached over and opened the driver’s side door of Streeter’s car, then stepped behind it, putting it between me and the car in front of me. McMurtry opened the back door, and stood beside me, facing the other car. He had drawn his nine-mil.

A rough voice came from the car facing me.

“Hey, Ray!” he called. McMurtry threw a glance my way.

“Ray?” he said. “I thought you said your name was Tim!”

“I lied,” I explained. 

“Looks like Streeter led you to the money,” the voice growled.

“Kinda looks that way,” I agreed.

“What you planning on doing with it?”

‘It wasn’t part of the deal we made,” I said. “You just wanted me to get Streeter for you. He’s in there,” I pointed into the storage unit. “And he’s got. My friend has an interest in the money for his employer, so you can take that up with him and let us leave. I just need the rest of my fee.”

“The way I see it,” the voice rasped, “if we just take care of you and your friend, we get the money and we save money on the deal.”

“Sorry you see it that way,” I said, and leaned over to flick on the headlights of Streeter’s car, flicking them to bright as I did so. At the same time, I shot out the lights of the car in front of me.

Two men stood in the blaze of light, temporarily dazzled by the high-beams. I shot both of them in the head, not sure if they were wearing armor or not. Beside me, McMurtry took out the lights on his car, then fired at the men facing him. He didn’t have lights on them, and so he had to guess where they were. A yelp came from one of them, so it seemed as though he had at least grazed one. Still, a volley of return fire came at him out of the darkness.

There were a couple of shots from the car in front of me, one from each side; there had been two more men in the back. The door in front of me took one shot. The second shot took out the passenger side headlight. I fired at the muzzle flash. There was a grunt and the sound of someone falling.

I glanced to my right. McMurtry was standing, looking behind us toward the other car.

“Anybody left?” I asked him.

“ Not sure,” he said. “Not sure how many there are, or what damage I did to the one who made the noise. Mighta just scared him, you know?”

About then, a shot rang out from the darkness by the car he was covering. I heard the bullet whiz as it passed between us, then went on to strike someone standing by the car I was covering. A man took two steps forward and fell over the open passenger-side door, hanging through the open window. The remaining headlight showed a gaping exit wound in the back of his head. 

There was no sound from either car. We were relatively safe as long as we stood between the open car doors, but we couldn’t stay there forever. About five minutes passed.

“I’ll be right back,” I said, easing around McMurtry.

“Where are you going?”

“I’m going to check back there, see if anyone’s left.”

Before he could say anything, I eased around the door and padded toward the other car, looking from left to right for any sign of movement. I didn’t see anything. Reaching the car, I eased around the driver’s side door and looked down, using my phone’s flashlight. The man draped over the door was obviously dead, as was the second man laid out behind him. A third man was draped in the back seat, leaning out the rear passenger door. I stepped gingerly over the dead man on the ground and around the back of the car.

A fourth man was lying there, trying to get up and dealing with a chest wound. I knelt down beside him, covered his mouth with one hand and pinching his nostrils shut with the other. His eyes widened as he struggled to breathe, but he was too far gone to put up much resistance. After about forty seconds, his struggles weakened and stopped. I held on until his sphincters let go, then gave him a few more seconds before I released him . I got up and carefully made my way back to Streeter’s car and rejoined McMurtry.

“I’m pretty sure everybody’s accounted for back there,” I told him. 

“‘Pretty sure’?” he asked.

“Well, if there was a fifth person in there, they may have sneaked away, but there’s no one alive around or in the car.”

McMurtry nodded.

“Okay,” he said. He pointed with his gun toward the other car. “Shall we go check that one out together?”

I nodded.

“Makes sense to me.” 

We started walking toward the car, checking both sides for any signs of activity. As we neared the driver’s side door, there was a sudden rush of movement from inside the car. An arm holding a gun thrust out the front door, between the body of the car and the door itself. 

“Gun!” McMurtry shouted, jumping over to shove me to my left. The gun fired. I heard McMurtry grunt beside me as I fired three shots in quick succession into the car, kicking the door shut to pin the arm in place. Then I walked up and opened the door, moving aside as I did.

There was a man in the driver’s seat, with three bullet holes in his chest. Reaching out, I took the gun from his limp hand and pitched it behind me. His dead eyes stared at me, but I gave him a fourth shot to the head to make sure. Then I walked quickly around the car to make sure no one else was alive. There were three others on the ground, all dead.

I turned back to McMurtry. He was still standing, but he was deathly white, and as I came up to him, his knees began to wobble, then gave out. I caught him as he fell and eased him to the ground. He looked up at me, trying to focus. There was a bullet hole in his jacket, somewhere in his center mass. There were any number of organs in that area, any of which being injured was not a good thing.

“Did —,” he coughed, and a thin rivulet of blood ran out of the corner of his mouth. “Did you get him?”

“I did,” I told him. It looks like you took care of the rest of them.”

“I guess,” he paused and coughed weakly, “this takes care of the problem of what to do with the money.” 

He smiled weakly. 

“Not gonna make it, am I?” he asked.

I shook my head.

“Sorry,” I told him.

He shook his head.

“’S’allright,” he said. “It was bound to happen sooner or later.” His speech began to slur toward the end.

“Is there anyone I need to call for you?’

“No,” he said, with some effort. He was breathing more heavily now.

“Just stay with me ’til it’s over,” he said.

“Sure,” I said.

He looked around for me, his eyes looking bleary and unfocused. I wasn’t sure he could see me at this point. I wasn’t sure how long I could stay. We were out in the country, it’s true, but all that gunfire would have made quite a racket, and I didn’t know how long it would be before a cop or two showed up.

McMurtry’s head had fallen forward on his chest, but suddenly he perked up. He raised his head and looked at a spot over my left shoulder. His eyes came back into sharp focus. I turned my head and took a quick glimpse in the same direction. There was nothing there.

“ Lynn?” he said, and a smile of unbridled happiness spread across his face. He looked positively joyous. Then, as quickly as it had come, it went. The light and the life went out of his eyes as a soft sighing exhalation left his mouth. His breathing stopped and he slumped lifelessly. 

McMurtry was dead. 

I lowered him gently to the ground. I closed his eyes. Even in death, there was a faint trace of his final smile. 

Getting to my feet, I quickly rummaged through McMurtry’s pockets and found his car keys. Then I went through Streeter’s pockets until I found a piece of paper with the four-digit code for the entrance gate. I trotted as fast as I could up to the road, pulling on a pair of nitrile gloves from my jacket pocket. I started his car and drove it down to the storage unit, taking a moment enter the code into the keypad for the entrance gate. Popping the trunk, I got out and began loading the strongboxes into the trunk. There were four of them altogether. I had no idea how much they contained, but there was plenty of time for that when I got to someplace safe. 

Getting back in the car, I checked the fuel gauge. I could get quite a ways. I glanced over at McMurtry’s body. I thought about moving him into the storage unit to keep it out of the elements, but decided not to. I put the car in drive and drove away. I got to the entrance, opened it again, then drove out to the road and turned left, headed away from Auburn and toward the New York State Thruway. I had notice that McMurtry had an EZ-Pass transponder on his windshield. I could use the car to get the money back to my cabin in New Hampshire, then figure out a way to dispose of it without leaving any footprint. 

Along the way, I thought about McMurtry and my brief encounter with him. I wondered what it was he saw, there at the end. I wondered who “Lynn” was. Maybe she was someone he’d loved and lost long ago. And maybe there at the end, he thought he’d found her. I hoped he had.

It’s funny, the things you find yourself thinking about while driving in the middle of the night, with nothing but a turnpike full of long-haul trucks and scattered night travelers for company. 

This story is for Dennis McCarthy (1952-2024), the real Dennis McMurtry, who was always one of Ray’s first readers, and one of his biggest fans. I wish I’d gotten the idea for this one in time for him to read it.
Healing The Broken-hearted NightShort Story By Tyson Blue
Less Than Human Gary Raisor
Yōkai of the Rising Sun Short Story by Eric Guinard

Yōkai of the Rising Sun

By Eric J. Guignard

Corporal Hutchins and a small group of marines survive a shipwreck after an attack by Japanese forces, only to find themselves stranded on a mysterious island. As they struggle with their injuries, starvation, and the ever-present threat of sharks, they stumble upon something far more terrifying: the island is inhabited by yōkai—the malevolent spirits of Japanese folklore. Perfect for fans of war stories mixed with folklore horror, this tale weaves together historical tension and the unknown, leading to an unrelenting sense of dread. Will the marines survive the haunted island—or will they fall prey to its monstrous inhabitants?

Their transport ship was hit. Grievously. An explosion ruptured it, then a second. It happened so fast, all Corporal Hutchins saw was bright white, then darkness…

When he came to, he was prostrate on the deck, facing a blue sky the hue of McLean’s Lake on a summer morning. Cotton ball clouds hung irregularly, and he was struck at how peaceful the scene appeared, how serene. He knew something was wrong, but wondered why he didn’t feel any pain.

As a child, when he’d smashed his toe on a rock, the knowledge it would hurt unfolded in his brain before the actual pain flowed up the nervous system to prove that intuition true. Perhaps this pain was like that, the awareness coming before the actual feeling. And, perhaps, the greater the magnitude of the expected agony, the longer the nerves would take to relay that information, sort of like putting off telling a buddy’s wife he’d been shot to hell by the Japanese and there wasn’t enough left of him to ship back stateside.

A buzzing like angry wasps zipped past, its droning first distant, then near, then distant again. That memory of McLean’s Lake wasn’t so peaceful anymore. The decking beneath him pitched. As he went sliding, sliding down, he remembered how .20 mm cannon fire caused that insectoid noise as the bullets flew past.

Time sped up, and the pain he’d been waiting for reached his brain full-throttle. Hutchins screamed, and the blue sky turned black, and merciful unconsciousness washed over it all.

Story Break Barbed

When Hutchins next faced the sky while on his back, he saw the color had changed to a reddish-gold, the hue of autumn hickory behind Camp Lejeune, backlit by a rising sun. The moan that tore itself from his locked throat was as caustic as the dawn was pretty.

“Here, sip this. We’re rationing.” He recognized the grim voice, but the face over him was a blur: one of the platoon sergeants, Denny.

Hutchins tried to ask about his condition, but the moment his lips cracked apart, a canteen’s mouth pressed in. Iodine-flavored water dribbled over his tongue, down his parched throat.

He was bobbing, up and down, up and down, but real gradual.

Sgt. Denny turned to look at something Hutchins couldn’t see over the lip of the lifeboat’s edge. He muttered, “Goddamned sharks.”

Story Break Barbed

When Hutchins opened his eyes again, he stared upon the sky and saw the color was black and white, like the static on a television set once it goes off-air; there were that many twinkling stars.

Story Break Barbed

The next time he woke, the sky was purple and angry blue, as if the heavens were bruised by some mighty foe. The coloring of the sky matched that of his body. Pain throbbed with every dragged breath, though ebbing, except the times it became worse.

Story Break Barbed

Hutchins stared upward, and this time he did not pass out. The sky had turned olive green as a G.I.’s piss pot.

Sgt. Denny forced more iodine water into his mouth. Hutchins almost had the strength to spit it out, but managed to keep down every drop.

He gasped and struggled to sit up until his back mutinied. Since the explosion, everything he’d seen was while laying prone, balled up aft side with a punctured life vest pillowing his head. He was drenched. Something shifted in his chest that wasn’t meant to move.

The choppy gray ocean surrounded them, and he studied it. “Wh-where… are… we?”

“Hell if I know,” Denny said. He looked to say more, but was interrupted.

“I see land!” a voice shouted. “There’s land, land!”

A thin, keen wailing sounded in the distance. After looking around, Denny finished, “Or maybe Hell’s exactly where we are.”

Story Break Barbed

The few marines—those still strong enough—paddled with their hands to the craggy shore. There, the water shallowed, showing spears of slimy, jagged rocks. Fish splashed away. The water eddied with undercurrents and whirlpools. All but one of the men still wore his G.I. boots. That man remained in the raft with the wounded while the others waded out and dragged them through the swell. Hutchins knew the bootless man.

“Fitch, hey.” Hutchins rasped, coughed.

“’Bout time you got up, princess. If it weren’t for Sarge, I’d have tossed you into the soup days ago. You moan like a bitch in heat.”

“Days ago?”

“Days, weeks, who knows. I lost track, but we made it. Terra firma. And none too soon.”

With a great heave, the wading marines hauled the raft through the last of surf and beached it a dozen yards upslope. The ground was all rocks, smooth and sharp as broken Coca-Cola bottles, sparkling in the palette of the rainbow.

A wiry marine strode back to them, crunching gravel. He patted the raft’s bow. “This ol’ bird’s done flying.”

The rubber lifeboat slumped to one side and the rest of it leaked and hissed from under peeling splits of yellow patches. Water sloshed inside. Dried blood and salt and muck smeared its ragged lining.

“That’s Private Stach,” Fitch told Hutchins, pointing to the other marine. “He saved your life.”

“I’m not a corpsman or anything,” Stach said, “but I played doctor often enough with the gals in school.”

Fitch grabbed a fish skull from inside the raft and threw it in response, pinging Stach on his steel helmet.

The raft was filled with those skulls, floating in half a foot of stale brine alongside chewed fins and loose scales and tooth-picked bird feathers. The raft water was warm, and it smelled of rot, and it frothed as Hutchins tried to pull himself out. He was soaked through, his fatigues, like his skin, soggy and discolored by the sun and sea.

“Get me out of here.”

“Easy,” Stach said. “We’ll find a place to lay you out, but it’s all rocks here. You’ll tear your wounds open on ’em.”

“Wounds?” It hurt Hutchins to breathe, hurt to move, hurt to talk. But he didn’t know what was wrong with him. There were few places his body didn’t ache.

“I bandaged your chest as best I could, though you got a couple busted ribs. I don’t think they hit any organs yet, but you move the wrong way and you’ll end up with a popped lung.”

“Be a helluva way to go out, drowning in your own blood after surviving that blast.”

“What happened?” Hutchins’s mind was a groggy beast.

“Zero’s bomb dropped right on you,” Fitch said. “I saw it. Looked like you were trying to catch a pop fly ball, way your arms went over your head. You must’ve blown airborne thirty feet.”

“You took burns on your limbs, torso, head,” Stach added. “Hope you weren’t partial to your eyebrows, ’cause they’re AWOL. And you probably sucked down half a fireball.”

“You were running a manic fever, too, but it broke.” Fitch said. “Lucky as hell, kid. You outta be dead.”

“If this is luck, I’ll take latrine duty… ” Hutchins replied dryly.

Fitch went deadpan. Heavy stubble covered his lower face, sandy blonde over burned red skin. Cracked and swollen lips pulled tight, and he tilted his head without looking back. “Could be worse.”

Hutchins hadn’t noticed the sailor lying at the raft’s other end, half-submerged in the seawater marsh. The man’s eyes were closed and his face twitched in cadence. His torso was a shambles and missing an arm. The stump sprouted black tendrils of gangrene or some other mortal infection up his blue-green shoulder.

“Seaman James,” Stach said. “He should’ve died two days ago. He just don’t know it.”

Sgt. Denny returned to the raft with another marine. “This beachhead is pure stones and bird crap. Beyond that is jungle, and plenty of it. Goes on far as we can see. Gotta be food, water, maybe native farmers or fishermen.”

“Tropical paradise,” Fitch said. “Any minute, topless hula gals’ll come out with coconuts and straws.”

Hutchins doubted whatever they found would be good. He heard that thin, keen wailing coming from the jungle depths like when they’d first spotted land. A breeze picked up, bringing with it a smell of wet, rotting filth and something else, not unlike the reek of sour tofu. In the distance the twin conical peaks of extinct volcanoes hovered over the tree line. In its foreground, one of those trees suddenly shrank into a small creature and scampered into a hole.

Hutchins blinked, mistrusting what he saw. Nothing else moved except storm clouds hurrying over their position. He was still groggy from his injuries, his brain felt swollen, his eyes bleary. Just seeing things…

“That’s it for Seaman James,” Stach said. He’d been mopping the sailor’s forehead. It was pale and wet and waxy, the sweat beading like raindrops rolling down taut rubber.

“Found peace at last,” the marine with Denny said. He was tall, and the only one of the group Hutchins didn’t know yet, but he wore the insignia of a corporal.

“Sorry, James,” Fitch said. “At least now I got boots.”

Hutchins counted five ragged men remaining, including himself. Between the sailors crewing the USS Spectrum, the three marine rifle platoons, and his own science division squad, the ship had sailed with over two hundred men on board. When they were hit by a squad of Japanese Zero planes, it’d been a complete surprise. The Spectrum—a converted high speed transport—sank just as fast as it once sailed, slipping through the waves like the greased cartridge through a rifle’s chamber.

He asked Denny, “Where’s the rest of the company?”

“Goddamned sharks,” was all the sergeant replied.

A movement up shore drew their attention. The beach ran about fifty yards inland, stopping abruptly before a leafy jungle wall that rose from the wasteland like a lush rampart. Palm fronds rustled back and forth, and an Asian woman older than Hutchins had ever seen emerged.

“Jap!” Stach said.

The tall corporal lifted his rifle at her. “In sight!”

“Williamson,” Sgt. Denny commanded him. “Lower your weapon, you’ll scare her off.”

The old woman looked frail and stooped, no taller than five feet, and her face was painted white like Hutchins had seen in paintings of Japanese geisha girls. An oversized conical hat—a sugegasa—wrapped her head, doubling her height. She shambled toward them with great effort, slowly and delicately, as if straining at each step not to topple over. As she neared, he saw her eyes were impossibly giant, great saucers of ebony sorrow overflowing a minikin face.

Sgt. Denny tensed as she neared, and his own weapon lifted. “Speak English?”

Her staunch shuffle did not waver, but she looked at the corporal, Williamson, who stood nearest. “Saké?”

“What? The drink?”

Her enormous eyes turned next to Fitch, pleading. “Wine?”

Fitch drew back a step, glancing at the sergeant. “Are there others with you?”

She returned his question with one of her own. “Saké?”

Fitch crinkled his face, and sunburned flesh cracked. He looked about to say something else but fell silent instead.

The stooped old woman was barefoot, and Hutchins expected her to leave a trail of blood and torn flesh across the sharp rocks as she neared, but the jagged ground did not seem to bother her at all.

She looked at him next, sitting in the wrecked lifeboat. “Saké? Wine?”

“No,” Hutchins answered. “We have no saké or wine.”

The woman’s shoulders slumped, and she sighed long and mournful. She spoke no more, turning from them in the same creaking movements that had brought her to them.

“Wait,” Sgt. Denny said.

She ignored him, instead shuffling back to the palm fronds from where she’d come. Cpl. Williamson moved after her, grabbing at her bony shoulder. His hand passed through, and she became a swirl of white mist, the same color of her painted face.

He cursed and leapt backwards.

“Blue hell,” Fitch muttered.

Stach murmured a quick prayer and crossed himself.

“Get back,” Denny ordered, and the marines retreated to their beached raft.

Again, that smell of tofu drifted past, but sour and rotten, and Hutchins suddenly recognized it. Chòu dòufu, a strange dish favored in night markets, but one also with other associations… He studied the jungle wall, so like a verdant palisade, then turned his attention to the surrounding sea. A brilliant orange fish bobbed its head through waves and watched him with several of its spider eyes. One eye winked a secret before the fish dove back down as silently as it had appeared. Hutchins felt his heart hammering and hoped it wouldn’t impale itself against one of the broken ribs, although, in light of what he concluded, it might be preferred. He thought of the phantoms…

“I know where we are,” he said quietly.

Though this should have been welcome news to the other marines, Hutchins’s voice was too dismal. He watched them tense and eye each other nervously.

“Where’s that?” Denny finally asked.

“It was my group’s mission to find proof of this site.”

Denny looked around quickly, trying to outguess Hutchins. “You’re part of M.A.G.E.”

“Yes,” Hutchins said. He sucked in a deep breath, but the pounding in his chest checked that effort. He wheezed instead. “And now my mission’s successful. We’ve found… Island of the Yōkai.”

Stach turned around as if trying to look everywhere at once. He shook his head, either uncomprehending or incredulous. “No, no, no…”

“That was Shiroibaba,” Hutchins added, “the old woman searching only for alcohol, but a warning, also, of uncertainty, of guilt. She will be the first, foraging ahead of others. She’s not dangerous… but others will be.”

Williamson traded glances with Fitch. “What does that mean? What’s… yook-eye?”

“Yōkai,” Hutchins repeated. “They’re the monsters of Japanese folklore…” He coughed, shuddered. “Spirits cursed by vice and misdeed to haunt or punish the living.”

“Blue hell,” Fitch said again, his dark eyes growing large with fright.

Hutchins nodded. “The yōkai know we’re here… we have to leave.”

“Tell us first,” Denny ordered. “What’re we up against?”

Story Break Barbed

Twelve months prior, the calendar marked October 1942, nearly a year after the surprise attack on Pearl Harbor. Bruised and outraged, America sought to avenge itself and, after long, bloody struggles, Allied forces began to do just that, successfully landing on Guadalcanal and islands in the Solomons, eradicating their Japanese strongholds one-by-one, like hunting down stags in a Big Buck contest. Each enflamed bunker was another notch on a marine’s rifle stock or a hash mark on a F4F Wildcat’s cockpit.

But as the rubble cleared, secret tunnels unearthed, and enemy officers interrogated, terrible whispers began to emerge that made Nazi atrocities seem as prosaic as morning drills on the barracks square.

Demon children corralled by Japanese artillery…

Woodland phantoms emerging from battlements…

Apparitions that could never exist, yet were unaccountably kept at top-secret installations…

Much of the intelligence was ascribed to Eastern superstitions, but there was enough evidence to question existence of the yōkai that US Admiral Chester Nimitz ordered an emergency formation of military scientists to investigate and determine how exactly to study and eradicate this ominous threat.

The Air Force had their Office of Special Investigations to research UFOs through Project Blue Book, and the Navy and Marines now were thus jointly authorized to initiate a project, known clandestinely as M.A.G.E., or Mystical and Arcane Guidance Examination. Though he was only a corporal-ranked specialist, Hutchins learned the yōkai better than anyone else in the group. He explained the phantoms to superior officers with a perceptive familiarization that went beyond their classified case files. Somehow Hutchins felt as if he already knew them all…

Biwa-bokuboku, the haunted lute; Gashadokuro, a giant skeleton that bites the heads off humans; Ha-inu, the powerful winged dog that can conjure wind with its bark; Yukinba, the snow hag, who appears with sudden blizzards to swallow her victims; and so many others.

His division squad of M.A.G.E. was on a secret mission to find proof of the Island of Yōkai, where the spirits were rumored imprisoned until they could be controlled to the bidding of Japanese leaders.

The USS Spectrum had been escorted by two destroyers, but with no sign of Japanese activity in their quadrant, the escort was called back to provide cover on another mission.

Then the Zeros found them.

The Mitsubishi fighter planes were painted like their nation’s flag with a single red disc emblazoned in center of each glossy white fuselage, an emblem known as The Rising Sun. At Hutchins’s first glance it seemed as if two dozen enemy flags suddenly dropped upon them from the clouds. The Spectrum didn’t last ten minutes.

And now here they were, on an island not known on any map…

Story Break Barbed

“We’ll advance off this beach,” Sgt. Denny said. He clenched his fists and grit his teeth.

“It’ll be night soon,” Stach countered. “We can’t march through a dark jungle with ghosts around.”

“We can’t stay, we’re exposed out here.”

“We also have a clear line of sight.” Williamson leveled his rifle at the tree line.

Hutchins interrupted the others. “We need to leave.”

“What else are we discussing?” Denny snapped.

“Off this island, I mean.”

“Unless you’ve got another boat packed in your rucksack, we’re sheltering on this rock.”

Sgt. Denny looked to say more, but a crash sounded, and a monstrous, sinewy bird bolted overhead, trailing a long, scaled snake’s tail. The body was twice as long as any of the marines, covered in shale-and-amethyst-colored feathers, and the head was an old man’s with a constipated face. Tufts of surly white hair surrounded its jagged yellow beak.

“Itsudemo! Itsudemo!” It shrieked horribly.

“In sight,” Williamson said, raising his Springfield rifle to line the creature in scope.

“No!” Hutchins shouted. The exertion made his chest wounds pound. “That one is a warning. The sound it’s making is denouncement of suffering… it means, ‘How much longer?’ If you kill that one, it would come back to haunt us further. We’d have increased its suffering.”

“In that case, I say also, itsudemo,” Stach muttered. “There’s got to be a way out from this hellhole.”

The bird-man flew away, though its call echoed long after from the jungle leaves.

Denny went red-faced as he issued a string of curses, then ordered, “We need recon, now. Stach, head straight into the jungle. Fitch, veer right. Williamson, take left. See what you can see. Report back in an hour, before dark.” He turned to Hutchins. “Meantime, I want intel. How do we fight these spooks?”

“Fight? I don’t know that we can… ” Hutchins paused, thinking. “There’s no single way to dispatch all yōkai since each is different. Imagine facing a demon, a ghoul, and a werewolf all at once. What same weapon could defeat them all?”

“You’re a real beacon of optimism, ain’t ya?” Fitch asked.

“Well, my weapon is American firepower,” said Stach. “I’ve never known a creature to withstand that.”

“I don’t think bullets can—”

“What’re you still doing here?” Denny interrupted, yelling. “Recon with a purpose! Move out!”

The other marines disbanded.

Hutchins remained, laying propped up, wounded in the raft. His fever may have broke, but he knew infection could still set in anytime. Bruised and broke and burned, how could he ever hope to escape this island?

Denny snapped his fingers at him. “You, continue.”

“All right. Well, first, not all yōkai are hostile. Many do exist to harm, but others only suffer absolution or have been cursed. Some are just shapeshifters.” He paused, hitching a long breath. “If believed, everything without a soul that is touched by yōkai and survives to its one hundredth birthday becomes one of them. Plants, animals, even inanimate objects, kitchenware, whistles, things like that.”

“That’s key, ain’t it? If believed? Maybe something about these bastards does exist, but still seems a lot of bullshit mixed into fact. I mean, how can these ghosts or whatever be so completely different?”

“They’re like people, yōkai are diverse. Some have purpose, and some are just omens.” Hutchins coughed, another hard breath. “Oh, and if a yōkai isn’t killed properly, it can return in an even more vengeful form.”

Denny cracked his knuckles. “And I thought Imperial tanks were tough to demolish.”

“There’s more,” Hutchins said. “The yōkai have been banished to his island by the emperor of Japan, but they didn’t comply willingly. There’s a yōkai priest, the Mamono Shisai, who had to trick or cajole the apparitions to come here.”

“How do you cajole an apparition?”

“Promise it something it desires.”

“I won’t ask what a monster desires.”

“The Mamono Shisai keeps them here, and he may be our only hope. We need to find him.”

Denny grit his teeth, thinking.

Hutchins kneaded his limbs and, for the first time since landing, pulled himself out of the raft to stand, his legs feeling like grass that swayed under a gale.

“Need support?” Denny asked.

“No,” he groaned. “No… I can do it.”

The gale in his legs worsened, and his chest thundered, and his head filled with stabs of lighting, but Hutchins stayed upright until the pain and light-headedness passed. He was weak but found he could walk. Slowly.

He took his time moving around, ticking through motor functions, stretching, testing mobility, while Denny itemized their weapons and salvageable supplies.

Between the six of them making landfall—one now dead—they were armed with two M1A1 Carbine rifles, a scoped M1903 Springfield sniper’s rifle belonging to Cpl. Williamson, two M1911 pistols, and a half-dozen grenades.

Hutchins was in no condition to load and fire a rifle, much less withstand its impact, so he armed himself only with a pistol. He wanted a couple grenades too, but had no strength to throw anything; the thought of unpinning a bomb and having it fumble from his weak grasp seemed more likely an outcome than not.

When the other marines returned, Williamson reported seeing a peasant farmer with the neck of a giraffe. Fitch brought more heartening news.

“In the distance, on a mountain peak, there’s a brick tower with some sorta parapet on top. No flags or armament in sight, but it looks habitable, cared for.”

“Defensible?” Denny asked.

“Definitely.”

How can you defend against phantoms? Hutchins thought, but said nothing.

“If there’s a radio, any other chance of communications, it may be there,” Denny said. “Sounds like our best bet also to find the Mamono Shisai.”

“What’s a Mamono Shisai?” Williamson asked.

“He lives on this island,” Hutchins said. “The name means Mad Priest.”

“You left that part out,” Denny growled.

Hutchins shrugged, sheepish. “Mad or not, he’s the keeper of the yōkai. We need to find him.”

The sergeant continued with Fitch. “Distance to the tower?”

“Hard to say with the tree line. Couple days at a trot, maybe more, maybe less.”

Denny nodded, gritting his teeth, cracking his knuckles. The flushing sun dipped half below the horizon, where ocean and sky mirrored each other in endless waves.

The marines decided to wait out night before moving ahead. They built a cairn of rocks over Seaman James and dried out the raft and relocated their pitiful camp to the edge of beach and jungle, where it wasn’t as conspicuous as on the tideline. Though as soon as they finished, it rained foul water, and they got soaked again. They took turns, guarding and sleeping. The raft was a puddle of rain and depression, but Hutchins returned to it, as lying on the terrible ground brought fresh agonies to his wounds.

He dreamt of his childhood, of a talking cat, and he woke to the sound of a gunshot and a wild shout. The high moon was fat and full, and by its light and his training Hutchins rolled over and grabbed his M1911 pistol, crying out at the sudden sharp agony in his chest.

God, the pain! He wanted to shriek. What he wouldn’t give to move freely again without feeling barbs of fire rending him at every motion…

He instead turned his focus to Stach, who was shouting, “She came at me!”

“Who?” Sgt. Denny asked. He looked around, and under the bright celestial light Hutchins could see lean muscles tense under his frayed uniform. “What happened?”

“An old woman!”

“The one who asked for wine?”

“No, no, someone else… someone, she had damned green skin. Where is she?”

The men looked around, but they were alone.

Stach continued. “I heard a sound like someone slurping, and then I saw her—it—on James’s body. It came outta nowhere!”

Fitch grimaced.

“I was watching the beach,” Stach said. “One moment we were clear, and the next, this… this thing had its mouth over James, chewing. The rocks we buried him under were scattered. It was a woman… she was naked ’cept for a hairy diaper. And when I told her to freeze, she barred her teeth at me… they grew from her mouth. Actually grew outward like extending your fingers, doubling in length right at me. I shot her. I shot her right between her yellow eyes.”

“Looks clear now,” Williamson said. “No one here.”

“She’s gone,” Fitch muttered. “Just like the wine woman.”

Hutchins’s chest pained, and he coughed and rasped for breath. He wasn’t signaling for attention, but the others looked to him. He felt obligated to speak.

Kokuri baba,” he told them, recalling the creature’s mythology.

“What’s a kokuri baba?”

“She eats the skin of corpses.”

None of the others asked any further, nor did they sleep. The smell of chòu dòufu hung strong in the air. The marines rebuilt James’s cairn and cleaned their rifles and ate bits of chocolate Ration D bars.

Dawn crested, and they readied to march.

“What about Hutch?” Fitch asked, pointing at him.

“What about him?” Denny said.

“He can’t make it through the jungle, he can barely walk. Maybe he outta stay here with one of us.”

“We stay together. No marine left behind.”

“He was in a coma since the Spectrum sank,” Fitch countered.

“Wish I got that much R&R.”

The men discussed Hutchins as if he wasn’t there. Fitch didn’t speak unkindly; he was just a realist. But Hutchins assured them, “I’ll keep up.”

“You can’t. Your ribs are sticking out.”

“Stach bandaged him,” Denny answered, firmly.

Before Fitch could say anything else, Hutchins interjected, “I can do it. I’m a marine.”

And that settled it. Williamson drew point position and Denny shadowed him. Fitch and Stach took turns helping Hutchins walk, and he grimaced at every step. In this way they entered the jungle.

A thousand hints of ginger and jasmine, wild rose and gingko drifted between the trees as wild and potent as the green vines were savage and splendid that looped around each mighty dark trunk. Flowering kapok and hazel tualang, palms and orchids, creepers and rattan, it all flourished and stacked atop each other stretching for the sky. What little sunlight fell between their massive broad leaves appeared as dazzling waterfalls cascading to the mushroom and root-banded earth.

Progress was maddeningly slow. Hutchins grimaced at every step, even while leaning on Fitch who took his weight. Not only his chest, but his exposed burns tested the limits of misery whenever touched by the other man’s rough arms or grazed by spindly tree branches. Plants snagged at them with hooks and barbs, and his feet felt clumsy, stumbling over rocks and furrows.

Suddenly, something ahead crashed through the undergrowth. Williamson halted, and the others dropped low.

It sounded large, and it moved along the path, coming at them. Grunts, shattering branches, then a monstrous thing strode into view, elephantine in size and human in form, but with the head of a baby boar, wrapped in gold hair like a lion’s mane.

Hutchins recognized it at once: the demon offspring, Ibaraki-dōji.

The yōkai’s mottled skin was as olive drab as their faded fatigues, and a third arm sprouted from the center of its chest, pushing apart the front flaps of a silken haori half coat. That arm was its power—and its weakness—sleeved in muscle and long sinews that allowed it to reach twice the distance of any normal limb.

Ibaraki-dōji roared, and its center arm reached for them fast as a leaping cougar, each clawed finger scrabbling for a different soldier’s face.

Williamson fired once and Ibaraki-dōji dissipated in a swirl of stench and white mist.

“See,” Stach said. “Told you no creature can withstand American firepower.”

Hutchins frowned, wondering.

Fitch gagged. “What’s that horrible funk? I thought we smelled rotting fish off the ocean before, but it’s getting worse as we move inland.”

“Chòu dòufu,” Hutchins answered. “It means stinky tofu.”

“Stinky’s an understatement. Smells like someone tried masking vulture crap under garlic.”

“It’s tofu fermented in a mix of sour milk, brine, and spoiled seafood. A great delicacy, served at night in Japanese markets.”

“Blue hell,” Fitch muttered.

“The smell is associated with yōkai. I don’t know why, but they smell like chòu dòufu, and villagers eat it as homage, so as to be found pleasing by the phantoms. It’s an old superstition.”

“There, the tower,” Williamson interrupted.

Hutchins squinted to see where Williamson pointed. The initial view was just as Fitch described: A far-off mountaintop tower crowned by a parapet. It appeared plain and gray and old.

Without warning the bird-man appeared again, plunging from the sky and screaming its namesake, “Itsudemo!”

The marines flinched, bringing up their rifles, and Itsudemo flew off. Stach cursed in three languages.

“Enough tea talk,” Sgt. Denny said. “We’ve got distance to cover. Let’s move.”

They trekked through the haunted jungle, as quickly as Hutchins could keep up, following a rock-strewn path as thin and winding as a ravel of barbed wire, separating walls of wet orchids and monstrous ferns. Williamson resumed the lead, measuring each footfall, tracking sounds and movement. He held up a fist in the air, a silent order to halt. The marines froze. He dropped the fist; they moved. Williamson’s hand went up again, open-faced this time and then swatted downward. The marines crouched. Williamson seemed to listen intently. He motioned forward, the marines moved; he stopped again, and they stopped.

Denny crept up to him. “Sights on something?”

“I swear, there’s footsteps tracking us, moving when we move, and stopping when we stop.” Williamson looked back at the others. “Anyone else hear them?”

They shook their heads no.

Williamson took a step forward.

“There!” he said. “I heard it again. Behind me…”

The other marines moved to him. Stach asked, “You sure?”

Williamson nodded, confused.

Hutchins recalled an odd yōkai that was only a nuisance rather than dangerous: the ghostly footprints.

He hesitantly cleared his throat and by remembering its legend, announced, “Oh, please, Betobeto-san, you first.”

Leaves rustled and a set of footprints appeared among them, large indentations for each baseball-sized toe pushing through sticky soil. The prints padded past, walking away.

“What… was that?”

Hutchins answered, “Harmless, that one won’t bother us. You must only offer for him to go in front. But we’ve got to make better time. Other yōkai will be closing in.”

Stach yelled, “There’s something else!”

A branch snapped, and a massive buttress root shifted aside. From all around came the cries, moans, shrieks, and gibbers of countless phantoms.

“Move!” Denny ordered, but too late, for a hundred different things came at once.

A towering ogre with fanged underbite shoved through purple mangroves, swinging its spiked mace, while a skeletal harpy, gray and caped under birds’ eyes dropped from above on wings that spanned twenty feet. Something resembling a red lizard with the trunk of an elephant scurried at them, trumpeting. A floating finger with chewed nail danced in flames. A dozen rats in chains poured from burrows beneath strangler figs. One-eyed tarts, headless boars, bearded worms, a flurry of claws, feathers, satins, and colors appeared that were grisly and entirely irrational.

Hutchins had no time to identify them, and the marines opened fire indiscriminately. Stach and Fitch triggered their M1A1 carbines as fast as the semi-automatics could shoot. Down went a faceless boy, and a tiger-striped goblin, and a badger with tattooed fur, each bursting into white mist. Williamson, the sniper, picked his targets deliberately, firing through his Springfield’s crosshairs: a glowing snail in officer’s uniform, a turnip-headed baby, an old slipper with sad eyes, turned also to mist. Hutchins shot his pistol, each discharge a wracking agony in his chest. Denny threw grenades. The ogre, the rats, the harpy, and more all vanished in billows.

As fast as they were there, the yōkai pulled back, vanished. The marines reloaded their weapons, tense, eyeing everywhere suspiciously while stifling gags from the tofu’s reek.

The island fell silent…

White and gray swirls, dueling in twilight, were colors of the sky when it dumped a sudden flurry of bewildering snow drifts, and Williamson was suddenly killed.

Eaten. Eaten was more appropriate, Hutchins thought afterward, though “killed” was comfortably objective. That’s what would go in the files: Killed In Action. No marine’s death would ever be cited as Eaten In Action. At that, Hutchins suppressed a sudden, mad chortle.

Williamson’s gormandizer had been a child’s drawing, a half-finished sketch in the margins of an arithmetic table, stark and covered in rough triangle teeth. It was all head, with a pair of stick arms emitting where a person’s ears might normally appear, and one long, sickly leg jutting from its neck to taper into a seven-toed foot. The kimono around its taut calf hid nothing.

And what had happened to Cpl. Williamson was even non-perturbing to the others, a detached impression as terrible as the event itself, that they now almost seemed to expect such things of the island. The sky had dumped cold flakes, and Yukinba the snow hag appeared, and its great mouth swallowed Williamson in a flash, and that was it. Once the marine sniper was gone, so too was the snow, no trace left of either. The sky again shone soft blue as McLean’s Lake, just like when the USS Spectrum had been hit.

“Let’s go, move, move!” Denny ordered the remaining marines.

Run for your lives, he might well have said to each man, but the marines at least had the training and grace to stay together and accept their burden of supporting Hutchins.

“What… in God’s name?” Fitch whispered to Hutchins as they shoved through milky rubber trees. He wrapped his arm around the wounded comrade, supporting him, their helmeted heads at times clanking together. “Those things could have taken us all, why just Williamson?”

“The yōkai are… playful,” Hutchins said, though he also thought, deceitful. The dream of the talking cat came back, and he knew it for a memory.

Story Break Barbed

Hutchins had been a boy when he’d encountered his first yōkai.

His father was a minor diplomat laboring in Washington D.C. under shifting Secretaries of State who seemed like wraiths themselves, so amorphous were they in ascribed omens and misdeeds that Hutchins later thought them as mythical as the phantom yōkai folklore. His mother had been a teacher and writer, known at one time for outspoken dissertations on the principles of mysticism and later known for having died so young and horribly. According to detractors, her killing befit one who conspired with the realm of the unfleshly.

When he was seven and motherless, Hutchins went to live in Japan. His father had accepted an assignment in the American Embassy at Tokyo, and they moved across the globe into the fashionable Akasaka neighborhood. It was a wealthy area in the downtown district, filled with artwork of strange dragons and tales of cursed spirits, only two miles from the city’s busy ocean port.

Hutchins was tutored with other embassy children and engaged by jolly, fat nannies, but still he felt neglected and alone. How many times how he run away from their apartment, the only means of snatching attention from his overworked father? How many times had he lost himself in the merchant alleys filled with omamori charms, daruma dolls, and religious kampo herbs?

And one day he lost himself so completely, that the teeming, tall buildings had turned to dark elder trees and the shouts of merchantmen became sly whispers of owls and foxes. The sky blackened and the path narrowed, and Hutchins felt cold fright clamp his shoulders, the way his father once tightly held him when telling of his mother’s death. The moon was high and full, shape-shifting from a sun that had likewise been high and full only moments prior.

A cat came to him, walking opposite the path, and strolling upright as naturally as young Hutchins himself. The cat’s fur was spotted as a leopard, and an ancient samurai sword adorned its belt, hanging in scabbard over rich robes of crimson silk. Its eyes were slanted wide, and fangs overbit a queerly large mouth that smiled at him, as the animal bowed low.

“Greetings, Western boy,” it said. The voice was soft, not so obvious a purr as it was a swishing tail.

Hutchins said nothing, but his skin prickled in response.

“Great despair causes great longing.” The cat’s slanted eyes closed in contemplation of its own wisdom. When they reopened, the yellow of its irises glowed bright as starbursts.

“What is your wish?” it asked.

“A wish?” Hutchins repeated dumbly, thinking of fairy tales in which dreams are made true by magical godmothers or animals, a talking fish or hundred-antlered stag.

“What child does not wish for something? Speak it, and it shall occur.”

There was so much Hutchins could have asked for: friends, athletic prowess, the power to fly, his mother returned to him… but he was frightened.

“I—I want to go home.”

“Ah, my home or yours?”

Hutchins took a step back at that, uncertain, but the cat leapt behind him, blocking his retreat. He’d thought nothing of the animal taking payment for any wish, and his fright grew deeper, colder. He vaguely realized he was too young to understand such things, but in some way he’d been tricked.

The samurai cat opened its mouth larger than possible, a doorway to another world, with fangs jutting from stoop to lintel, and it fell upon him.

A month passed until a man dressed in monk’s robes with a curious crescent moon quality to his face found Hutchins wandering in the cold woods of Mt. Odake, starved, naked, delusional.

The man seemed to be some sort of priest, and he said Hutchins had been reborn.

Hutchins was returned to his father who immediately resigned the embassy position, citing health concerns for his son. The two of them returned to Washington D.C., to home.

Story Break Barbed

The tower moved closer…

As the marines advanced to it, the tower became nearer, larger in appearance, more detailed; Hutchins could make out arched windows cut into gray stone and the sawtooth gaps of the parapet’s upper ledge. And it wasn’t just a tower, but rather a keep, he noted. But the structure had also actually moved of its own accord, no longer rising atop the mountain’s peak, instead having descended halfway downslope as if dragged by a rockslide.

“Impossible,” Denny muttered. “Goddamned impossible.”

And after all you’ve seen, what is impossible?

Except for Itsudemo, at least, there’d been no further sign of any yōkai since Williamson’s death, and for that the soldiers were glad. Though the lack of monsters they knew existed around them also left each man anxious, waiting for the next horror to spring out at any moment. And each moment they waited, the tension worsened.

Almost as bad was the giant scaled bird with old man’s head that circled all day overhead, doggedly shrieking, “Itsudemo! Itsudemo!”

They stopped for a five-minute break, Stach alert on point, Denny mapping the keep in dirt, and Fitch pissing behind a tree.

“Itsudemo!”

Hutchins rested on his back, staring into a celestial firmament that drooped sticky and brown, like that of his remaining Ration D bar; both bar and sky were colored as melted chocolate that’s pulled apart in gooey blobs. The emergency bar actually was invented by a chocolatier, but purposefully made to taste bitter as a boiled potato so that soldiers would not be tempted to eat the food product all at once. So they could only stomach what was necessary to survive. He swallowed the last bite.

“Itsudemo!” The bird-man raced by. “Itsudemo!”

“Shut your beak!” Stach shouted at it.

Then, screaming even louder, “Itsudemo!”

“That’s it! I’ll end your suffering,” Stach promised and fired a bullet through its eye. Itsudemo exploded in a shower of feathers and white mist.

Hutchins’s only remark was a groan.

Fitch zipped up, Denny scuffed away the map under his boot, and Hutchins labored to stand. They resumed their slow march.

An hour later the bird-man suddenly reappeared from the skies, circling, seeming to trail them. The sounds of the jungle fell silent, as Stach looked up, paling.

“No, no, no, I killed it—”

Itsudemo shot from the sky like a vengeful missile straight at Stach before he could raise his rifle, and slashed across Stach’s eyes with its devastating beak.

“Itsudemo!” it roared in triumph and darted off.

Stach screamed. He whirled in circles with his hands to his torn face and fell off the path into a grove of waiting Jubokkos.

At first glance, vampire trees assume the appearance of non-yōkai tree species, but that they appear always vibrant and in bloom, regardless of season or weather. Rustling branches impaled the blinded marine and sucked out his blood, while rending pieces of him to their excited roots. If Stach thought he’d eased the suffering of Itsudemo by killing it, perhaps he thanked the Jubokkos for his own relief.

Fitch and Denny brought up their weapons and fired at the tree-creatures, which turned to white mist. Snaking branches shot from behind cover of heavy banyan trees and caught Stach’s remains, pulling them into the jungle’s deep shadows. The remaining men were not willing to chase after his corpse.

“It came back,” Denny said of the bird-man. He appeared astounded, but his voice sounded hollow, almost bored. “Stach shot it… it exploded.”

“I don’t think bullets really hurt ’em, Sarge,” Hutchins said. “The ghosts just get interrupted and dissipate, but they return. It’s a temporary respite for us, at least, though they may come back in a more vengeful form.”

Denny grit his teeth, cracked his knuckles. The reek of chòu dòufu grew stronger, and the men pulled shirt collars over their noses to guard against its nauseous smell.

After a day with no night, the sky became empty, void of color as a piece of glass. Hutchins thought if he had better vision, there’d be no limit as to how far up he could see, even the distant galaxies of fantasy tales, and he wished they’d take him and Fitch and Denny away.

Perhaps his wish came true for something did take away Denny… at least, most of him. Hutchins didn’t see it occur, but after the shunk sound of a chef’s knife striking a cutting board, all which remained of Sergeant Denny were his legs, each standing upright, though separate, in boots, like a pair of strange growing sprouts.

Could have been a goddamned shark, as far as Hutchins knew…

“There’s no hope is there?” Fitch asked.

Hutchins shook his head.

Blue hhheelll,” Fitch moaned.

By now, the stone keep had descended to the bottom of the mountain and appeared only an hour’s walk from them.

Hutchins gazed hard at it, studying.

“What’s the point?” Fitch said. “Just another trick of the ghosts, ain’t it?”

“What else can we do?”

“I don’t know. You think there’s really a priest here, controlling them? If so, he’s our enemy.”

“The Mamono Shisai,” Hutchins said. “He’s here, but I don’t know his intent.”

Fitch gave him a wary look, and they pressed onward.

Some of the burns on Hutchins’s arms and under his chin had turned infected, and what passed before as steady, dull pain now raged with gut-clenching agony at each motion. And his chest felt like someone dropped a M41 fragmentation bomb into it, and those fragments bred hot, churning bayonets. Each step forward was harder than the last. He was weak from hunger, weak from fatigue, weak from injury, weak from struggling.

“I’m starved,” Fitch said. They passed a ruddy tree with bright pink fruit hanging off its many branches. “What’s the chance that’s in the least bit edible?”

The fruit giggled, and the tree rustled its many branches in invitation.

“I wouldn’t dare it… there are worse things than starving.”

By the time of Fitch’s death, the sky graced Hutchins with a shy blush, almost embarrassed for the wounded marine, for the worsening torments he must suffer. A creature hid in shadows and, as the final two marines shuffled past, it leapt out with a milky bellow catching Fitch between eight hooved legs. Hutchins was knocked aside in a shamble of cries and fresh pains. He recognized the cruel bovine head wreathed in flies and the bronze arachnid body, delicate, yet so powerful. A cloud of toxic poison plumed around it like a headdress.

Tales of death by Ushi-oni—the ox demon—were rumored to involve a desiccating process that would have been much, much worse, had the swift goring Fitch endured by its twisted ivory horns not been immediately fatal.

Hutchins unholstered his pistol and shot it. Ushi-oni burst in a cloud of spuming mist, and Fitch’s body dropped entrails-exuding to the ground. Little yōkai beetles with miniscule lobster claws and heads like ripe tomatoes erupted from their homes amongst bamboo shoots to feed upon the killed marine.

With the last of his strength, Hutchins forced himself to stand, and he fired the pistol haphazardly at the beetles, again and again. It didn’t matter that he knew these yōkai insects were harmless, but he had to rage at something, and the satisfaction in shooting a gun felt as balm soothing over every misery and frustration. With each discharge, his mind cleared bit by bit, his senses returned, his urge to survive renewed. Hutchins advanced on the beetles, blasting, turning one out of every dozen to white mist.

The pistol’s recoils sent sharp jarring motions up his arm that he ignored. He jerked and stumbled from walking unsupported, and something exploded abruptly in his chest, giving way like a sandbag bayoneted and spilled open. A searing, screaming pain erupted and poured out his mouth.

His lung! A cracked rib had shifted to break further, and he knew it had finally punctured his lung. Hutchins screamed again, and the ground moved underneath until he fell on his back, and the tearing in his lung grew worse, as did the agony and his gibbering cries. A dribble of blood spurted from between his lips.

Lay still, he told himself… relax. A man can live off one lung.

But a man with no food, broken ribs, covered in burns, and surrounded by monsters that should not exist? How long can a man live like that…?

Hutchins lay still, and the pain eased only slightly. He tried to move, and found he could only roll slightly and curl his knees up to his stomach. He was finished…

Story Break Barbed

Days passed, or hours, or minutes, or years, Hutchins could not tell, so were dreams like waking, days like nights, thoughts, memories, all jumbled into the illusion of life, its entirety as so much finger paint smeared upon canvas at a curious child’s whim.

He’d never seen the sky so many colors, never knew the great blue could also turn mint or crimson at whim, or run fast in stripes, or turn cartwheels in zentangles. And the moon at night shone always full, never waning, never falling. Even that was yōkai, and it appeared when it wished, its bulging, silly eyes dancing tricks, trying to mesmerize him with the charms of the universe.

And yōkai came upon him as he lay there, waiting for death that chose others in his stead, and they smiled at him and they laughed with strange airs. Naked girls with long noses like tree branches; warrior mushrooms with the faces of scarred tigers; floating heads; giant worms; flaming octopi; double-faced skeletons that resembled feral moths; swirling kimono robes of many hues and just as many eyes.

The empty gnawing in his guts caused Hutchins to wonder if even the sensation of hunger was yōkai, materialized as devouring rats with insatiable appetites, feeding on his insides. Even the horrible putrescence of chòu dòufu caused his mouth to water if he thought on it too long.

More yōkai passed, a parade of phantoms, and Hutchins counted off their names. He knew them all, and they all knew him.

Futakuchi-onna, the sinister woman whose back of head hides a voracious, second mouth; Chochinobake, the floating lantern whose light never goes out; Kappa, the bastard spawn from a turtle, duck, and frog orgy; Reiko Kashima, the legless torso that disembowels victims in unclean bathrooms; Tanuki, the raccoon-dog with testicles that shield it from aggression and from famine; Bakekujira, the flying corpse of a rotting whale… and so many others.

A little girl in short schoolgirl skirt and no eyes came forth.

“You are known,” she said.

“You are known,” Futakuchi-onna repeated from both mouths.

“You are known,” Bakekujira gurgled.

“Wine?” Shiroibaba asked.

The stone tower finally arrived, though it too had transformed. An old man wearing a monk’s robe appeared before Hutchins. He bore a curious crescent moon quality to his face.

“I am watcher of the yōkai,” the man said gravely. “The keep.”

“You are… Mamono Shisai,” Hutchins gasped. “The mad priest.”

“True, I am that as well.” He laughed once, a snort. “I am many things.”

“I’m dying,” Hutchins said plainly, then again, quieter, “I am dying.”

“Except you cannot die,” replied the priest, “for you have no soul. What is death, but the separation of the spirit from the body? Your soul has already been taken.”

“Taken? What, how…” Even as Hutchins questioned the priest, memories of the samurai cat from his childhood materialized, and slow realization formed. “Senri, the leopard cat… it took something, it ate from me…”

“Yes, your soul was fed upon in exchange for a wish, and now you too are yōkai. Or will be. It takes one hundred years for things without a soul to become as we. Twenty years ago you were touched, reborn.”

Hutchins coughed. More blood spilled from his mouth. “I’ve lived twenty years… without a soul?”

“And thus you have only eighty years remaining.”

“Eighty years? Of what?” he cried out, followed with more coughs, more moans.

“Eighty more years of mortal existence,” Mamono Shisai replied.

Hutchins laughed, a snort mimicking Mamono Shisai. “I can’t move, my body is rotting, I have nothing to eat.”

“Do not fret, for we will take excellent care of you. Consider yourself, er, how do you soldiers say? On R&R?”

“No… I just want to go home.”

“Oh, Western boy, you are home, just as you wished. This island is home for all yōkai now. The emperor of Japan decreed it, and I collected all here.”

“You… brought me here?”

“The emperor commanded all yōkai to be confined here, by whatever means necessary, even those in hundred-year transition. We punish mortals for their misdeeds, or we punish ourselves for our sins. But we are now at war with the world, and our homeland has need to use us, though they cannot yet figure out how.

“It is not easy to corral so many spirits here. I promised much to our brethren, which I’ve had trouble to provide.” Mamono Shisai looked pleased. “Consider yourself beloved, for you have brought much.”

The foul smell had become worse than Hutchins could have imagined, a spoiled juice of his own gangrenous flesh that raised the last of his gorge. He did not want to ask, but words seemed to form on his lips as if of their own will. “What is it I’ve brought?”

“Sustenance,” Mamono Shisai said, and his response was not unexpected. “Even yōkai—monsters—desire to eat! And I promised them such feasts on this island.”

A gracious wok danced to them, made of hammered brass and sloshing with thick, greasy fluid. Inside was the muck from the marines’ lifeboat, filled with fish skulls and chewed fins and loose scales and tooth-picked bird feathers, all floating in an ocean of stale brine. Inside, too, were Fitch and Seaman James and Stach and Williamson and legless Sgt. Denny and the two hundred other men from the USS Spectrum, each no more than chunks of rotting tofu.

A merry hum rang from the wok and it stirred itself with hammered bronze arms.

“Eat and be carefree,” the mad priest said. “For we have chòu dòufu for all!”

Hutchins gazed up and saw the sky spread away, a vast whiteness with a great red disc at its center, an unfurling, billowing flag of Japan—The Rising Sun—and he knew, that for him, the war was lost.

The End

Yōkai of the Rising Sun Short Story by Eric Guinard
Interview with Eric J. Guignard

Interview with Eric J. Guignard

Where are you from? What is your background?

I’ve lived in the same 25-mile radius in Southern California my entire life, mostly in the communities east of Los Angeles known as the San Gabriel Valley. My family immigrated from the French-speaking cantons of Switzerland last century, during the European immigration rush through Ellis Island, all searching for the great American opportunity. Mostly they ended up in lower-level blue collar jobs, mining and farming and assembly-line manufacturing. The military became an escapism. My father served and then was able to get into the government, and that set me on course to college and “office life,” which by reaction turned to the creative arts.

What inspired you to become a writer?

I’ve been writing fiction with the goal of publication since February 2011. However, I’d been writing and drawing stories ever since I was a child. I’d just done it previously for my own interest, or for friends. I stopped in college, in order to pursue business and serious-minded life necessities… which, of course, I now regret. I don’t regret the pursuit of those other things, but I regret having given up writing for so many years. I never went to school for writing, and I only jumped into as a potential career-type desire after the realization struck me that I was missing out on something I’d been passionate about, and had been stuck in these other job cycles about things that gave me no enjoyment or enthusiasm.

That Which Grows Wild by Eric J. Guignard
That Which Grows Wild by Eric J. Guignard

Who are the writers that have made the biggest impact on you?

I recently made a list of favorite authors and influential books, so I’m going to cheat and copy my detailed response from that to here!

Some of my favorite authors include (in no order): Joe R. Lansdale, Cormac McCarthy, George Orwell, Stephen Graham Jones, Jeffrey Ford, Lisa Morton, Kaaron Warren, Dennis Lehane, Seanan McGuire, Stewart O’Nan, Lauren Beukes, Jack Kerouac, O. Henry, James Ellroy, Neil Gaiman, Steve Rasnic Tem, Jim Butcher, Stephen King, and many, many others.

Part II: A Timeline of Some Influential Books Throughout My Life:

  • In 1st and 2nd grade, were the Bunnicula books by James and Deborah Howe, and also Superfudge books by Judy Blume.
  • 3rd grade was Against Incredible Odds by Arthur Roth. And lots of Hardy Boys mysteries.
  • 4th grade was King Solomon’s Mines by H. Rider Haggard
  • 5th or 6th grade was probably Fallen Angels by Walter Dean Myers
  • A lot of Gordon Korman books were in there too, during those years.
  • Through junior high and later I started getting into Mark Twain and John Steinbeck, but I also was reading Stephen King’s horror (and Dean Koontz and Anne Rice), and a lot of old pulp magazines and back issues of MAD Magazine.
  • Besides those, reading of my youth were also boys’ adventure such as Jack London and Rudyard Kipling and Charles Dickens. And tons of comics…
  • By college, I was reading more non-fiction and philosophy, a lot of existentialism, and the writings of Nietzsche and Kierkegaard had immense impact on my world views and personal responsibility.
  • Looking back, I’m saddened that I essentially gave up reading horror between the age of about 20 to 30. Some of the other best books I read during those years (as little as it was) included: GEEK LOVE by Katherine Dunn; PAPILLON by Henri Charrière; A WALK ON THE WILD SIDE by Nelson Algren; MARCHING POWDER by Rusty Young and Thomas Mcfadden; BIG FISH by Daniel Wallace; THE DIVINE COMEDY by Dante; BURMESE DAYS by George Orwell
  • By Christmas, 2010, I reconnected with Horror while binge-Christmas shopping. Out of nowhere I saw an endcap of zombie anthologies at a Borders Bookstore, and I melted and bought three as gifts to my brother and myself: The Living Dead, ed. by John Joseph Adams, Zombies, edited by John Skipp, and The New Dead, ed. by Christopher Golden. I loved them SO MUCH, and they reignited my passion for horror literature, and I’ve never lost my way again.
  • Since then, some of the most influential horror books I’ve read have included: THE TERROR by Dan Simmons; Edge of Dark Water by Joe R. Lansdale; Blood Meridian by Cormac McCarthy; BOYS LIFE by Robert McCammon and every volume of THE YEAR’S BEST DARK FANTASY & HORROR.
  • And while coping with personal tragedy, Life After Life by Raymond Moody and Man’s Search for Meaning by Victor Frankl both helped pull me out from a very dark place.
Doorways to the Deadeye by Eric J Guignard
Doorways to the Deadeye by Eric J Guignard

Many writers sell their first works to small presses and indie publishers. How has the market changed since your first sale?

I don’t think the market has changed at all, in regard to that. Every writer I know, when starting out, searches out the small presses and indie publishers for their work. Unless they go straight into self-publishing, which is a possibility for some creatives who also have business savvy. Otherwise, once in a while I see a young author graduate from a prestigious writing program such as Clarion and then immediately start publishing in “big-name” markets. But for most people, again, small presses and indie publishers are the proving ground, the chance to experiment, make mistakes, learn about what goes on in the industry around us. I still write in the indie markets, and I’m proud to do so. Nurture the indie spirit!

I seem to remember you wrote a horror story set in a civil war prisoner camp. Tell the audience (if they don’t know the story) about it and are there any other historical events that inspired your stories? 

That story was “The Moon Over Andersonville” (AKA: “The Prisoner of Andersonville”) one of my very first pieces of published horror fiction. (And Mark, as I recall, you did a nice podcast of it for your Dark Dreams channel back in 2013!) As a new writer, I’d sent in the story originally as a flash fiction “draft” form to a small publisher, and they printed it in June 2011 without any revisions (my fault at the time; as a writer, you send in your work polished, and not in draft form—lesson learned). Later, I expanded the story a bit, added in the revised sections and republished it elsewhere. It’s in epistolary format, meaning reading the story is through diary entries. It takes place during the American Civil War, of a Union soldier held in the most notorious Confederate Prisoner of War camp of the era, Andersonville Prison (Camp Sumter) in Georgia, and the protagonist’s diary entries are simple, of his life there, and that he’d do anything to get out and go home. His new bunkmate transfers in and <spoiler alert> is found to be a werewolf, so the next full moon, the hope of escape may be realized. The story’s a bit more vulgar than I normally write, but it fit the atrocities of the situation. The background of the story is factually based on my ancestor, 3x Great-Grandfather Benjamin Merry, who was held at Andersonville, where it was reported that the prison was a “cesspool of dysentery, scurvy, malaria and all manner of other ailments and diseases.” Ben Merry sickened there (then transferred to Florence Stockade) and died of illness and buried in an unmarked mass grave. The character in my fictional story may have a bit of a happier ending, although it’s assumed he will be tormented in a different way.

Horror Library, Volume 8
Horror Library, Volume 8

I love history, and a great deal of my writing revolves around trivia or fascinating tidbits I read about of experiences from other eras, and adding speculative or horror elements to times bygone has always been a go-to for my creativity. I live in the present and that’s enough for me—when writing, it’s usually set pieces elsewhere, of the past or near-future.

You’ve been a member of the HWA for a long time. Are there benefits of being a member and what are they?

I love being part of HWA (Horror Writers Association). I’m involved with several writers’ groups, but I’m most vested and active in HWA, and I feel that HWA has bolstered me more than anything else I’ve done. Being a member of HWA is like being a member of the Screen Actors Guild or any other industry trade organization: It will not change your career in itself, but it’s a tool to use at a very minimal cost. It’s networking and it’s a unified voice for the genre. Members get access to insurance plans, legal advice, marketing efforts, scholarships, etc. There are a ton of other initiatives, readership and diversity advocacy, but as each program is led by volunteers, sometimes they work better than other times.

I joined HWA not knowing a single other person, but I wanted to learn and network, and in that way I’ve succeeded. I’ve made lifelong friends, benefitted from the organization’s offerings. I never went through any creative writing program, school, or otherwise, so when I joined HWA and was assigned a mentor (Weston Ochse, RIP), he taught me writing and taught me much about the industry.

Horror Writers Association
Horror Library, Volume 8

At this point in my life, I can say I don’t “need” HWA any longer. I can do everything on my own. But I like to remain part of the group, be among my peers and friends, and give back through volunteer efforts, help out other members, mentor them, etc.

What advice can you give to new writers?

Be confident to fail. Read broadly. Experiment. What I tell others, and what I repeat to myself like a mantra, is simply: “Keep writing, and remember that every rejection is an opportunity for improvement!”

How do you feel about the current state of genre fiction?

It’s robust. The genre of Horror is often cyclical, falling in and out of favor with popular audiences, but currently it’s in a renaissance. There’s an abundance of great horror books, movies, television shows, and involvement in pop culture conversation.

Do you think your environment, past area you’ve lived in, has an effect on your writing?

I don’t strongly think so. I tend to write in very disparate settings, places I’ve perhaps not actually visited, but have been inspired to research and read about. So in that sense, it’s almost the opposite—it’s more dull to write about areas I’ve lived. I’d rather explore elsewhere.

How do you feel about censorship, and what seems to be censoring of literary and popular works from both sides of the political hotwire?

The censoring of most works feels wildly overwrought, especially when comparing the differences of books banned between geographic, political, or socio-economic areas or influences around the country. Just community by community, what is deemed as offensive versus important: A Brave New World by Aldous Huxley? Hunger Games by Suzanne Collins? Scary Stories To Tell In the Dark by Alvin Schwartz? OMG. That’s a whole other level of fearmongering, suggesting books such as those are going to corrupt impressionable minds.

On the flipside, when I was a teen I got a copy of The Anarchist Cookbook by William Powe, which teaches readers how to make guns and bombs out of household goods. Should that be banned from a school library? Yes, I think so, due to the physical danger it imposes, so I can understand the censoring of certain works. Although now, in the age of the internet, all that information can be found easily online anyway, so banning it is ultimately rather inadequate.

Anyway, Stephen King posted a perfect, succinct Tweet about this, which I quote: “If they ban a book in your school, haul your ass to the nearest bookstore or library ASAP and find out what they don’t want you to read.”

Has Political Correctness ruined fiction? It seems you can’t write “Bad people” anymore without being labeled as that “bad person.”

No, I don’t think anything has been “ruined.” Tastes change, and social and cultural standards are certainly different than last decade, and the decade before that, becoming more nuanced and complex. The bar is a bit higher for authors to write characters authentically and without falling into cliches that may seem trite, harmful, or stereotypical, which is a good thing. I understand the label has been placed on authors occasionally that “they are what they write,” meaning if they write about an insensitive or small-minded individual, it must prove the mindset of the author, which is stock bullshit. Certainly there are racists and bigots who do compose fantasy fiction to express their ideations—and those individuals are often so transparent it’s laughable—but like any label, it does not hold true to the majority of creative scribblers. I still believe that I have the full freedom to write about bad people and not have any sort of such label placed on me. With that freedom does come a certain responsibility though, which aligns with sensitivity to subject matter, not glorifying intolerances. If I were to write about a “bad person,” it’s probably going to end as a cautionary tale—either that person learns the error of their way, or something bad happens to them, or else they may just become a contrast to show the disparity against another point of view. IDK, there are certainly situations I would not write about today, that I might have explored years ago. But not much. Again, I do believe “most” anything is allowable for creativity, as long as it’s done respectfully.

What projects are you working on now?

Through my press, Dark Moon Books, I’m publishing a series of author primers created to champion modern masters of the dark and macabre, titled: Exploring Dark Short Fiction (Vol. 1: Steve Rasnic Tem; Vol. II: Kaaron Warren; Vol. III: Nisi Shawl; Vol. IV: Jeffrey Ford; Vol. V: Han Song; Vol. VI: Ramsey Campbell; Vol. VII Gemma Files, etc.).

I also continue to edit and publish the anthology series, +Horror Library+, which promotes new, unthemed horror short stories from authors around the world.

My newest standalone anthology as editor is a Middle Grade literary-horror mash-up through HarperCollins, slated for publication in October 2025, titled Scaring and Daring Adventures.

I also enjoy writing short stories. I have a small piece appearing next month in Weird Tales Magazine, and my second collection, A Graveside Gallery, will come out in 2025 through Cemetery Dance.

I recently finished my second novel, Wrecked, Yet Sent Forth, which I’m beginning to shop around, and I’m in process of writing two more: one is a paranormal detective series and the other is a cosmic slipstream time-travel. Wish me luck!

For projects, news, updates, and other life-affirming indie horror news, here are my social media profile and web links: 

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Interview With Patricia Keiller

Interview With Patricia Keiller

Patricia Keiller takes us on a journey through her creative world. She discusses her experiences in writing, the freedom of expression audio drama offers, and her passion for storytelling across various genres.

Patricia, tell everyone a little about yourself. Where are you from?

My father was British and my mother was Italian, but I was born and grew up in Brighton on the south coast of the United Kingdom. Before becoming a writer, I worked as a translator and a teacher of English as a foreign language, (EFL).

What inspired you to work in Audio drama?

I always enjoyed listening to BBC audio dramas, and I found that in terms of writing the medium seems to suit my skill set the best. I also love the freedom of expression I have with audio drama. My stories can take place, anywhere and anywhen. No other medium except novels allow the writer to do this.

What other areas of creativity would you like to try your hand in?

Phantasm by Patricia Keiller
Phantasm by Patricia Keiller

I would like to write a film script one day perhaps. I’ve written a few short scripts, but I’ve found that film making is generally harder to get into than audio drama, and there are many more restrictions in terms of budget, setting and so forth. In fact, this is one of the things I truly love about audio drama, it doesn’t have these kinds of restrictions. The only limit with audio drama is the writer’s imagination! Apart from writing I also enjoy arts and crafts in general. I’ve done a bit of pottery, and I would love to get better at that. I started knitting a couple of years ago and found that I really like it. I would love to learn more types of stitches so that I could maybe knit clothes.

Do you think your environment, where you live, has an effect on type of art you produce?

I think that where I live has affected my writing, in so much as I think that many of my audio dramas are quite British! As I’ve become older, I’ve noticed that more autobiographical elements are slipping into my work, both in terms of setting, the characters’ backgrounds and some of their experiences. 

Which category of your art comes naturally?

I really enjoy writing science fiction/dystopian fiction as well as coming of age stories. I also enjoy writing about the paranormal to a certain extent, but I don’t really like horror, especially if it’s of the blood and gore variety. I’m fascinated by things like reincarnation.

Is it easier for you to create if given an assignment or does it get in the way of your creativity?

I tend to find that I usually produce my best work if I’m inspired. And I think that inspiration can be quite random. A sudden idea or thought will come to me, and from that one singular idea I will gradually build up an entire story. I think working from a brief can be much harder as I might not necessarily feel inspired to write about a given topic.

Flashback by Patricia Keiller copy
Flashback by Patricia Keiller

What long term goals do you have?

I’d like to concentrate on making audio drama. My aim is to get more of my work out there. I’ve also written a couple of books, but unless I find that these suddenly start selling exceedingly well, I don’t have any intention of writing sequels.

What is piece of art are you most proud of?

I think that in terms of audio drama it’s probably, “A Pony for Sean,” which was a coming-of-age story set in Dublin in 1997. It has been recorded by Chronosphere Fiction, and an extract from it was even used in Irish school exam papers.

What was the oddest thing you’ve ever been asked to create in Audio drama or other art?

I don’t think I’ve ever been asked to create anything odd! 

Harry the Hamster Goes to Venice by Patricia Keiller
Harry the Hamster Goes to Venice by Patricia Keiller

What projects are working on now?

Since the beginning of 2024 I’ve written four audio dramas. I’m currently waiting for my audio drama, ‘The Many Lives of Pimlico Pettigrew,’ to finish being produced, and I’m in the early production stages of another one of my audio dramas, ‘The Caveman Paradox.’ ‘The Many Lives of Pimlico Pettigrew’ is based on one of my books, which I am also trying to promote. Both of my books are available online as well as in a local gift shop. Later on in the year I am also taking part in a pantomime which I helped write. For those who don’t know, a pantomime is a comedic story, usually based on fairy tales, such as Cinderella, Jack and the Beanstalk and Aladdin, which are usually shown in theatres in the U.K. at Christmas time. This particular one is on a local radio station. I’m meant to be playing Aladdin, and this is actually the first bit of voice acting I’ve ever done, and I’m really rather looking forward to it!

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