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Showing posts by: Andy Adams click to see Andy Adams's profile
Oct 25 2016 4:30pm

Angel Throwdown: The Mythology Behind Lucifer, Episode 2.05: “Weaponizer”

This episode quickly escalates with the appearance of Uriel. Mythologically, Uriel has many titles and is attributed with many different roles, including being the angel that guarded against Adam and Eve’s entrance back into the Garden of Eden and the angel who checked the doorways for the Passover sacrifice. None of these have any basis in the Bible, however. All of the attributions come from books from the Apocrypha, which are largely excluded from the canon.

In fact, angels are rarely named in the Bible—Michael and Gabriel being the most prominent examples. Raphael fills out the number three spot, and because there are four cardinal directions, Uriel takes the fourth.

[Read more about the mythology behind “Weaponizer”...]

Oct 18 2016 1:00pm

Maze Gets Hammered: Exploring the Mythology Behind Lucifer, Episode 2.04: “Lady Parts”

Finally, we can delve into Maze. I’ve been itching to look more closely at this wonderful character, and she finally opened the door. During the epic girls’ night out, Maze tells us she “was forged in the bowels of hell to torture the guilty for all of eternity.” First, that sounds like a crummy job to have, and she’s not happy to have that job for eternity. Maze has been struggling to find her place in the world, away from Lucifer, and her origin explains why.

The wording is very specific—that she was forged, like a piece of iron, like a tool to do a specific job, similar to the implements she brandished in front of Mum a couple of weeks back. The implication here is that she doesn’t have a soul and that, as a being, she’s struggling to understand a purpose beyond the one for which she was made. Her revelation doesn’t indicate who forged her, but she has been tied to Lucifer from the beginning so the Magic 8 Ball would likely tell us, “Signs point to yes.” Hopefully we’ll know more about this as the season progresses.

[Outlook not so good...]

Oct 11 2016 11:00am

Lucifer’s Punishments: The Mythology Behind Episode 2.03: “Sin Eater”

This week’s Lucifer focuses on the idea of punishment and manages to encompass all the main characters in the theme while also bringing in a startling mythological revelation about a part of the Bible that never mentions Lucifer.

The big reveal is passed off as a joke—one of many, such as “great balls of fire,” “hot pants,” “weekend at Burnie’s,” and “his burning bush”—but the last is where we take notice, as Lucifer reveals: “That was actually me, by the way, so don’t tell anyone.”

[Read more of the mythology of “Sin Eater”...]

Oct 4 2016 12:30pm

Mum’s Manipulations: The Mythology behind Lucifer, Episode 2.02: “Liar, Liar, Slutty Dress on Fire”

The episode picks up right where the first one ended, with Lucifer’s Mum. This time, however, we get her point of view, as her celestial being inhabits various recently deceased bodies. This is actually our first stop on the episode’s mythologically packed tour.

Genesis is quite clear that man and woman are “[made] in the image of God.” Nowhere does it specify that God—or the Goddess—have any kind of flesh, though. She is completely incorporeal, an intelligence without physical substance, a divine soul. Maze corroborates this later in the episode by speculating that she “couldn’t hurt [Mum] because [she] [wasn’t] human.” But now, residing in human flesh, Mum is fully vulnerable to all of the weak spots in a human body—beginning with a head-butt, and ending with Lucifer stabbing her in the arm with a screwdriver.

[The ol' one-two combo...]

Sep 22 2016 3:30pm

The Case for Cultural Appropriation & Assimilation in Kevin Smith’s Dogma

Kevin Smith’s Dogma is a biting and insightful look at many mythologies and modern religions. And while some of it is a little sharp, there is insight in its critique as well. Smith attempts to present a unified system of mythological entities borrowed from different cultures. This idea, though, is not his own, as nearly every culture in the world attempts the same in order to justify its own cultural supremacy.

Smith borrows Loki from Norse mythology. As anyone who is familiar with Marvel’s Thor (the comic or the film adaptation), Loki is not really a nice guy. He wants to destroy things, play tricks, and generally just cause mischief. The angel in Dogma, then, is a perfect incarnation of Loki, but Matt Damon's version has been reassigned to be an angel instead of a pagan deity.

[Maaaatt Daaamonnnnn....]

Sep 20 2016 1:00pm

Lucifer’s Family Problems: The Mytholgy Behind Episode 2.01, “Everything’s Coming Up Lucifer”

The Season 2 premiere of Lucifer had to cover some interesting ground after last season. Season 1 left us with a couple of major revelations. First, Lucifer has a mother. Second, she had been condemned to Hell. These two ideas alone dominate the entire first episode of this new season. However, let me assure you, while the explanation of Lucifer’s mother is unorthodox, the Bible can support the idea.

When Lucifer gives Linda the story behind his “Mum,” he sticks to the beginning of everything—the creation. This is appropriate, though it’s couched in Lucifer’s particular vein of storytelling, with lines such as: “They had sex. The only trouble was, they were celestial beings, so that moment created the universe,” and, one of my favorites, “Dad started going into the garage and tinkering with a little project he called humanity.” Everything Lucifer is referencing comes from Genesis Chapter 1, and it is here that we find the basis for Lucifer’s mother.

[I wonder if she calls him her “Sweet Lou”?]

Sep 12 2016 4:30pm

Fox’s Lucifer and the Free Will of Angels

The show Lucifer begins with a major yet subtle assumption regarding angels that has far-reaching effects. Angels in the Bible are often depicted as servants of God, carrying out specific tasks such as guarding the Garden of Eden from Adam and Eve’s return, stepping in to avert a sacrifice (Isaac’s), destroying wicked cities (Sodom and Gomorrah), heralding births (Samson, John the Baptist, Jesus Christ, and others), among other tasks. But are they simply automatons carrying out God’s will?

Lucifer has this idea at its heart; Lucifer was thrust into the position of watching over Hell, despite not wanting to do so. It would be easy to say that Lucifer, as a fallen angel, is not bound by the normal rules, yet how do we explain Amenadiel’s actions? He wouldn’t have the same freedom since he’s still working directly for God. The show is free to use artistic license to neatly sidestep such problems to make the show entertaining. However, the mythology found in the Bible is less flexible, but has some interesting things to say about angels.

[Ask the angels...]

Aug 25 2016 4:30pm

The Problem with the Vampires in Blade

Blade is one of the older successful superhero films, appearing at a time when people had renewed interest in vampires. But, there has always been one thing that bothered me about the portrayal of vampires in Blade—they were weak.

Much of the fear regarding vampires relies on the idea that they are nearly unstoppable forces, requiring groups of people to dispatch even one. But, the opening action scene of Blade shows a club full of hundreds of vampires easily dispatched by Blade using an arsenal of weapons. Yes, the weapons are specially designed with vampires in mind, including stakes, silver bullets and blades, ultraviolet lights, and garlic-infused “mace.”

When struck, the offending area of the vampire (often the heart or head) simply disintegrates, melting away into nothingness. Blade is a one man, vampire-slaying army, whereas, in other portrayals, a single vampire could cause the same level of destruction among humanity by shrugging off nearly every weapon known to man.

So why did the writers of Blade choose to weaken vampires? Well, obviously, this is a box-office action flick, but I think there’s a deeper story going on. I think Blade has a subtle, hidden fight of mythology vs. science.


Aug 16 2016 1:00pm

Exploring the Religion of Game of Thrones Part II: The Fire and Ice Gods

It’s no secret that George R. R. Martin examined several religions and mythologies when creating his world in the series A Song of Ice and Fire—and the Game of Thrones HBO series. What is fascinating is how he blends these particulars together and uses them in plain sight to enrich the series.

As the television series moves into its last two brief seasons and the supernatural forces start becoming more pronounced, it’s worth it to examine some of the source material to inform on our understanding of what’s going on in this rich world. In Part II of this look at religion in Game of Thrones, we’ll focus on some prominent supernatural aspects, the gods of ice and fire.

See also: Exploring the Religion of Game of Thrones Part I: The Old Gods

[Demystify the myths behind the fire and ice gods...]

Aug 9 2016 4:00pm

Exploring the Religion of Game of Thrones Part I: The Old Gods

The Old Gods in George R. R. Martin’s series are based on an interesting blend of the faerie and Norse mythology. While two different mythological cosmologies, the blending makes a great deal of sense, as there were borrowings when the Norse—more famously known as Vikings—invaded and controlled parts of England, Scotland, and Ireland from 793-1066. This is easily long enough for cultural exchange and a kind of equilibrium of the two mythologies to blend. The Norse invaders brought their gods, the Norse, including Odin, Thor, Loki, Tyr, Freya, and the rest, whereas the native Celts had their own gods and the faerie, which are most like the Children of the Forest in Westeros.

The faeries are not like Tinkerbell. They are wilder and more natural, much like the Children are portrayed in the series. More importantly, the wonky length of the seasons in Game of Thrones might very well have a mythological explanation.

[Find out more about the Old Gods from Game of Thrones...]

Feb 8 2014 7:00pm

Fresh Meat: Pillar to the Sky by William R. Forstchen

Pillar to the Sky by William R. ForstchenPillar to the Sky by William R. Forstchen is a futuristic thriller about a space elevator facing financial, engineering, and political challenges to save a world and humanity in decline (available February 11, 2014).

Taking an elevator into space. It’s straight out of science fiction. But like so many other ideas that have been dreamed up—flip-up wireless communicators, touchable computer slates, and so many more—they can become reality. William Forstchen’s Pillar to the Sky shows science fiction on the verge of becoming science fact.

What is truly compelling about Pillar to the Sky are the spirits it captures, which become overarching parts of the conflict. Throughout the book, readers are constantly reminded of challenges against science fiction becoming reality.

“In these times of economic stress, of towering deficits and public demand for budget cutbacks“— he paused for effect—”pipe-dream schemes that are a waste of taxpayers’ money are utterly absurd and, frankly, a waste of my time as a senator who believes in fiscal responsibility."

. . . “I find it disturbing that such a proposal even reached this level and was not terminated by the proper administrators in your program, and believe me, I shall question them about that after this hearing. We are facing the worse deficit crisis in our nation’s history. If I approved continued research funding for this sci-fi fantasy, let alone the insanity to actually go ahead and build it, I can only imagine the howls of protest from my constituents and every other taxpayer. I agree NASA should continue as a government entity, but let it set realistic goals and not allow this type of idea to worm its way up through the bud get proposal. I know it has been popular with some to praise the recent mission to Mars, but even with that I ask: Why do we spend more than a billion to go explore a lifeless rock when that same billion could be better spent  here on earth, solving a multitude of  problems rather than being wasted out there?”

[Visionaries always face opposition...]

Nov 29 2013 7:00pm

Iago: A Villain Without A Cause?

Provenda We love a good villain. Villains with complex characters, mysterious motivations, and great resourcefulness are the best. The hero needs to be challenged, right? The better the villain, the greater the hero’s triumph will be at the end. (Going by movies such as Thor and The Avengers, Loki hits pretty high on the villain scale. This is a character that challenged not only one hero, but an entire group. Even Holmes had his Moriarty, a villain so great that they both went over Reichenbach Falls.)

When villains are emotionally sympathetic, we even like to cheer for them at least a little bit; however, appreciating them as characters is not the same thing as wanting them to win entirely. When it comes to criminal stories, we can’t allow the villain to truly win. It’s not in our nature. By the end of the book, movie, or episode we want, even demand the resolution that allows the villain to be brought to justice. In those rare instances where the villain gets away, it is only because at some later date the villain will return and have to face justice then.

But what if that’s not the case? Rereading the story of Jason and Medea got me thinking about how she got away in the end. She murdered her children, Jason’s fiancée Glauce, and Glauce’s father Creon, and then set fire to a city before disappearing completely. She got away. She never faced justice.

Okay, some may say that what she did actually balanced justice. Jason betrayed her, first, and she responded as was befitting (I won’t debate whether acts of murder and arson are equal to casting Medea aside.)

What about a villain who was not wronged first? Shakespeare’s play Othello has a lot in common with Medea's story, especially concerning the villain Iago.

[Some bad just goes bone-deep...]

Sep 10 2013 9:30am

Fresh Meat: Beloved Enemy by Eric Van Lustbader

Beloved Enemy by Eric Van LustbaderBeloved Enemy by Eric Van Lustbader is the fifth Jack McClure thriller, in which the Secretery of Homeland Security is killed and Jack must decide whether to help the woman he loves or to destroy her as an enemy of the state (available September 10, 2013).

In this installment, Lustbader keeps the action switching back and forth between Jack McClure, an agent known as Redbird, and directors of various intelligence agencies. The shifts in POV are rapid, keeping the action flowing forward, but it doesn’t come across as simply switching off. The view of Jack and Redbird and others are much like pawns in a chess game while the directors are clearly higher up in the food chain trying to dictate the moves on the board.

Like many people in power, though, especially when it comes to intelligence agencies, there is distrust all around and an air of one-upmanship among these people who—ostensibly—should be working towards a common goal, and it escalates to the point where they implicate one another in front of the President of the United States.

[The old circular firing squad...]

Aug 18 2013 11:00am

The First Femme Fatale?: Don’t Mess with Medea

Opera Singer Maria Callas in her only film role as Medea (1969).

Here's where to start if you haven't already read about Medea's involvement in Jason's Big Heist.


Medea’s adventures didn’t stop just with obtaining the Golden Fleece, though. She married Jason. Now, if this were a modern romantic comedy, the couple marries, has children (which they did), and they live happily ever after. However, we’re dealing with the Greeks, here. Happily ever after is not their forte. Betrayal, murder, and revenge are the stuff of ancient Greek stories, and Medea’s is no exception.

Medea by artist Frederick SandysBut first, we need to know a little bit more about Medea. She is a princess of Colchis, what we consider modern-day Georgia (the country east of the Black Sea, not the place where Sherman marched). This country is around 1,500 miles away from Greece, as far east as a person can get through sailing. The people, according to the ancient Greeks, were uncivilized, tribal, and worshiped strange deities. She is royalty in this foreign land, which allows her character to act in ways outside of the Greek norms for women.

She is also a sorceress, and puts her arcane knowledge to use aiding Jason in obtaining the Golden Fleece through dispensing magic potions and important tidbits of information. She’s also the niece of the witch Circe (the one who transformed Odysseus’s crew into pigs).

[A seriously dangerous femme fatale...]

Jul 17 2013 10:00am

Jason’s Big Heist

Acastus and Jason (Gary Raymond and Todd Armstrong) in Jason and the Argonauts (1963)Jason’s quest for the Golden Fleece is one of the more well-known stories. Told in the Argonautica and other stories, it chronicles a group of heroes sailing into parts unknown, braving monsters, facing perils, and doing many other questy things. However, what the stories don’t tell is that the whole thing is an elaborate heist.

While most heroic quests follow a group of people out for treasure and facing peril, Jason is out for a very specific treasure, one that already has an owner. Sure, he’s doing it in order to appease a king so he can prove his worth, but theft is theft.

The entire set up is that of a heist, too. Jason assembles a crew for his ship the Argo (the getaway car, sort of). Each member of his crew seems to fulfill the same criteria as on a heist. He outfits himself with specialists to get the job done.

[Oooh—did he assemble the team in a montage?]

Jun 19 2013 2:00pm

Murder One

Murder is old. We can’t call it the oldest profession simply because, well, it wasn’t really a profession when it was invented, at least according to one set of accounts. There just weren’t enough people around, which became a problem later, as we’ll get into. Murder most foul, it was, brother against brother. The incident with Cain and Abel is interesting for a lot of reasons.

For one, it's happening in the first generation. Adam and Eve got kicked out of the Garden, and their first two sons turn out like this. It’s not really fair to call it bad parenting, either; I mean they got 50% right. Not bad for a couple of kids freshly kicked out of Paradise, especially considering there were no parenting books yet.

What we have with Cain and Abel is a simple crime of passion. Abel got recognition for what he did, Cain felt slighted. Cain kills Abel. End of story, right? Pack up, go home. Not quite. See, what we also have here is the first act of pre-meditation.

[To civilization, murder came early and awful...]

May 24 2013 12:00pm

It’s All in the Duds: What the Well-Dressed Detective is Wearing

It is said that “Clothes make the man,” but that may be true for some more than others. I’ve been thinking it over, and found a pattern when it comes to clothes in crime fiction. Detective characters stand out in the crowd. Usually their manner—curious, attentive to detail, driven, and intelligent—sets them apart, but there’s more than that. The way they dress is actually quite conspicuous.

A deerstalker hat, a mantled coat, a snuffbox, and a pipe. Just from that brief description we come up with Sherlock Holmes. The hat alone is enough to name him. Throw in the pipe and he’s unmistakable.

A fedora, a trench coat, a hip flask, and a cigarette. These are the trappings of the American hard-boiled detective. Characters such as Sam Spade, Philip Marlowe, Mike Hammer, and Columbo firmly embed the picture of the grizzled detective into our minds.

[What do you wear to a stakeout?]

May 19 2013 10:00am

You Talkin’ to Me?: Criminal Language

Criminal enterprises are dangerous, no, really, I heard that somewhere. The risks of the job, though, are part of the deal. Hardly a criminal would balk at the prospect of being arrested or facing a prison sentence. It’s a risk; always has been, always will be. The job itself isn’t the only risk, though. Criminals have a need to go about their work in secret, and the only thing worse than getting arrested on the job getting arrested before the job.

For that reason criminals have to hide what they’re about, but they still have to talk about it. Talking about a big heist or, worse, a plan to kill someone is a quick way to tip off the police. If the cops don’t outright arrest someone for planning a crime, you can bet they’ll take steps to make sure that the crime goes down in their favor, ending with thieves and other criminals behind bars, or even in body bags.

[Keep your lip buttoned up...]

May 7 2013 12:00pm

Fresh Meat: The Ides of April by Lindsey Davis

The Ides of April by Lindsey Davis is a new mystery by the author of the Marcus Didius Falco series, set in ancient Rome and featuring a no-nonsense investigator who just happens to be a woman (available June 11, 2013).

A woman PI (informer, to use the period parlance) on the mean streets of ancient Rome. That’s the one-line summary, but what Lindsey Davis gives us with this kick-off of a brand new series is much more than that.

Flavia Albia is hard-boiled (something the Stargazer bar can actually manage to do correctly) and taking on cases that no one else will touch in a city that is steeped in its own corruption and mistrust.

[The mean streets of Rome...]

Apr 28 2013 12:00pm

The Appeal of the Heist

Movie poster: The Italian JobHeists are a staple of the crime genre. Who doesn’t love stories like Ocean’s 11, The Italian Job, or even A Fish Called Wanda? But, unlike murder and other crimes, heists are crimes we can get behind. We actually cheer on the criminals in their attempt to rob people. But why is that? Why can we get behind a group of people out to steal, yet condemn the mugger?

Heists are always against someone big and oppressive. Either some kind of large corporation or viciously wealthy individual is the target. We dislike the big bad corporations and the viciously wealthy because, well, they’re not us and their character is shown to be flawed in some way, much as Andy Garcia’s character in Ocean’s Eleven. He’s powerful, shows himself to be a jerk, and has very little sense of humor. This last reason is enough to justify robbing him.

[Sure it is!]