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Author Gregory Lamberson Talks The Frenzy War and The Julian Year

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Author Gregory Lamberson Talks The Frenzy War and The Julian YearAuthor Gregory Lamberson dropped us a line with updates on two horror projects he has in the works – The Frenzy War, which continues the story of detective Tony Mace, and The Julian Year, the first title written for Medallion Media Group’s groundbreaking e-book format, the TREEbook™.

The Frenzy War, Book Two in Lamberson’s series “The Frenzy Cycle” which began with The Frenzy Way, is now available in bookstores and online as a trade paperback and in Kindle, Nook, and other e-book editions from Medallion Press.

In The Frenzy Way Lamberson introduced readers to Tony Mace, an heroic NYPD detective with a bright future until he comes to believe that a serial killer terrorizing Manhattan is a werewolf. Along the way he discovers the existence of a secret species of peaceful, shape-shifting Wolves who live among us. In The Frenzy War Mace is assigned to lead a joint NYPD-FBI task force charged with preventing a war between the Wolves and a unit of werewolf slayers called the Brotherhood of Torquemada from spilling into the streets of New York. At 450 pages, it’s Lamberson’s longest, most action-packed, and goriest book yet.

“The first book used a police procedural format to introduce the mythology I’m creating,” says Lamberson. “With The Frenzy War I’ve ratcheted everything up several notches: werewolf action, werewolf sex, and werewolf mayhem. Most of my books combine heavy action with explicit horror, but the decapitations, mutilations, and bloodletting in this particular novel goes farther than anything I’ve done before. The series is really about terrorism in the modern age and how authorities and private citizens react to widespread violence, but it has a pulpy flavor.”

Lamberson envisions at least four books in the series so he’s halfway to the end.

Greg Lamberson's The Frenzy War

As for The Julian Year (coming in 2013) , it’s the first title written for Medallion Media Group’s TREEbook™ format. Lamberson’s cinematic approach to storytelling and large-scale character orchestration are the perfect complement to the dynamic capabilities of TREEbook™ technology. The TREEbook™ is a Timed Reading Experience Ebook, which seamlessly integrates time triggers with multiple story branches, allowing stories to organically shift and grow. Using this technology, Lamberson plants the seed for The Julian Year, a global crisis that unfolds over time.

In The Julian Year one of the main characters, Julian Weizak, an obituary writer in New York, celebrates his birthday alone in a bar on New Year’s Eve. At the stroke of midnight, scores of homicides break out on the East Coast:

  • A young woman murders her boyfriend moments after accepting his marriage proposal.
  • A man hides from his eight-year-old-daughter after she murders his wife.
  • A radio host murders his cohost while on the air.

    In all, twenty thousand murders are committed that night in New York alone, with the epidemic spreading across the country and the world, time zone by time zone. Julian makes a startling discovery: The crisis day was every single murderer’s birthday. At midnight each day thereafter, nearly twenty million people around the world become homicidal maniacs, contributing to the biggest killing spree in history. It looks as if the chaos can lead to only one end: the extinction of humankind.

    By utilizing the TREEbook™ approach, Lamberson explains, The Julian Year’s plot leads to a nearly endless variety of situational outcomes and alternate storylines, allowing the reader to experience one of many possible consequences of each pivotal action and choice of characters in the story. The book can change every time you read it, and nearly every reader’s experience can be unique.

    To learn more, visit the official TREEbook™ website.

    Greg Lamberson's The Julian Year

    And that’s not all Lamberson has in the pipeline: His zombie novella Carnage Road was just published by Creeping Hemlock Press’ zombie imprint Print Is Dead, and Tortured Spirits, Book Four of the “Jake Helman Files,” will be published in October. Currently he is line producing Model Hunger, a horror film which marks Debbie Rochon’s directorial debut, in his home town of Buffalo.

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    Friday the 13th: The Game Welcomes Back Shelly Finkelstein This Monday!

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    Earlier this past year, all of us Friday the 13th Part 3 fans we delighted when “Friday the 13th: The Game” added in Fox (Gloria Charles) as a playable character.

    And now we have the announcement that another beloved character from Friday the 13th Part 3 will be joining the game this December.

    Yes, Shelly Finkelstein (Larry Zerner) will be coming back to Camp Crystal Lake!

    The Shelly playable character will be available for free with the latest patch. The new update will be coming for PS4 and Steam on Monday, Dec. 18th. The Xbox One patch to follow shortly.

    Below you can watch the announcement trailer which was posted on Twitter earlier tonight.

    After giving it a watch make sure to let us know how excited you are to see Shelly (aka the man who gave Jason his mask) back in action below!

    Shelly Finkelstein hits Friday the 13th: The Game for PS4 and Steam on Monday, Dec. 18th.

    Welcome Back Shelly!

    The man responsible for 'handing' Jason his mask, Shelly Finkelstein will be coming back to Camp Crystal Lake to troll his fellow counselors…that is until Jason shows up! Get Shelly for free with the latest patch!The latest update will be coming for PS4 and Steam on Monday, Dec. 18th with the Xbox One patch to follow shortly!

    Posted by Friday the 13th: The Game on Friday, December 15, 2017

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    Graham Humphreys Reveals His Poster For An American Werewolf In London

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    Graham Humphreys continues to cement his position as one of the top horror artists in the business with his stunning new poster for An American Werewolf in London. This piece was created as a private commission, and fans of John Landis’ 1981 classic are going to love it. You can view the final design of this incredible poster below.

    Final design with text.

    Graham also provided us with a detailed statement about the creation of the piece, along with a bunch of screen grabs taken throughout the process. If you scroll down to the bottom of the page, you can see how the final image looks before the text was added. In case you missed it earlier, you can also check out our extended interview with Graham here.

    Exclusive Statement from Graham Humphreys
    As a commercial artist and illustrator, there is only limited scope to make a job entirely your own – so with each project you are answering a brief in order to fulfill the needs of a client. Of course, the client may choose to give you free reign, though this is with the understanding that you are acknowledging their needs and thus expected to work within certain unspoken parameters. Mostly, these confines are defined by how a product is to be sold, licensing instructions and an understanding a market. With this in mind, the client is paying and thus nominally always right… though it would be unprofessional not to make them aware that other options might work better for them!

    Without these commercial constraints, a private commission can remove the barriers because no market is to be met and there is only the artist and the private client to answer to. Creating a poster for a familiar and heavily licensed title is an entirely different prospect if it is not going to be generating money in the public domain and is thus essentially ‘fan art’. Unlike say, a T-shirt company ripping off someone elses art and charging money for the printed image, or perhaps a poster reproduced without permission by either the license owner or artist, then sold for profit.

    Here, Dread Central have asked me to talk through one such commission, ‘An American Werewolf in London’, painted as a private commission for an individual that wishes to own a unique image that they themselves have made happen. NB: All likenesses and specific imagery (including the title and names etc) are subject to license and copyright and not for any use other than as examples of a work in progress (and of course, all rights are reserved!). Just need to make sure that it absolutely clear!

    The client had commissioned two previous posters from me (as well as numerous poster designs from fellow artists), so a basic understanding of expectations had already been established.

    My work begins by watching the film from beginning to end – to re-establish my own connection to the film (if one already exists). I saw ‘An American Werewolf in London’ (in London!) on it’s first run and the proximity to many of the locations (Tottenham Court Road tube station, Piccadilly Circus, being the obvious ones) made it instantly impressionable for me. Existing posters, in particular the official theatrical versions and various home-entertainment sleeves, focused on a limited image pool. My job was to find new ways of representing the film, free of the past baggage, but also to listen to my clients requirements.

    Looking for a fresh perspective means avoiding the familiar stills that have defined the past marketing, this is achieved by making screen grabs from the DVD or blu-ray. As with most commercial jobs, I generally make a selection of about 40 images, then review these reducing the number to about 15 that have the best narrative potential, including a good visual range of actor expressions and reactions. My client required the Werewolf, London references, the moors, David and Jack, a full moon and the ‘Slaughtered Lamb’ pub sign… then whatever else I chose to include.

    On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

    Selected screen grabs.

    Selected screen grabs 2.

    My first idea involved a portrait of David looking lost and frightened (I felt this was essential to the story), the Werewolf with it’s head bursting through the cinema shutters/signage (the idea of breaking the fourth wall), the decomposing Jack (a perfect metaphor for David’ s own life falling apart), his nightmare of the home invasion (one of the most effective and horrific moments in the film, I felt), plus Brian Glover’s ‘Slaughtered Lamb’ local – a look that defines rednecks and racists the word over when confronted by ‘other’!). I also wanted to add the tube attack victim to open up the carnage. Although Jenny Agutter’s nurse added the romantic dimension for an audience that expects the convention, I wanted to concentrate on David’s story, so chose to only include her face as if she were painted on the shutters, ie. a film poster element.

    I was surprised that the client didn’t want the home invasion creatures, nor the reference to the sleazy cinema hordings (which I thought made a good location gag – obviously not!), they also did not want the rotting Jack. It was disappointing to lose these great horror elements, especially as they’d particularly wanted ‘horror’! But a compromise was reached by including the transformation scene at the bottom, and reinstating the moors (which I’d thought unnecessary).

    Fortunately, my second sketch was well received and the painting could commence.

    On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

    Once I have my sketch approved I reintroduced the photographic source material over the sketched parts, so that my layout remains exactly as approved and so that I’ll have the best possible likenesses to trace onto the watercolour paper.

    Early sketched elements.

    I usually have a basic idea of what colours I’m going to use. In this instance I knew that I wanted a silvery blue moonlight to bathe the entire image, but also the contrast of the orange glow of artificial lighting, the pub and cinema foyer. I knew the big splash of red in the wolf’s jaw would jump out, becoming the focal point. This painting took about three days to complete, the sketch process (including the grabs) about a day upfront.

    Composition design.

    The final painting was scanned and all the text added in photoshop.

    My client will now make a full size poster print, to be framed, from the file I send him. Next up, ‘The Thing’!

    Final painting before text was added.

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    Syfy Renews Z Nation for a 5th Season; Season 4 Finale Airs Tonight!

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    Syfy’s popular zombie series “Z Nation” just keeps shambling on, and tonight the two-episode Season 4 finale, “Mt. Weather/The Black Rainbow,” airs. If you’re a fan of the show, we have good news for you… it’s not over yet as David Latt of The Asylum has announced on Twitter the pickup of “Z Nation” for a 5th season! So you can expect lots more adventures with the gang in 2018.

    Below is the official word from David along with a brief synopsis of what’s ahead tonight in the finale, which kicks off at 9/8c.

    Synopsis:
    In the mind-bending two-hour Season 4 finale, Warren and the team must stop Zona from launching operation Black Rainbow, which will cleanse the landscape of both zombies and humans. In Part 2 the secret of Warren’s Black Rainbow dream is unlocked when they reach their final destination. The cast includes Kellita Smith as Roberta Warren, Keith Allan as Murphy, Russell Hodgkinson as Doc, Nat Zang as 10K, Gracie Gillam as Sgt. Lilley, DJ Qualls as Citizen Z, Ramona Young as Kaya, Justin Torrence as President Donald Trump, Michael Berryman as The Founder, Micheal Daks as Mr. Sunshine, Anastasia Baranova as Addy, Sydney Viengluang as Sun Mei, Joseph Gatt as The Man, and Natalie Jongjaroenlarp as Red.

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