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C) The Book of Erebus. D) The Book of Set. 3 In the first movie of the Underworld series, how many razor disks did Selen
Keith Thompson Featured Cover Artist

Bestselling Horror Writer

Michaelbrent Collings:

Our Wonderful Obsession with Horror

Walking Through Walls Chapter 10:

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The Hammer of Witches Original Fiction by

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David Page 1J West

World Horror Convention April 28 - May 1, 2016 Provo Marriott Hotel Artist Guest of Honor:

Keith Thompson

Author Guests of Honor:

Art by: Keith Thompson

Brian Keene Jack Ketchum Darren Shan Joe McKinney Kevin J. Anderson

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Publisher & CEO Dennis Lundstrom

Executive Editor & VP Adrian Broadhead

Reliving Jr. High In a good way By Deborah Moore

Contributing Editors Alex Sousa

Contributing Writers

Carter Reid, Brian Gates, Daiel Yocom, David J. West, Deborah Moore, John Blackham, Mercedes Roberts, Michaelbrent Collings, Zac Johnson Utah Geek Magazine may or may not agree with the views and opinions expressed herein by our contributors. Copyright Utah Geek Media LLC. Reproduction without our expressed permission is prohibited. Utah Geek Magazine, UGeek Media, and the UGeek logo are trademarks (TM) of Utah Geek Media LLC. To advertise in Utah Geek Magazine, visit UtahGeekMagazine.com/advertise, or call Dennis at 801.839.4581

Website: www.UtahGeekMagazine.com Email: [email protected]

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puzzled over this issue’s “creepy horror” theme until I thought of something I’m dealing with in my own life right now. My daughter will be starting Junior High next year! What could be creepier than that? In full disclosure, I love the school she’s going to. It’s a great school. The part that really freaks me out is that I have a daughter who is going into Junior High already. How did this happen? Yes, I realize this is how time works, but surely geeky parents should have some sort of work around. After all, we are the ones who adore Time Lords and time travel. We should have a loop hole. I have had no such luck. However, I did come across a few ways to get my daughter excited about science and math. One of the things I did was share some of my experiences from Jr. High, focusing on the uplifting stories. Children like to hear stories about their parents when they were young. I’ve noticed this in kids who seem to tune out everything else their parents say.

Then I shared a story about one of my math teachers who taught us a song for the Pythagorean Theorem. It’s cheesy, but it stuck in my mind. If you turn facts into a catchy song then I’ll remember it until the day I die. Do you have any stories about classes you enjoyed taking? Were there things about it that were fun or interesting? Then try to find one to share with your own children whether they are going into preschool, college or something in between.

Raising Geeks

I told her about my seventh grade science class where we dissected a squid. Afterward the teacher cooked them up and we had calamari. The squids weren’t soaked in formaldehyde beforehand so they were safe to eat, and I ended up enjoying them.

When you share your experiences with your children it’s a way to give new life to old memories. Maybe we have found a way to travel in time after all.

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Artist Spotlight: Keith Thompson

as Don’t Be Afraid of the Dark, The Strain, and Crimson Peak. Del Toro has not only relied on Keith for his work in horror, though, as Keith also did concept art for Pacific Rim.

Artist Spotlight

To work on so many projects for the same filmmaker, I was curious to know if he had By Dennis Lundstrom been a fan of del Toro’s work prior to working Photo courtesy Keith Thompson for him. Keith replied, “Yes, I was a big fan of del Toro’s work before I had met him.  Especially f you were asked to name just a few The Devil’s Backbone and Pan’s Labyrinth.” He individuals who have made major continued to explain about the first time they contributions in the works of hormet, “I was invited down to Hollywood and ror, who might you name? Poe? Shelley? over to meet Guillermo the first time at Bleak Lovecraft? Perhaps you’d mention King House.  I was lucky enough to get a lot of time or Rice? Certainly these individuals have to look through his amazing collection.” For made a major mark on horror literature. those not “in the know”, Bleak House is where How about individuals in horror art? del Toro keeps his collection of books, gory Perhaps the names of artists like Anne props, and mannequins. It’s a “think tank” Stokes, Aly Fell, or Michael Whelan will where he, and those that he invites, can see prick your imagination. One such artist and be inspired by his collection of horrors. you mustn’t overlook, however, is CanaAlong with his work in movies, Thompson dian artist Keith Thompson. has also done concept art and illustrations Keith is a professional freelance artist. for a number of games. His portfolio includes Although he studied illustration at artwork for Skyrim, Arcane Codex RPG, the Iron Sheridan College near Toronto Canada, Grip game series, and Borderlands. he says most of the knowledge he uses When asked for advice on “breaking in” to is self-taught. Some of his better known works are his illustrations for the Leviathan trilogy by the illustration industry and marketing yourself as an illustrator his answer is simple, “Without Scott Westerfeld. However, he specializes in a doubt the internet is the route I’d take.” He concept art for movies and games. Thompson continued on the topic by adding, “An artist has completed works of conceptual art on can have a perpetual, living artistic window every horror film Guillermo del Toro has work that anyone in the world can immediately on since 2010. These titles include such works

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experience and pass on to others to experience within seconds.” In his illustrating, Keith uses a 50/50 mixed media technique. He freehands his art using black col-erase pencil on 110lb paper. Halfway through the process the art is scanned. Then color and shading is added by layering different glazes in Photoshop. Keith Thompson will be the Artist Guest of Honor at World Horror Con 2016 in Provo Utah. It will be held at the Provo Marriot from April 28th – May 1st. This will be the last World Horror Convention in Utah, so make sure to come out and welcome Keith. This will be the first time he has visited the state and he is looking forward to meeting everyone.

Salt Lake Zombie Walk

Club Connection

By Brian Gates Photo courtesy Salt Lake Zombie Walk

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alt Lake Zombie Walk first started in 2008 with a little over 500 participants. The idea was a simple flash mob get together event. There were moans, there was blood, and it was a great time. Over the years the zombie walk has grown. What first started with only zombies now has zombies, hunters, survivors, victims, and even zombie dogs.

Cosplay groups like Umbrella Corp-Utah Hive, and local companies including Salt Lake Comic Con, Fear Factory Haunted House, and Castle of Chaos Haunted House have gotten involved over the years to help spread the word, work with the Utah Food Bank, and run the Salt Lake Zombie Walk. The main organizers over the years have come from all kinds of different life

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backgrounds ranging from roller derby girl to a local business manager. Last year’s zombie walk saw over 3,000 attendees and helped bring in over 1,800 pounds of food, or about 1,500 meals, to the Utah Food Bank. They hope to see even more people attend and enjoy the Zombie

Walk each year. Check out their Facebook page for up to date info for the walk at www. facebook.com/slczombiewalk. Utah Geek Magazine was at the Salt Lake Zombie Walk in 2012, and we put together an awesome little video of all the highlights. Check it out at ugeek.us/ZombieWalk.

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Autokrator By Daniel Yocom www.UGeek.us/DanielYocom Photo credit Diachron Games

gives more benefit to leaders who have lost in battle. Both sides take adjustments to their victory point totals. This, and how the money is utilized, creates a balanced game through the five rounds.

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istorical war games usually build on complexity to create a level of accuracy that makes it hard for the average player to pick up the game and play. Autokrator (Greek, roughly translating into “one who rules by himself”) uses a simpler, Euro-based, system of play to introduce strategy gamers to the times of the crusades. Two to four players control the major kingdoms of the Franks, Moors, Saracens, or Byzantines between roughly 600 and 900 A.D. Over the five turns of play each player works to expand their empire by controlling or taking territory away from their opponents, as well as advancing into neutral lands. Using your king, general, and admiral you are able to move forward and attack, while you defend the territory you own using garrisons. Combat is conducted with cards, which players have to represent their forces. The forces are secretly allocated to the different leaders, and then those forces are allocated in the battle. When the battle begins, the forces are revealed and compared for strength, training, and leadership. A battleground is selected by eliminating possibilities as you work to maximize your troop’s abilities. Then the battle is scored. There is a lot of variation to deal with, but after a couple of turns, the combat system works smoothly. Once resolved, there are rewards and bonuses for winning and losing. Winning gives you the territory and money. The money is used to allow additional options to your strategy. The losing players suffers losses to their leadership (each leader can only lose a certain number of times). However, there is a balancing factor which

Overall Autokrator from Diachron Games is a well-balanced strategy game for both beginner and experienced players. The luck of the dice roll is removed and you are using a game mechanic more in line with chess and bluffing. The limitations of the number of leaders, and their limited number of times they can lose a battle means you need to work a strategy and not just run suicide missions. It is a slower expansion of the kingdom, with limited resources reflecting the time of the crusades.

Mayhem RPG By Daniel Yocom www.UGeek.us/DanielYocom Photo credit Midnight Campaign

Tabletop Games

Each of the five rounds cover a period of time, which is summarized for the players, along with a conditional rule for that round of play. These provide historical context without bogging the game down. The monetary system works as a supportive layer to the military, without dominating the play. You can only have a limited amount and hoarding your gold does not provide a strong advantage in the victory points.

dent fantasy RPG which begged that very question when I opened up Mayhem; Volume One, Core Content. Before reading the book I’ve had the opportunity of playing some introductory sessions at open game days at local game shops, the sessions focused on some of the character possibilities and the combat system. These were good places to start; enough so, that I acquired a copy of the core book to find out more. Character creation allows for a level of flexibility that a lot of players are looking for, without going into a full point buy system. There are a number of “races, curses, and talents” to choose from, which allows characters who are traditional, mythical, and undead. The limitation is really up to the game master (storyteller) of the game you are playing. Building a character is similar to other level systems most RPG players are used to, with some alterations allowing this system to be easily played and expanded. These alterations also allow for easy advancement of character skills.

Advancing character skills works with a series of requirements as they improve. A character can gain higher levels of ability skills, techniques, and spells only after acquiring the basic skills, techniques, etc. The prerequisites are not absolute, though (2 basic techniques from a set group). This allows players to build characters unique to the personality they want to create. Two powerful bowmen, with the same high level ability, can get there on different paths of training. The combat system also allows for characters to express their personality in ways that many round-based systems lose. Mayhem uses a combat wheel. Everything is based on a speed factor, and once you take an action you count out how long the action takes. Your next action is allowed when the wheel catches up to when you can act again. This plays well for the different actions, especially in combat situations—a dagger specialist has an equal footing with the swordsman.

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antasy has always been mainstay for role-playing games (RPGs). The first ones were based in fantasy realms and every major gaming system, along with a number of independent games, has a fantasy setting. When looking at a new RPG fantasy system, with all of the other options available, there arises the question “Why?”. What makes this game different and/or better than the others? Mayhem, from Midnight Campaign, written by Rob and Aubrey Hicks, is an indepen-

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The book finishes off with a brief description of the world, history, and cosmology the Hicks use to introduce the Mayhem campaign, though the world is not a requirement for playing this system. They also include guidelines for converting material from other systems so they can be used with Mayhem. Thanks to Rob and Aubrey Hicks for providing a review copy. Midnight Campaign is an independent Salt Lake company who has a system with qualities that make it competitive with games from the larger companies.

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Our Wonderful Obsession with

Horror

“Horror is our first emotion on this earth, and the roots of that terror never quite die.”

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By Michaelbrent Collings Illustration by Carter Reid www.UtahGeekMagazine.com

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hat is it about horror?

No, they were about Death. And yes, I meant it with a capital “D.” They glorified animals (man among them) killing and being killed. Blood was central, and copious. Many of the animals also feature incredibly large genitalia, which is kinda horrific for different reasons – but I digress. Point is: we are born with a seed of horror inside. Born in blood, our first sounds screams of terror – ironically, as we leave the darkness and first experience the light. Horror is our first emotion on this earth, and the roots of that terror never quite die. We grow, and fear the night… because, at first, we don’t even have the required knowledge to know this terrifying, lonely time will ever end. Then we learn the night does end, but now we wonder what it hides. We grow, and fear of the dark – of what lurks within its shadowed depths – transforms to fear of the “rational” world: what if I lose my job? What if she leaves me? What if I someday die? The last is silly, since death is sure to come to all of us. But still, many of us have that reality as a central – terrifying – theme in our lives. What if? What if? What if? Horror flogs us through life. Terror beats with every pulse of our doomed hearts. And what do we do about it? We watch Insidious. We read Pet Sematary. We view art and media that can only be viewed as disturbing, terrifying. Horrific. We spend our lives hiding from the darkness, turning on the light before we take that first step into the basement (and who among us hasn’t had that fear, if only for a

And then, after turning on all the lights, putting the cops on speed dial, and carefully laying a golf club and some holy water next to our bed (just in case!), what do we do? We flock with friends to a darkened theater, to experience just what we so carefully avoided. People of contradictions, people who yearn for light, for hope… but who also find themselves sometimes – strangely – at home in the dark. And there, I think, lies the answer: we are people. People of hope, of despair, of light, of dark, of joy… and horror. Every one of us has an innate fear of doing wrong, seeking wrong, being somehow… wrong. And horror feeds those thoughts, those concerns. Sometimes for good, sometimes for ill. But what all horror does – at least, when it’s doing its job – is it holds up a mirror. Not to our evil, not to the terrors that hound us through our nights and lives. No, it holds up a mirror to our whole selves. To the entirety of our humanity. To our hopes, to the fears that can dash them. And, in the very best cases, to the redemption that we all seek. I’m not talking about redemption in the religious sense – or at least, not necessarily. Though any careful readers of many of the masters – King and Koontz in particular – will note how often their plots climax in the infinite moment where people realize there is a greater power, or where God Himself all but steps down from his throne to save the main characters: to vicariously save all of us. No, what I mean when I say horror is about redemption is something more basic. Less nuanced, but perhaps as critical as any strictly religious belief or dogma. The word “redeem” has its roots in Latin – “imere” which means “to purchase.” And all horror is about the purchases we make in life – for good or for ill. When we make bad choices in a horror novel or movie, we tend to purchase an equally – or more – bad ending. The masked man hacks us in two. The cunning killer eats our face. The prophetess (that link to God again!) touches us and makes us dwindle away to nothing. And when we make good choices we tend to purchase survival, a future. We earn a state of grace – which itself has interesting roots:

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it means grace, kindness, respect. Respect. Respect for ourselves. Respect for the world – not taming it, but being carefully aware that there is more to the universe than us, that there is more to life than life itself. We know there is danger, we respect its power. But therein lies that grace: respect is something we grant to an equal, not to a superior. Respect is something that nods to the value of another thing, but does not scrape or beg or plead. We read horror to be reminded that there are choices. That there are other choices being made at the same time, and some of those will lead to our harm. That our further choices determine how we are affected. And that, if we make the best possible choices, we will achieve a state of harmony, a sense of balance.

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We’ve had it as part of our lives since… well, forever. I mean that literally. Look at the first recorded art – cave paintings. They weren’t about that one time when Cavedude got a shiny rock from Mrs. Cavedude, or about the time they had a nice romantic night away from the Cavekids, or that one time when he had a really good day where nothing much happened and there was no fire from the sky or T-rexes eating his foot or anything like that.

moment, that THIS will be the time something is down there, that THIS will be the moment we feel the claws and are dragged down to devil-only-knows where?).

A way to cope with our own humanity.; We are born to blood, but yes, we are also sent directly into the light at that same moment. That first breath is to scream, but that first breath is also to live. There is an equality, a duality, an opposition present in every moment of life. There is love… but people grow apart. There is help… but people also make war upon one another. There is hope… but the monsters do lurk. And have their own dark hopes for us. And so we read horror. These sensibilities pervade the best horror, and manage to teach us neither of false perfection nor of base damnation. They show us both. And then let us make a choice. So why? Why do we love horror so much? The answer, in sum, is simple: we love horror because the greatest horrors are us. And we need to be reminded of that fact from time to time so that we may also become more. The best horror drives us into the Pit. It cuts away all that we think we are and leaves only what is the essence of our soul behind. And then shows that that soul, that most basic identity, is enough to climb back to the light again. Michaelbrent Collings is an internationally-bestselling novelist and one of the top indie horror authors in the U.S. He is also a produced screenwriter. Find him at michaelbrentcollings. com or at facebook.com/MichaelbrentCollings or on Twitter @mbcollings.

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Epic Photos

Cosplay Tip:

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For more info on Steve and his work with the charity group, The Umbrella Corporation – Utah Hive, see his interview on Cosplay Stitch and Seam.

“Know what you want your photo to look like; have reference pictures of what you want the end result to be like. When you’re in front of the camera, imagine yourself as the character you are portraying. Feel the emotion your character would have when acting out the scene; it will add so much more life to the photo. Take your surroundings into account. Nothing ruins a photo more than seeing someone acting out a battle scene in a park and in the background you can see kids swinging on swings.” – Steve Shrank

So, how do you get that epic one-in-a-million photo that matches your epic cosplay?

Steve Strank is a one-of-a-kind cosplayer, and his background in special effects and prop making have fueled his hobby and his charity work. By day, Steve works in Law Enforcement, but by night (or the occasional convention weekend or charity event) he is a cosplay extraordinaire. His props, armor, and photos are absolutely amazing.

By Mercedes Roberts www.StitchAndSeam.blogspot.com

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Photographer: Chris Carroll StudioCMC on Facebook

Character: Phantom

Cosplayer: Steve Strank

Walking Through Walls Chapter 10: The Hammer of Witches By David J. West The story so far: Kenaz, an information broker, can step outside his body to gather secrets. He has been blackmailed by multiple sinister parties to retrieve a powerful artifact known as “The Reliliqy”. Now his accomplice Lysandra has the priceless artifact, and she is trying to sell it, but a bidding war has erupted all about her—and she may not survive the auction of cold steel and sorcery!

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ain fell like tears. Lightning crackled overhead as gale winds tore at Lysandra’s red hair in a fury. Fate, she cursed, had brought her to this deadly crossroads between the Witches of Vavath, Count Magnus’s inhuman beast, his two dozen steel-clad mercenaries and the mysterious sorceress Ytainlyn who would be taking all of them on by herself!

Fiction

The faces of Count Magnus’s sell-swords were concealed behind the slim visors of their brazen sallets. They charged at the lone woman with naked blades, hungry pikes and bloodthirsty poleaxes. Ytainlyn wasted no time. In less than an elephant’s heartbeat, she brought her hands together, clacking gold and silver bracelets and bangles against each other. A thunderclap exploded from her hands and lightning shot out at the surrounding mercenaries. The blast took the thirteen closest men together at once. They froze in their tracks, twitching horribly as electricity swarmed over them like a glowing python. They fell, broiled and steaming in their own armor despite the chill rain. Would it have mattered if Ytainlyn could see their savage faces, Lysandra wondered? Probably not. The sorceress didn’t hesitate using her abilities in the slightest. She was indeed a harsh mistress. The electrifying display captured the Witches attention. They focused their own atmospheric spell at Ytainlyn. Red clouds swirled in a vortex overhead, lit by arcane fires from some great beyond. The crimson glow blanketed everything within the temple complex and Lysandra cradled her head as a roaring madness echoed in her skull. A shaft of wind touched down beside the Witches, shimmying purposefully toward Ytain-

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david-j-west.blogspot.com lyn like a randy drunken sailor. Rain pelted the sorceress in the face, but she was unfazed. Her lopsided smirk made it exceedingly clear she was unimpressed. Several of the mercenaries reconnoitered and came at the Witches from multiple angles. A trio of the men were caught by the swiftly tilting whirlwind and flung across the length of the open air temple. Their muted cries stolen by the hurricane. They landed in crumpled heaps of twisted metal and broken flesh. Another one was spun about so that he pierced a comrade, who in turn struck back with wrathful accuracy. Lysandra watched this happen in the space of four elephant’s heartbeats from the alcove. A clang beside her head made her ears ring. A sword had missed her head by less than an inch! The attacker’s depth perception impaired by his thin slit visor. She offered no quarter for this outrage. She spun about, kicking him off balance. Her Nybo Blade found purchase in the joints of his plate armor beneath the armpit. Lysandra had been content to sit this out and see who the victor would be, but now they forced her deadly hand. Wind and rain whipped about. Lysandra heard men scream as Ytainlyn’s potent magicks blasted the last of them. The Count himself was shouting something unintelligible in the gale. Lysandra looked to see what other threats might present themselves. She wasn’t happy with what she saw. Count Magnus’s cloaked henchman strode toward her. Its face was still unseen, wrapped in deep shadows. Sickly green tentacles protruded from the long sleeves where hands should be, ghastly yellow suckers dotted the undersides like craters of the moon. Lysandra couldn’t tell if the writhing tentacles were slimy or just wet. She flashed her bloody knife at the thing. Undaunted, it moved closer. Guessing that it would be swift and likely have a longer reach than she, closing with it was not an option. What else could she use? Stepping away, a poleaxe lay on the ground beside a red smear. Lysandra grabbed the long weapon and struck at the body of the thing. It twisted sideways faster than she would have believed in a wholly unnatural maneuver. Before she could draw back for another strike, one of the tentacles wrapped about the poleaxe a half dozen lengths and jerked the shaft from her. Expecting it to attack, Lysandra backed away but

the creature only threw the instrument away and stepped closer. She retreated another few steps, finding herself trapped against the wall of pilgrim’s offerings. The thing threw back its hood, revealing a tentacle-faced monstrosity. Wide yellow goat-eyes glared balefully. Beneath the beard of tentacles was an awful lamprey-like mouth. It seemed to exude in her trapped situation. Out of luck and options she threw her knife at its head. Its neck speedily twisted out of the way and her blade disappeared behind in the murk. Reaching for another blade, the thing was already upon her, wrapping her up in a crushing embrace. Struggling seemed useless. Only her left hand was partly free. She clawed at the wall straining for something, anything, to aid herself. Fingers brushed coins and knocked a candle stub from its ledge. The henchman’s wretched circular mouth opened wide. Tiny fangs radiated inward down the pale throated gullet. Lysandra’s fingers caught a small vial of some kind. Another candle stub? No, it was a small cup of sand. The henchman brought Lysandra’s face ever closer to its mouth, spittle slapped her in the face. It was over, but she would never quit fighting. She grasped the cup of sand and flung it upward at the thing’s face. White granules flew through the air in slow motion. They splashed into the henchman’s yellow eyes and open mouth. Its grasp on Lysandra suddenly loosened, tentacles flailed free of their prize. Backing away it blinked rapidly, then the beast fell on the ground and constricted upon itself in a squeal of noxious pain. Shocked, Lysandra glanced at the tiny votive she had thrown. It was salt. The monstrous henchman lay on the ground convulsing and retching. Wasting no time, Lysandra picked up the poleaxe and beheaded the thing, screaming her rage. Her eyes then met Count Magnus who stood in the archway. She spit her disdain in his direction. His prized henchman and all his men were slain. Biting his knuckles in a fury, he fled. This left the pentagram of Witches versus Ytainlyn, that sorcerous confrontation was just beginning. Ytainlyn was drenched and the wind whipped about, tugging at her fur-lined dress. The Witches, their eyes aglow, waved their bare arms in unison and pointed facing palms at Ytainlyn. She smirked even as the shaft of whirlwind

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encompassed her. Lysandra did note the striking difference that while the heavy armored men of Count Magnus had been tossed about by the twister, Ytainlyn was unmoved. The winds didn’t so much as shift her stance. A look of worry passed across all five of the Witches faces. All of this occurred in the space of five elephant heartbeats or as it seemed to Lysandra, a thousand drumming beats of her own. Suddenly, Ytainlyn was cast upward, spinning as one within the swirling vortex until her shadow vanished. The Witches of Vavath cried aloud in triumph, “Praise be to Vavath! Our enemies are vanquished!” Turning to look upon Lysandra, none seemed ready to bid upon the Reliliqy, rather they seemed all the more ready to cast her into the maelstrom. But a wicked laugh made them turnabout. A vague colossal face appeared in the whirlwind, seeming dour and haughty and there was no doubt to whom it belonged. “You’ve had your turn and shown me your best. I am through playing. Now you shall pay the price!” The twister bounced forward and captured all five witches before they could flee casting them up in an unnatural horizontal angle. They were held outward like spokes in an invisible wheel, their feet were straight out, kicking at the nothingness. Lysandra held her ears to lessen their screams. She was sure they would be torn apart worse than the mercenaries but the winds lessened and died and slowly the witches came closer together and touched the ground softly. But they were each missing something, all their long hair had been pulled from their heads and wound together into something resembling a rope, now held in Ytainlyn’s outstretched hand. “This is for you Lysandra. All the stories you have heard of enchanted witches’ hair rope are entirely true and I give it to you in exchange for The Reliliqy.” Lysandra waited to take the offering. “I have heard wondrous tales, but I have a partner and should like to share in the sale.” “Very well,” said Ytainlyn. “I’ll grant you those gold pieces you asked for but take me to The Reliliqy at once.” Lysandra nodded but looked to the Witches just picking themselves up off the ground, she had been sure they would be slain but they were not. “I didn’t think you would spare them.” “I don’t need to kill, I just like too,” Ytainlyn said, loud enough for the Witches to hear. “Away you hags, or I’ll hammer you further!” They covered their shorn heads with hoods and quickly stumbled off into the darkness. “Let us go this way, so long as we can be certain we are not followed,” said Lysandra. “I’ll be certain,” said Ytainlyn, as she conjured a gloom to surround them. Lysandra led Ytainlyn down toward the docks, through back alleys lit by stinking braziers and red lanterns. Their ears and noses were pummeled by the scent of cheap perfumes and bawdy laughter. Watching carefully, Lysandra

went inside a warehouse full of crates and sea chests, stacked as high as three men atop one another. There were slim passages for the two women to blaze through like rats in a maze. Ytainlyn sighed but Lysandra signaled, ‘one moment’ before abruptly stopping in a dim recess. Pulling her dagger out, she pressed the tip into one of the thick floorboards and pried it loose. Rusted nails attempted to hold, but the salted sea-breeze had taken its toll and they released. An empty crate had been fitted here beneath the docks and warehouse to hold such hidden treasures. “This is one of many hidden caches I have along the waterfront. I warn you, it still cannot be opened, but I swear this is the same chest that houses The Reliliqy.” “I believe you,” said Ytainlyn, “for I can feel its power.” She then waved her hands over it and muttered in a language that was old before the world was made. Lysandra stared in wonder as faint golden sigils flickered in the air like moths at Ytainlyn’s flame of words. Then the snaps popped. “Open it,” commanded Ytainlyn. Lysandra reluctantly obeyed. Throwing back the lid what she saw amazed her. It was a tiny roofless house with ornate furnishings, finely woven rugs and silken divans. Here and there a miniature peacock strutted amidst diminutive palms and even a toy-like water fountain. Also a tiny dark-haired man reclined upon a couch and looking up in surprise, gasping, “Oh Shiz!” “Quino!” shouted Lysandra. Ytainlyn was surprised at the exchange, “You know my brother? Tuwylain?” “Not by that name. He carried me and this chest upon a flying carpet, then dropped us into the bay. I barely escaped with my life. I’m not fond of him.” “Neither am I,” said Ytainlyn, looking down at him. “You shouldn’t have meddled with my life,” he scolded. Ytainlyn laughed. “Am I to understand that this is your home and not the resting place of The Reliliqy at all?” Quino scowled but said nothing. Lysandra worried now over Ytainlyn’s reactions. You don’t make people with as much power as she angry. “I swear this is the same chest! I truly believed it housed The Reliliqy,” she pleaded. Quino sneered, “I tried to tell that spirit-walker, Kenaz, that there was no Reliliqy but he wouldn’t believe me.” “We’ve all heard tales of it for months, that the Grand Sahir had a magical relic beyond price. What is the truth?” asked Ytainlyn. “All lies spread by scheming men in the Underworld,” said Quino. “Someone wanted the story to tempt thieves. A great web of deceit.” Lysandra countered, “You should be grateful we released the Sahir’s binding upon you.” “Why? So I could degrade myself pretending to be human like my sister, the tart!” objected Quino.

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Ytainlyn slammed the lid down on him. “You don’t need to hear our family squabbles.” “You’re not angry?” Lysandra asked. “No, I never wanted The Reliliqy, whatever it was. I just wished to keep anything of power out of my enemies hands. But it seems there was a plot here, but why?” Lysandra nodded, “I need to let my friend know about these developments.” I heard enough. “Kenaz? Doing this invisible conversation again are we?” She felt his warm yet invisible presence beside her. I’m here. Ytainlyn smiled and looked at the blank crate beside them. “Ah, the mind-walker Kenaz. So pleased you could join us, even if only in spirt.” Greetings, Ytainlyn. In spirit is all I can do at the moment. I find it interesting that everyone thinks you a mighty sorceress, but you’re really a Djinn. “I’ll thank you to keep that information an absolute secret and we can remain close friends.” Understood. Lysandra was confused at having a conversation with an invisible friend and the realization on who or rather what Ytainlyn was. “So it seems that The Reliliqy was a ruse for some purpose I am not yet aware of. Why?” I’m beginning to have my suspicions. “The Salamander?” It seems so. But I don’t know for certain. After all, I am late to the celebration where he shall proclaim me his heir. What could he gain by making me his heir if this was a set-up? “His deceit knows no bounds,” said Lysandra. “There was no reason to his betraying me.” “Men seeking power will step on anyone in their way,” said Ytainlyn. Was there ever a Reliliqy? Ytainlyn answered, “Myth is rooted in truth, but perhaps it never was so fantastic as the words cloaked about it.” Can we learn more from Quino? “Unlikely, if he was stupid enough to be captured and used as a slave by the Sahir. I doubt he was ever privy to the secrets which ultimately were at the Sahir’s expense.” I’m being pulled away, someone is coming to the room my body is hidden in and I have to prepare for the celebration. I will speak with you soon, Lysandra. “Farewell then, fortunate son!” said Lysandra, with a fair amount of scorn. Ytainlyn smiled as if she knew a secret. “What?” asked Lysandra. “It’s easy to see he likes you.” “Likes me?” Lysandra raised her eyes at that in shock. “Like hell.” Ytainlyn said, “Deny whatever you want, but if you don’t get to that celebration and help him, I suspect tonight could be the end of Kenaz.” Lysandra bit her lip. “I better find a good disguise.” “Leave that to me,” said Ytainlyn, with a mischievous grin. Next time: Heir to the Nightmare

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StarWars

vs. Star Trek

By John Blackham

A

t the crux of this long and hotly contested rivalry is futility. There is no point trying to compare the two for superiority. They are two fundamentally different creations and there is no sense in arguing for one over the other in terms of being objectively superior. But there’s no sense in claiming, lamely, that both are equal. They fill two very different roles and everyone should definitely have a preference as to which role they prefer when it comes to art. One should also reject the “either/or” dichotomy implicit in the rivalry—what’s wrong with both? Spoiler for this article’s conclusion: maybe the devoted fans should want them both, but not interchangeably.

Feature

To compare, be fair and not compare bests to worsts. This won’t be about Sith magic versus tribbles. Nor yet the Prime Directive versus Jar Jar Binks or The Empire Strikes Back to Star Trek II nor Star Trek III to The Phantom Menace. Merits to merits. Flaws should be internally examined only. Star Trek is essentially eponymous. It details humanity’s literal voyage through the stars, through the future. It presents actual speculation, scientific and social, about humanity’s future, settling on an optimistic conclusion: we eventually overcome our differences as a species (after no small amount of suffering and war), conquer our demons, and combine all human effort to exploring space, the final frontier. It’s harder science fiction. It represents a genuine, achievable goal for humanity: world peace; elimination of poverty, classism, and racism; gender equality; and discovery and exploration free of the ethnocentrism and ignorance of the mutual discovery of our ances-

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tors. And beyond being philosophical, it is imaginative and beautiful, well written, and charming. But it’s the rational, the questioning, the logical side of science fiction. Star Wars is also, in a way, eponymous. It fulfils a fundamentally different purpose than Trek. Star Wars is not really science fiction at all—it’s pure fantasy set, roughly, in a science fiction-esque world. This deliberate disregard for anything so confining as reality, physics, and science is whimsically reiterated at the start of each film: A long time ago, in a galaxy far, far away. It’s a space opera. It’s mythology for the space age. It’s an archetypal struggle between good and evil. Actually, archetypes and mythology might best describe Star Wars. Like The Lord of the Rings, its purpose is to explore the spiritual, not the scientific, conflict. It’s the spiritual quest, which is by nature an unending conflict between good and evil. It’s a cosmic battle that mirrors the internal battle of the soul. The trek that our cast of heroes undergoes is ultimately spiritual. Maybe that’s what many fans mean when they say that Star Wars is more gripping, more fun, and sucks you in—it speaks to them on a level that they are not able to adequately describe. Which just proves that there is a very good reason these ancient stories have survived for so long: they move the human being. They resonate in her. Feeling is essential to give meaning to knowledge; the wisest understand that reason is a slave to the passions.

enable him to effect world peace, it will do him little good personally if he’s at war with himself. So by all means, he ought to pick Star Wars first. Then he would gladly take Star Trek. Two things can be called “childish:” things that are immature and things that are fundamental in the early stages of forming a human being. The latter is not immature and should be as valuable to an adult as it was to a child. Star Wars is sometimes called “childish” by Trekkers. If by that you mean the latter (since it would be difficult to justify calling it immature), then you have identified why this person prefers Wars to Trek. But someone with different values may come to the opposite conclusion; that is just fine. So there you have it: Star Wars can symbolize mythology and spirituality; Star Trek can represent science and discovery. Everyone will probably lean more towards one or the other, and they should; asymmetry is not always the same thing as inequality when it comes to art and literature (and, well, geekdom), and asymmetry in preference is natural and good. Star Wars and Star Trek are not symmetrical and they should not be; but which one you choose is ultimately a measure of your own personal feelings and priorities.

Imagine a person very much like this writer: he values both the spiritual and scientific quests for betterment. But if he achieves an immensely high degree of knowledge which will

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Directly Utah Film: Virginia Pearce

to watch movies, make movies, help friends make movies, and find other ways to be a part of the process.

By Deborah Moore Photo courtesy Virginia Pearce

V

irginia Pearce has always loved helping people finish their art, a fact that is evident from many of the jobs she has taken over the years from photographer, to her current title as the Director for the Utah Film Commission (UFC). The purpose of the UFC is to promote the state of Utah as a great place to make a film. The commission raises awareness and interest in producing films, television and commercials here in the Beehive State. “We do that by promoting our gorgeous locations, crew and talent here,” Virginia said. The UFC also has a tax credit program, called The Motion Picture Incentive Program, which gives money back to film makers for some of the expenses they accrue in Utah. When asked about her steps to becoming the Director of the UFC, Virginia joked that she came about it in a round about way. Virginia got her degree in journalism and initially planned on being a writer. Instead she ended up working with art organizations. After that, she worked as a photographer for 5 years, which sparked her interest in film and inspired her to volunteer for the Sundance Film Festival. She started working for Sundance, which is a major outlet that the UFC uses to promote Utah. It serves as a device to bring filmmakers to them, where they have over 750 film screenings. “It is a unique circumstance that we have in Utah,” Victoria said. The UFC and Sundance both work togeth-

er, so Virginia ended up working with the UFC while working for Sundance. She continued to work with the UFC when she left Sundance and started working at Spy Hop, a digital media education center for youth in downtown Salt Lake City. When the former director of the UFC, Marshall Moore, stepped down Victoria decided to take the job. She already knew most of the staff and had worked with them in the past.

“I don’t think that there’s anyone who doesn’t have something to teach you,” Victoria said.

GirlsGoneGeek

She believes in listening to people in all aspects of life. According to her, this advice shouldn’t be limited to those in the field you are pursuing. It should include taking the time to listen to everyone that you come in contact with. Any job which lets you write, learn communication skills, and connect with people would give you valuable knowledge and experience.

This message was one which was highlighted when she worked at Spy Hop, a company which gives a voice to incarcerated teenagers. It also serves those who are at risk and in the detention system. “Their main mission is to inspire the next generation of media makers,” Victoria said.

“You never know where your next inspiration is going to come from”

“I thought it was an interesting aspect of the film industry that I hadn’t been involved in” Victoria said. She explained that most jobs in creative fields aren’t linear paths. There are twist and turns along the way, but Victoria said that it’s important to be open to those opportunities and keep working.

“Put yourself out there and be open to new ideas. You never know where your next inspiration is going to come from,” Virginia said. She explained that anyone who wants to be successful in film needs to be immersed in film. In addition she said that they need

Victoria is a wonderful role model. She is brave enough to take chances and be flexible with her career. She has a passionate energy about all of her previous jobs, and it doesn’t take long to realize how much Victoria loves what she does. “My favorite part of my job is helping artists make the connections with other people that they need in order to make their dream come to life,” she said. Victoria has been the Director of the UFC for over a year now. She is excited to continue to find ways to promote Sundance and Utah as a place to film. “I think it’s important to have an opinion and not be afraid to go after your dreams.”

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Reprinted with permission

Geek Cred Pop Quiz By Zac Johnson

1

In the AMC TV Show “The Walking Dead” How many times is the word “zombie” used?



A) 0 C) 236

B) 45 D) 1,596

2

In the Blade movies, what is the Vampire Bible referred to as?

A) The Book of Asmodai B) The Book of Abaddon C) The Book of Erebus D) The Book of Set

3

In the first movie of the Underworld series, how many razor disks did Selene throw at the Werewolf Raze?



A) 1 C) 3

4

B) 2 D) 4

In the movie “The Exorcist” what animal is used to make the scream of the “demon” being cast out of Linda Blair? A) Sheep B) Pigs C) Geese D) Cows



A) Count Vladimir B) Count Wampyre C) Count Van Hellsing D) Count Bathory

6

Approximately how much screen time does character “Freddy Krueger” have in the original “Nightmare on Elm Street” movie?

A) 45 minutes C) 7 minutes

B) 21 minutes D) 3 minutes

7

In “The Shining” what was the famous line that was typed out over and over again in the English print of the movie?

8 9

What was the color of the evil clown Pennywise’s pants?



A) Purple C) Red

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B) Blue D) Yellow

In the movie “The Grudge” What did Susan first find in her bed, that shouldn’t have been there?

A) Rabbit’s Foot B) Cell Phone C) Flash Light D) Stuffed Animal

10

In the movie “Halloween” from 1978, who’s face was used to create the mask?

A) All Work and No Play Makes Jack a Dull boy B) He who wakes up early meets a golden day C) Never Put off till tomorrow what you can do today D) Although one will rise early, it won’t dawn sooner

Answers at www.UtahGeekMagazine.com



5

In Bram Stoker’s novel “Dracula” what was Draculas original name?

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A) Leonard Nimoy B) William Shatner C) George Takei D) James Doohan

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