The Ballet of Dr Caligari and Madder Mysteries

 

The Ballet of Dr Caligari and Madder Mysteries by Reggie Oliver
My rating: 4 of 5 stars

With few exceptions, I have come to love the work of Reggie Oliver. While I was lukewarm about Flowers of the Sea , I was head-over-heels about The Complete Symphonies of Adolf Hitler and Other Stories and Mrs. Midnight and Other Stories . I had heard mixed reviews from readers I respect and admire, so I was curious where this volume would fall.

I began with misgivings. While the opening story, "A Donkey at the Mysteries," had some great moments, the ending fell a bit flat for me. I loved the subtext of unknowingly participating in rites one does not understand, but I was hoping for a moment of anagnorises that never materialized. The story had momentum, a series of setups, then . . . nothing. If this was authorial intent, the potential was under-utilized. Perhaps this is because I had read and quite enjoyed Brian C. Murarescu's investigation into ancient Greek and Roman cults of psychedelia(?), The Immortality Key . I had been (pardon the pun - but I am a dad) keyed up for the read, but was disappointed. Not upset. Just disappointed. Have I mentioned I'm a dad?

The second story was a touch better. "The Head" is a double entendre laced with Oliver's bleak humor. It's a strange admixture of sitcom and dread horror that devolves into an absurdist experimentalism. I really do like the two main characters (as much as one can like a madman and a disembodied head), and, as with other works by Oliver, his characters really shine. A worthy story, not his best, but a good read nonetheless.

When I started to figure out the subject matter of the third tale, I was prepared to be really, really disappointed. As a rule, I hate werewolf stories. But I might have to make an exception for "Tawny". I didn't love it, but this English social comedy with a lycanthropic twist was an amusing read.

Then, suddenly, the collection hit its stride. "The Devils Funeral" is peak Oliver. Clergy, madness, corruption, decay, and the near simultaneous death of Dante Gabriel Rossetti and Charles Darwin as a sideshow that leaves lingering questions. The question that keeps being posed is "who is the enemy"? It's a seemingly simple question with a dastardly labyrinth of possible answers and meanings, most of it unanswerable and meaningless. Existentialism reigns above. And, as above, so below.

A sinister comedy, or a comedic tale of horror? "Baskerville's Midgets" displays Oliver's insider's insight into the actor's life beyond the stage. This (and other stories about the intersection of horror and theater) is a story that only Oliver could have written. His background as an actor, playwright, and fiction author find a fitting culmination in this story, which will have you checking under your bed for (?).

Oliver next completes an M.R. James fragment "The Game of Bear". The transition, though carefully documented, would be fairly seamless without the indicator, which only serves to sever the tale in two. Oliver does an admirable job of mimicking James' voice, particularly in the climax of the story. Of course, James did put a strong personal stamp on the structure and tone of the English ghost story, so no surprises here.

"The Final Stage" is an existential tale that only one who has acted onstage can fully appreciate; not only because of the settings and situations, but because of the attitude that one must take to truly become immersed in their characters, not just the willful suspension of disbelieve, but the willful deceit which one must not merely engage in, but wallow in, if one is to be "a brilliant actor". There is a price to pay. But how are the funds exchanged? Does the character take from the actor, or the actor from the character? The economies of "real" life and faux-life are powerfully in play here.

With the introduction of a certain trope about mid-way through the story, I was ready to write off "The Endless Corridor" as just another vampire story. It is not just another vampire story. It is, in fact, much more nuanced and much more sinister than that trope led me to believe. Oliver, with considerable panache, twists the old trope into something entirely new and more horrifying. My trepidation was allayed, but my frisson was piqued.

Oliver continues to unveil the "back" of the theater in his mystery "The Vampyre Trap," an excellent, if old-fashioned tale of jealousy and ambition behind the curtain. One wonders who the actors are and who the characters are, as these roles become muddled. What better place for a murder or three in a place whose sole purpose is deceit and drama? There are strong resonances between this story and "The Final Stage" earlier in the volume, not because of direct subject matter, but because both hint at a certain sinister something taking place behind the masks of the masks of the masks.

The title story is the most brilliant story in the volume, but only those who have watched Das Cabinet des Dr. Caligari will fully appreciate its impact. If I were to teach a class on the "O'Henry ending" I would show the movie, then have students read this. Textbook. And fantastically well-crafted. This is a Reggie Oliver masterpiece; one of his best stories ever.

How can I resist a story about one of my favorite eras of painting, that of the Pre-Raphaelites? I can't. Nor can the protagonist and victim(s) of "Love and Death" resist the alluring illusion of beauty, over-shrouded by the absolute victory of decay and death. Everyone in this tale is caught in this trap. Perhaps only the reader can escape. Perhaps not. But the allure remains.

"Porson's Piece" is as solid of an English ghost story as I've ever read. The village in which most of the action takes place shares half a name with <a href="https://forrestaguirre.blogspot.com/2020/06/a-day-hike-in-cotswolds.html>a village in the Cotswolds that my wife and I hiked through in 2019</a>, and I think I might know some of the "fictional" spots described. One path in particular (a photo of which is at my blog) was described in such a way that I cannot shake the feeling that this very path was the one Oliver here described. This added to the verisimilitude for me, but maybe I am just hallucinating, like the main character. Or maybe not.

Oliver begins "Lady With A Rose" with an ekphrasis of a Titian painting. The story is erudite and the characters colorful (pun intended), but not as startling as many of his other works. The final "twist" was to be expected and sort of just . . . ends there.

This collection has some real gems in it, but the opening and closing stories were unspectacular. An odd way to construct a collection.

The great in this collection carries the less-spectacular tales. Perhaps I've read too much of Oliver and am a bit jaded? I don't think so. He still astounds me, at times. I would hate to discourage anyone from reading "Porson's Piece," "The Ballet of Dr. Caligari," "Baskerville's Midgets," or "The Devil's Funeral," all of which were outstanding stories. But I can't give it a perfect five. Nor can I drop it to an "average" rating of three stars. I'm firmly in the four camp with this one.

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Thousand Year Old Vampire

 

Thousand Year Old Vampire by Tim Hutchings
My rating: 5 of 5 stars

Three years ago, I started an ill-fated attempt to run a snail mail RPG campaign. Part of the issue was my own motivation, some that of my correspondents. I think we were all enthusiastic about the prospect, but in retrospect, I think we (more importantly, I) foundered on the rocks of chance. Or precisely not-chance. Though we all had strong characters and motivations, compelling settings and circumstances, the few interchanges became quickly mired in a sort of "all-over-the-place-ness" where we started off in different directions and didn't want to push each other into our own individual story-arcs. At least that's my observation.

We were missing, in essence, that random-determined-ness that is the generative catalyst for roleplaying games. Without stochasticity and a push from fate, I foundered on being centered on my own story. By design, there was no game master - we were all equal players - and, thus, no one moved the narrative along. And this, I'm afraid, needs to happen. Otherwise we are cats without herders. There needs to be a shepherd, whether in the form of a human or just an algorithm, even a simple algorithm.

So why am I going on and on about this failed attempt in a review of Thousand Year Old Vampire? After all, this is a solo RPG game, not a group play game such as I attempted.

Other Goodreads reviewers have complained that Thousand Year Old Vampire is nothing but a series of writing prompts, essentially. I think this is unfair and doesn't acknowledge the potential depth of solo play one might encounter in a session or sessions of TYOV. Now, that said, I have not yet played the game. As I do (and I will), I will report on my blog regarding the playability of the engine. For now, though, I'd like to concentrate just on the book itself (which, incidentally, is the most beautiful RPG book I now own).

Yes, one playing the game should be ready to do some writing. There are two ways to play it, quickly and slowly, and the slower version will require some writing . . . and eradicating. There is a diary, which need not be extensive, but needs to be written. Experiences and memories are gained and lost though the course of the game. The Vampire is, in essence, a palimpsest in the truest, most physical sense of the word. This is part of the horrific tragedy of it all: losing one's humanity, friends, family, and memories in the course of immortality.

To generate these memories and experiences and losses, there are a series of prompts throughout the book. Each time a prompt has been given and the experience had (or lost), the player rolls a d10 and a d6. By subtracting the d6, one generates a number between -5 and +9. This tells them how many prompts (and which direction) to move within the book. Each prompt has three possibilities which are to be used, in order, first, then second, then third, if one falls on the same prompt more than once. Statistically speaking, the likelihood of worming their way down (I use the phrase intentionally) to the third prompt is very, very low, so such events are typically very big deals.

Now, I haven't read all the prompts, because I'm saving them for my own foray into the unlife of a vampire. But the mechanic is brilliant, and I can see it working in principle, if not in practice.

This is what my snail mail game lacked: the prompts. Therefore, I wills et about getting a series of prompts written up for my own snail mail campaign. I'm hoping to take the best of TYOV, De Profundis, and English Eerie (which I am hoping to use as inspiration for both prompts and the method of navigating them) and do a more manageable campaign that lasts.

As a warm-up, I'm going to live a thousand years and see where that journey takes me in the meantime. I am both eager and terrified to embark.

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