Wyrd Daze Lvl.4 *** The Phoenix Guide to Strange England: Hookland

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Thanks To The French King, Ashcourt

As anyone reading more than a few pages of this guide will be able to tell, Hookland has a surfeit of odd drinking establishments. Some hint at their history in paint cracking across the swell and contraction of wooden sign. Others tell a tale just by their location, for even in this peculiar county there is still some surprise in finding a pub in a church, necropolis or lighthouse. There is also a third way for a tavern to signal its strangeness and that is in its name. It is to this later category that Thanks To The French King falls.

Located within the docklands of Ashcourt that wear dirt and the roughness of constant industry upon its streets, Thanks To The French King is an obvious architectural reminder of an earlier period of the port’s history. Behind a high brick wall lies a stone courtyard and a much rejigged, three-storey building that has fooled some pseudo-historians into believing it must have once been a galleried coaching inn or an inn-yard theatre. However, the structure was originally part of a French embassy established in Ashcourt during the 15th century. Considered sovereign soil with all the rights that traditionally go with it, the status of the embassy ran into a labyrinth of legality during the French Revolution. It was accepted as being both the property of the dead Louis XVI and retaining its position as French territory, but not under the control of the French authorities. When the courts of the county did not recognise the claim of the Capetian dynasty’s claim to it in 1814, permission was granted to the Ashcourt Port Authority to manage the estate until a valid claimant to the French throne was established. They then rented it out to William Wren who cannily turned it into a tavern and took full advantage of its status as foreign territory. Wren quickly asserted that as sovereign soil, no revenue officer nor other official of justice could enter his establishment or its courtyard without permission. Overnight this made his tavern popular with all manner of roguery.

Through a decade-spanning series of legal actions, Wren further upheld the rights to disavow a number of laws usually constricting any landlord. Those early 19th century tussles have echoed into the now and confirmed a range of legal loopholes which are still fully exploited. Thanks To The French King is the only pub in England that has ignored all licensing laws and been able to remain open for 24-hours for at least 150 years, even during both World Wars. The official recognition that there are a several feet of France in county still causes much cheer for dockers finishing a shift at 4am and seeking out a celebratory pint or two. The inability for the police to enter it without permission, which in practice is almost always granted, but usually not instantly, meant it was known during wartime as the ‘Kingdom of Spivs’. Its extra-legal status making it a perfect base for them to operate from. The establishment also has a long history of being frequented by some of more colourful magic users of the county, as being foreign territory, it was considered neutral ground by cunning folk.

The anomaly that current patrons and landlord have most reason to give thanks for is the exemption from excise on all ale resold in the premises. The name of the pub itself not only celebrates all these benefits, but is taken from a twice daily ritual observed by those drinking there. At noon and 10:30pm – the traditional times of pub opening and closing under the 1914 Defence of the Realm Act – when all patrons are called upon by a ringing bell to stand and raise a toast of thanks to the French king. The enthusiasm for this practice has never been eroded since it was initiated in 1916. Those wishing to visit it should note the pub enjoys a lively, diverse clientele and as such is an unsuitable place to bring young children into.

David Southwell is an author of several published books on true crime and conspiracies, which have been translated into a dozen languages. However, these days, he mostly writes about place.

Twitter:      Hookland     Repton

Wyrd Daze Lvl.4 *** Early Haunts

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Early Haunts: an interview with T.W. Burgess

Four early and inspirational ghost stories, mostly forgotten in the depths of literary history, are brought together for the first time in one graphic novel adaptation. These stories include:

The Death Bride – An Italian Gothic Horror and a primary literary influence to Mary Shelley, writer of FRANKENSTEIN.

The Wild Huntsman – A German poem which acted as a major inspiration to Washington Irving, writer of SLEEPY HOLLOW.

The Tale from Dish Mansion – a Japanese ghost tale which inspired Sadako in Koji Suzuki’s THE RING

The House in Athens – The first appearance of a ‘chained apparition’, an inspiration to Charles Dickens for Marley’s Ghost from A CHRISTMAS CAROL.

Early Haunts Kickstarter

T.W. Burgess is a writer based in Canterbury, Kent. Specialising in horror, ghost stories and folklore. Burgess’s work has been featured in publications such as Rue Morgue, Starburst Magazine and the Fortean Times. He is also the winner of Rue Morgue’s best limited comic series graphic novel award. He currently resides in a 16th century house haunted by an eternally hungry black cat. 

Twitter          Instagram

What inspired you to unearth the forgotten tales featured in Early Haunts?

So, I’ve been fascinated by ghost stories ever since I was small. From gorging M.R. James’s TV adaptations to spending hours in bookshops looking for books with supernatural photos. In particular I’d always been fascinated with the first haunted house story The House in Athens and the influence that ghost had over so many of our archetypal spectres in film, books and TV. From just some initial research I’d been amazed at how far reaching these influences were and it made me want to delve deeper with some of my other favourite supernatural tales. The four tales in the book vary widely both in location and length. For that reason alone it seemed an interesting concept to bring them together and reveal how they came to be.

What challenges did you face in adapting these stories to a graphic medium?

Each of these ghost stories have come from very unwieldy texts – from pre-1700s Japanese to ancient Greek – so it was a real challenge to correctly translate and ensure that the stories matched up to the original source material.

I’ve been exceptionally fortunate to work with some incredible translators. Anne Doering who helpe translate The Wild Huntsman did a great job at dissecting the story, uncovering old German words and the colour schemes used for the characters. Elements like that were left out of Walter Scott’s adaptation of Gottfried August Bürger’s original poem of The Wild Huntsman and I felt it was important to bring them back.

Also, it was important to break down these stories into a legible format. The Death Bride is the longest of the tales but still a fraction of the huge original story. That narrative is almost ‘Inception-like’ with a ‘tale within a tale’ setting which can be quite confusing to read. It was important to keep it as simple as possible so the reader could keep a handle on what was going on.

Tell us about the book’s artists and what their vision brought to each story.

The artists I’ve worked with have all done an incredible job at visualising these stories and creating a specific atmosphere and tone relevant to each location. Mike O’Brien is an amazing talent whose work has been featured in exhibitions and magazines and his style has really added a raw, creepy feel to Pliny’s tale.

Readers might well know Brian Coldrick from his astounding work in his Behind You animated gifs and book out on IDW. We’ve worked together previously and his detailed style was absolutely spot on for The Wild Huntsman. There’s a depth and autumnal tone to his piece which gives it a real sense of the uncanny. 

David Romero I’ve also worked with previously on my Ghoster project. As an artist who specialises in horror he has a great eye for unsettling imagery. But he’s really held back with the Death Bride, allowing the horror to slowly grow within some truly beautiful panel work. Which makes those reveals all the more impactful.

Lastly, Bri Neumann is an artist who I’ve long admired and I was lucky enough to work with her with my book Nyctophobias. Her style has a real manga feel to it and it absolutely perfectly fitted The Tale of Dish Mansion, alongside that of colourist Bryan Valenza, whose tones and colour palette perfectly set the tone to the piece.

Early Haunts: The House in Athens — illustrated by Mike O’Brien

Were there any other influential tales you considered for this collection?

Absolutely, there’s definitely potential for an Early Haunts 2 or even possibly further. I don’t want to reveal any in particular but there’s a host of tales from England, Europe and even further afield which have helped pave the way for our modern horror.

What draws you to telling tales of the eerie and horrific?

I’m a keen advocate of M.R. James’s line that the true aim of a ghost story is to inspire “a pleasing terror in the reader”. I truly believe that’s the case. Pure schlock horror where gore and blood is thrown around without rhyme or reason never interests me. I think a good ghost story where the scares are skilfully built and the terror really hits, truly allow us to explore what pushes our buttons and what sends chills up our spines, taking us back to some of our most primal and earliest fears. We can allow ourselves to be scared but with the distance of a page between us and the horror, leaving us with a renewed sense of safety and comfort. Equally, I think stories such as that are especially important right now where these scares are so fantastical and removed from the daily horrors we’re all enduring.

What frightened you as a child?

I remember being equally terrified and fascinated by classic supposed ‘ghost photographs’ in a range of books as a child. All the stereotypical ones which now seem so iconic such as the boy with the glowing eyes in the Amityville house or the Spectre of Newby Church with it’s tattered cloth face. I’d spend hours poring over them and supernatural programs which had chilling clips of ‘supposed’ encounters with ghosts. They always fascinated but haunted my sleep.

But undoubtedly Mr Pipes in Ghostwatch utterly traumatised me. The directing by Lesley Manning was completely before its time and you can see how that directing style later inspired supernatural films such as Blair Witch. I remember not being able to sleep for weeks afterwards.

Can you remember the first horror film you watched?

I’m pretty sure Jaws must have been one of the earliest I watched, probably down to me hounding my Dad to rent it from the video shop. I remember being surprised the shark wasn’t as big as the one on the cover, but it left me with such a feeling of dread (especially the Kinter attack).

That whole premise of showing very little and then building up to a scare is something I’ve always tried to emulate in all my graphic novels ever since. I think it’s a good rule of thumb for horror. If you’ve got a good horror character then allow the tension to build before showing everything.

Have you ever seen a ghost or experienced any other kind of supernatural phenomenon?

Nothing very exciting. The only incident that’s remotely ghostly was when I used to work for a nightclub as head of design and print. I later found out the nightclub had been built on the site of a large medieval church. There was always building work going on and I remember they’d knocked through the flats upstairs to allow it to be turned into a cocktail bar.

One evening I’d stayed late to print off posters for upcoming events and whilst I was doing some designing the handle of the interconnecting door between my office and the old flat clearly shook as if someone was trying it. I’d waited a moment expecting a builder to come in or knock as it was often locked. But when no one did I got up to have a look. Low and behold there was just a dark empty flat beyond the door, and a very empty flat. I walked round the building but there was no one else there. Evidently I got my stuff and left sharpish.

There were loads of rumours about the place but I’m told there was an old part of a crypt somewhere underneath the dancefloor.

Early Haunts: The Wild Huntsman — illustrated by Brian Coldrick 

Will you share with us one of your most interesting nightmares?

I had one last year actually after watching Inside No.9 which really stayed with me. I’d been watching a load of weird, retro kids TV on youtube – especially ‘Jigsaw’ with ‘Mr Noseybonk’ an absolute horror from my childhood I’ve long been fascinated by. I had an insane dream about an episode of Inside No.9 in which a character watches episodes of Jigsaw and somehow starts transforming into a ‘Bonk’ and being lured to the sewers where a cult of other viewers have transformed into hideous pale faced ‘Bonks’. It was pretty horrific. Tweeted the whole thing – I’m glad it doesn’t exist.

What would you say are your most influential books, comics, and films?

For me graphic novels and comics such as Alan Moore’s From Hell and James O’Barr’s The Crow really show how effective horror can be within the comic medium. I’m a huge fan especially of Horror manga artist and writer Junji Ito and his seminal books Uzumaki and Gyo remain for me some of the most terrifying work to date. Also I love supernatural folklore within graphic novels such as Becky Cloonan’s By chance or Providence and Emily Carroll’s Through the Woods both of which do a wonderful job at crafting an unsettling read matched with gorgeous artwork.

In terms of novels I love the work of Philip Pullman and the His Dark Materials trilogy, which for me are at the forefront of my favourite books. His world building and lore is unparalleled.  For traditional ghost stories I adore Sheridan Le Fanu and E F Benson but above everyone else it has to be M.R. James. His ghost stories have an unidentifiable element of pure malevolence wrapped up in truly believable supernatural lore and academia which set them apart. He was born just a few villages away from where I live and with local landmarks such as Rochester Cathedral appearing in his work I always felt a special resonance with his stories.

For films, I love the work of Guillermo Del Toro, in particular Pan’s Labrynth and The Devils Backbone, there’s always such a high level of detail in his work. But for supernatural horror it’s so hard to pinpoint it to just a few. I love Japanese horror films such as Ring and The Grudge but closer to home it has to be the original Woman in Black and the Christmas adaptations of M.R. James, in particular A Warning to the Curious. It’s utter nightmare fuel.

Much of your writing is rooted in obscure history and folklore – why do you think it is that we are seeing such a resurgence of interest in these areas?

I think in an era of digital platforms where so many people seem to live their lives online, people are looking for respite. Folklore often offers a comfort and a move back to ancient traditions which arguably come with a sense of comfort and community. It’s also something that worldwide we can share with each other, with folklore weaving its way through every culture, often with so many similarities between stories. I think to modern audiences they offer a welcome insight into how our ancestors may have lived their lives and offer a fascinating taste of what came before us.

To what extent does a sense of place affect your writing?

A huge amount. I think it’s really important as a writer to get out and experience as many locations as possible. Admittedly, this year  has been harder than usual for that, given the current situation with Covid. But I find usually just getting out to a different location can really aid inspiration.

We’re lucky in the UK as there’s layers upon layers of history around us and the ground is saturated in folklore and tradition (usually a bloody one). For me it might just be visiting a town for the first time and hearing word of a local ghost story or tradition which can start off a whole new ghost story concept.

Early Haunts: The Death Bride — illustrated by David Romero

Tell us about your Ghoster world…

Ghoster is a huge project that’s long been in development. The story follows five families who have defended the UK from Malevolents (evil ghosts) since Elizabethan times through the use of dark alchemy loosely inspired by the tale of Lord Lyttleton and Berkeley Square. I’d been working on Ghoster on and off for years until releasing Malevolents, which acts as a prequel to the first book. Myself and filmmaker Toby Meakins have both been working on the project for several years now, initially releasing a proof of concept short back in 2016 and then last Halloween we released an entire graphic novel for free online.

Since then, Ghoster has picked up a huge amount of attention and we’re currently in the process of working on the follow up story with an incredibly talented artist. There’s a phenomenal amount of work we’ve put into the project (for instance we’ve a 100 page history book of how the factions have evolved, going all the way back to the Iron Age!).

It’s a huge world and we’re really looking forward to telling the next story. I can reveal though we’ll have something Ghoster related coming out just in time for Christmas.

The first book can still be purchased
online at Amazon or downloaded for free on Kindle direct

Early Haunts: The Tale from Dish Mansion —
illustrated by Bri Neumann, coloured by Bryan Valenza
 

Wyrd Daze Seven: an interview with Gareth Ryder-Hanrahan

Cover art by Richard Anderson

Best experienced in the PDF zine

The Gutter Prayer is quite possibly the most exciting and extraordinary fantasy novel of 2019, and is certainly a favourite for us here at Wyrd Daze.

The city has always been. The city must finally end.

When three thieves – an orphan, a ghoul, and a cursed man –
are betrayed by the master of the thieves guild, their quest for revenge uncovers dark truths about their city and exposes a dangerous conspiracy, the seeds of which were sown long before they were born.


Cari is a drifter whose past and future are darker than she can know. Rat is a Ghoul, whose people haunt the city’s
underworld. Spar is a Stone Man, subject to a terrible
disease that is slowly petrifying his flesh.


Chance has brought them together, but their friendship could be all that stands in the way of total armageddon.

As a game designer you’ve worked within many fiction universes, including Traveller, Paranoia, Babylon 5, The Laundry RPG, 13th Age, and various Lovecraft-themed systems. Can you tell us about some of your favourite pieces of writing and game mechanics that you’ve produced throughout your career?

Career highlights? Hmm. The Dracula Dossier (with Kenneth Hite) is probably the best thing I’ve done, and certainly the most ambitious. We took Bram Stoker’s Dracula and turned it into an alarmingly plausible spy story spanning more than a century of intrigue and horror, a campaign that’s both entirely player-driven and leads towards a single climatic confrontation with the man himself…

Getting to write in Middle-earth on Cubicle 7’s The One Ring was also a joy, telling tales of Mirkwood and the Lonely Mountain, of Moria and Minas Tirith. I’ve been a Tolkien fan since my mother introduced me to it at age eight.

PARANOIA was a chance to work on a much-loved property, one that’s terrifying relevant to the present day. I’m very proud of some of the missions I wrote for that line. Really, though, you have to find love in what you’re doing when you’re a freelancer, to find that spark of excitement and nurture it.

How did you start your career as a game designer?

Accidentally.

I’d done a little freelancing as a hobby, while working in a Real Grown-Up Job as a programmer. Then the company I was working for downsized, and I thought I’d try freelancing until my savings ran out. They haven’t, yet. I didn’t plan this as a career, certainly.

How has your experience in game design shaped you as a writer?

Some skills cross over perfectly. World-building works the same way in both fields; ditto descriptive prose. Supporting characters, too. The big differences are in plotting and characterisation. In a game or adventure, you want to have multiple paths through the story, lots of options for the players to take, places for the players to add to the story. In a piece of fiction, you want the most compelling, dramatic path, which isn’t the same route at all. And in a game, the players provide the protagonists and you build the story around those constraints. In a novel, it’s all up to you.

What advice concerning story structure/plot and character design would you give to aspiring writers or game designers?

You know, I suspect open-ended questions like that always end up being prompts for the interviewee to write about what’s currently pre-occupying them. For example. my current answer is “don’t be afraid of simplicity – a compelling story doesn’t need tons of twists and revelations to be compelling”. I offer that as general advice, but I think I’m really subconsciously telling myself something about my current work-in-progress…

Are there any other fictional universes that you’d particularly like to write for?

I’d love to do something with Robert Holdstock’s Mythago Wood series.

Will there be a Black Iron Legacy RPG?

I think so, in some form. I don’t know if it’ll warrant a full-scale sourcebook, or a short supplement for D&D5E or some other open system, or just a free guide on my website. I’ll do something with it, certainly. It’s an obvious step!

The majority of The Gutter Prayer is told in the present tense. What drew you to tell the story from this perspective?

Partly, because I knew that a lot of the book would be about stuff that happened in the past of the city, and I wanted to contrast those deep dives into Guerdon’s history and archaeology with what was happening now. Partly because it felt comfortable. The prologue is second person present, which is the vernacular of a roleplaying gamesmaster – “you descend into the dungeon, and you see the dragon…”

What were your inspirations for the city of Guerdon?

The architecture of Edinburgh, the size and complexity of London, the ambition of turn-of-the-century New York, and – very roughly – the geography of Cork. New Crobuzon, Ambergris, Waterdeep. They’re all in there.

There are a variety of strange, wondrous and terrifying beings in The Gutter Prayer: Tallowmen, Gullheads, Ravellers, Singers, Saints, Crawling Ones, Kept Gods, and Fever Knights – were these all created from scratch for the novel, or have they been haunting you for longer?

Oh, it’s a mix. Tallowmen and Gullheads I originally wrote up for an obscure RPG supplement under different names. The Crawling Ones are straight out of Lovecraft. A lot of the others came name first, concept later. I threw the words Fever Knight down on a page, and he showed up a few chapters later.

The Gutter Prayer is set in the midst of armageddon, with the Godswar raging and the city of Guerdon teetering on the brink of a world gone mad. Who are these mad gods, and what happened to them?

There are lots of mad gods. The exact origin of the madness is obscure, but it’s sort of a viral idea or infection. In the world of The Gutter Prayer, gods cannot die – but they can be broken down to the point of almost non-existence. They’re not truly conscious, either – they’re more like magical patterns of thought and purpose that humans can tap into. The Godswar is another pattern, one that reminds the gods that there are other gods out there, and that their patterns are incompatible. The result is a lot of violent, paranoid, deities imperfectly channeling this pattern through human vessels.

Does the world have a name, and a map?

There’s a map, at least of the area around Guerdon. The world doesn’t have a name. I should probably get around to that…

As The Black Iron Legacy grows beyond the first novel, have you developed an overarching plot for the greater story, and do you have an idea of how many books there might be in the series?

If all goes according to plan, it’ll be five books. I’m trying to keep each book sort-of self-contained, although that’s proving trickier as I write books 3 and 4. The Black Iron Legacy keeps the focus on the Thay family, on Cari and Eladora. I could do more in the same setting, I suppose, if I went off and followed other strands of story.

What sparked your imagination when you were a youngling?

I don’t know if sparked is the right work. Often, for me anyway, imagination is more like a river. It’s always flowing – sometimes fast, sometimes slow. On a good day, you can just dip a waterwheel in and it’ll power whatever mechanism you attach. Sometimes, odd stuff falls into it and gets carried for a long long time until it finds its place. Some ideas have been lurking in the back of my head for many, many years, and are still waiting for the right place to rest.

To what extent does a sense of place affect your writing?

I think I come at place through space and function – all things had a purpose, once, even if it’s now been lost. I’m enchanted by digressions into the past, and by spatial relationships – and especially by spots where they cross over. Spaces are static – places are given meaning by the people who live there, and have lived there.

It strikes me, as I write this, that I’m talking entirely about artificial places, about cities and buildings and settlements. I suppose I’ve always lived in cities and towns, so my instincts are urban.

How do you handle unruly characters that want to do their own things or change the course of the story in unexpected ways?

Run with it. It’s the advice I’d give in roleplaying games, and it applies equally well here. Inspiration is always worth chasing, at least for a little while.

As someone who harnesses imagination for a living, do you have any philosophical or spiritual views on the serendipity of ideas?

Inspiration is basically banging rocks together and looking for a spark, so you need plenty of rocks. Especially in fantasy books, you can add all sorts of weird asides and quirks to your story without knowing how they’ll fit in later on. Often, you’ll solve plot problems by taking something that you originally thought was a minor bit of background flavour and promoting it to a fuller plot element. But you need that background flavour to begin with. So, don’t be afraid to scatter rocks in first drafts.

Gareth Ryder-Hanrahan is a writer and game designer. Originally qualified as a computer programmer, he took a three month break to see how “this writing thing” would go. More than fifteen years later, he’s still on that break.

The writing thing seems to be going.

Gareth has published more role-playing games and supplements than he can even recall, including the award-winning The Laundry RPG, Adventures in Middle Earth and The Dracula Dossier.

He describes writing as “the process of transforming tea and guilt into words”. His debut novel, The Gutter Prayer was published by Orbit Books in 2019.

Its sequel, The Shadow Saint is due in January 2020.

Gareth lives in Cork, Ireland
with more dogs, children and fish than he ever anticipated.

Gareth’s excellent
A Guided Walking Tour of Guerdon
can be read on his blog

Gareth on Twitter