[COVER REVEAL] WITH THE RELEASE OF NORM, NOSETOUCH PRESS SERVES UP A TERRIFYING FINALE TO THE WOLFSHADOW TRILOGY
Werewolves on the Run: Nosetouch Press Releases Norm, the Finale to the Wolfshadow Trilogy
Nosetouch Press announces the third and final volume of the Wolfshadow Trilogy in the horror-thriller, Norm.
“Norm picks up where The Happening left off, only eight years later,” said D. T. Neal, author of the series. “I wanted to get back to this story and wrap things up for the characters. With the pandemic and lockdown going on, the time felt right to get this story out there.”
“It’s been ten years since the first of the series, Saamaanthaa, came out, and we’re excited to see where Norm takes us,” said Christine Scott, creative director and co-publisher of Nosetouch Press. “Since Saamaanthaa was the first book we published at Nosetouch back in 2011, we’re looking forward to revisiting that world again.”
“I am a big fan of werewolves,” Neal said. “They’re inherently fun to write about, even though they’re always messy, both in terms of how they behave and also in terms of trying to keep them alive in a story. Not easy. I’d like to think that Norm will bring readers of the series satisfying closure on that world and the characters within it.”
“The Wolfshadow Trilogy follows several characters over the course of eight years since the start of the series with Saamaanthaa,” said D.T. Neal, author of the series. “The Happening ended on a cliffhanger and I felt an obligation to get to a satisfying conclusion for readers of the series.”
“We’re thrilled to be doing new cover designs for the books,” said Christine Scott, creative director and co-publisher of Nosetouch Press. “I’m confident that readers will understand and appreciate the werewolves in this trilogy. There are a lot of new characters, as well as ones from the first two books. And the new designs really bring out the werewolf aspect of the fiction.”
It’s been eight years since Zooey’s lycanthropic insurrection—known as the Happening—broke out across the country. Werewolves are everywhere and nowhere at once, ignored and disregarded by the media and officially denied by the government. Norm Stockwell, an elite, paranormal counterinsurgency agent, is desperate to reclaim his former life in the face of the ongoing lycanthropic epidemic. Working with members of the secret society of the Synowie Srebra, Norm hunts down the ever-elusive Ansel Rupino in an effort to put an end to the Happening once and for all. All that stands in his way are highly organized pack-gangs of Lupines who prowl the bloody streets of Chicago by the light of the moon, in their relentless, instinctive search for prey.
The Wolfshadow Trilogy by D.T. Neal features three werewolf novels, SAAMAANTHAA, THE HAPPENING, and NORM. Starting with a fateful interaction with the werewolf, Ansel Rupino, the title character of SAAMAANTHAA becomes infected with lycanthropy, which she eventually sees as a means of unique artistic expression. This view causes chaos, bloodshed, and death in her life, particularly among her closest friends. It also leads to the infection of Zooey Hummel, who gleefully starts a lycanthropic insurrection in THE HAPPENING. Her infectious revolution tears through both Chicago and the country at large, eventually reaching a climax in NORM, where vicious lycanthropic factions secretly vie for power and influence in a world ravaged by the Lupine epidemic, and Ansel fights for redemption for all the trouble he’s caused, while the title character seeks to end the lycanthropic epidemic for good.
The Wolfshadow Trilogy runs wildly in a world of darkly comic horror, scathing social commentary, pop-cultural references, and horror-thriller territory that will dazzle both casual readers and thrill fans of werewolf fiction everywhere.
Nosetouch Press is an independent book publisher tandemly based in Chicago and Pittsburgh, with a commitment to bringing classical book design and excellent fiction to readers everywhere.
the heart and soul of horror features
Demonic is the first feature film from renowned genre director Neill Blomkamp since 2015’s Chappie. Acclaimed director and writer Blomkamp exploded onto the film world with District 9 in 2009, which was produced by Peter Jackson and nominated for four Academy Awards™ including Best Picture. Between those two releases came 2013’s hit science fiction epic Elysium starring Matt Damon. Demonic is a supernatural possession horror which follows a young woman who unleashes a terrifying demon as she enters the mind of her comatose, serial killer mother. The much anticipated new feature stars Carly Pope (Elysium), Chris William Martin (The Vampire Diaries), Nathalie Boltt (District 9) and Michael J. Rogers (Beyond the Black Rainbow).
Signature Entertainment’s Demonic opens FrightFest 26th August and is at UK Cinemas, Premium Digital 27th August and Blu-ray & DVD 25th October
INTERVIEW WITH NEILL BLOMKAMP
Demonic is an innovative mix of supernatural horror and science fiction. What was the inspiration for that?
It was really a combination of things. When the pandemic occurred and my other projects were put on hold, I wanted to do something we could control and just go out and shoot. References for that were films like The Blair Witch Project and Paranormal Activity, so I decided to do something in the horror realm. I also had this idea of using a new technology called volumetric capture, which lent itself more to science fiction. So it became a case of how do you create a story with those elements.
Some of your best-known films, including District 9, Elysium and Chappie, have had a science fiction component. What is it that draws you to that genre?
I’m not trying to make something overtly science fiction, I’m just following ideas that interest me. The concept of the brain as a computational device for external senses, and the idea that those inputs can come from your body but could also be connected to other sources, was something I found fascinating.
On the horror side, did you do research into traditions regarding demons or did you invent the film’s mythology?
It’s a combination of both. I did read a lot about the beliefs in different cultures having to do with demons, which was pretty fascinating. But the one in our film is synthetic. Carly Pope, who plays Carly, is in virtually every scene and it’s through her eyes that we experience the film’s varied realms: simulations, nightmares, hallucinations and supernatural events.
How did you cast her and what qualities did she bring to the role?
I think Carly Pope is really likeable, and if you have an actor who’s likeable, the audience will go on a journey with her. Plus I had cast her in a bunch of projects for my company, Oats Studios, and she also had a small role in Elysium and I’ve always enjoyed working with her. When I was writing the script I pictured someone similar to Carly and I could see her executing it well. She turned out to be awesome.
The simulation scenes are stunning and also quite unnerving. Can you explain how they were created?
We used an extremely new technology called volumetric capture, which I don’t believe has been used in a film to this extent before. It’s basically three-dimensional video, where you’re turning your actors into geometry. You need about 260 cameras arranged in some sort of grid or dome that can see the actors from all points of view.
So the actors are in a controlled environment with all these cameras, and then the background is added in later?
Yes, it’s all these independent elements. On our stage where we had our 260-camera volumetric setup, the only thing we were gathering was the actors. They were in a very difficult nonconducive-to-acting environment where there was scaffolding and cameras everywhere they looked. And the only elements we got out of those sessions were the actors in that volume. Then separately we photographed the environments they would be put into, which are turned into 3D objects. And then you drop your actor captures into those 3D environments. Once they’re combined, you can set up the shot exactly as you want to see it in the movie and film that with your virtual digital camera.
Probably one of the scariest scenes in the film is when Sam (Kandyse McClure) drops by Carly’s house in the middle of the night and says she’s going to show Carly a trick she can do. How was that sequence achieved? Was it CGI?
What’s interesting about the scene with Sam is that there were absolutely no visual effects whatsoever. It’s all down to one amazing performer. His name is Troy James and he’s just highly flexible. So that whole sequence was just him doing what he does, and we just filmed it normally, and it was amazing.
What kind of conversations did you have with your DP, Byron Kopman, about the look of the film?
I hate how in a lot of horror films the dark environments feel overly lit and synthetic. So the main discussion with Byron was about how much light we could not have in there, in order for it to feel real. For instance, we have scenes that are illuminated only by car headlights or flashlights the actors are holding — none of this giant moonlight with smoke going through the air. The idea was that it would be more believable and hopefully create more of a sense of fear in the audience.
Where and when was Demonic filmed?
We shot the film in the early summer of 2020 in British Columbia in an area called the Okanagan. We did volumetric capture in July and it took another eight months to put the simulation scenes together.
Composer Ola Strandh is probably best known for his acclaimed music for the video game TomClancy’s The Division. Why did you select him to write the score for Demonic?
Music is a huge wealth of inspiration for me; I’m listening to music pretty much all the time. So whenever I come across new artists I really like, I make a note of them. I had heard Ola’s videogame scores and thought they were really amazing. They didn’t automatically make me think of a horror film, I just liked what he was doing with a lot of the electronic sounds. So I contacted him to see if he was interested. It ended up being an awesome collaboration. I love the score and think he did a fantastic job.
THE HEART AND SOUL OF HORROR FEATURES
We are living in a golden age of horror on TV. Shows like ‘The Walking Dead’, ‘Supernatural’ and ‘American Horror Story’ have effectively taken the genre mainstream, offering weekly doses of gore and mayhem to the masses. Go back a decade or two however, and genre fans had far fewer options to choose from. Anthology shows, like ‘Tales From the Crypt’, ‘Monsters’ or ‘Tales From the Darkside’ were king during the horror heyday of the 1980s, providing cheesy and cheerful tongue in cheek horror in half hour bites. It wasn’t until 2005 that the TV horror anthology show got serious, and delivered arguably the most consistent, memorable and scary anthology show to date.
The brainchild of horror legend Mick Garris, the show’s title is no hyperbole. ‘Masters of Horror’ brought together the best horror talent Hollywood (and beyond) had to offer. Episodes directed by undisputed genre luminaries such as John Carpenter, Tobe Hooper, Dario Argento and Stuart Gordon were like hour long movies brought to your TV screen. High production values, A-List talent and a free reign to do whatever they pleased resulted in some truly unforgettable work from a group of horror legends let off their leash. These are stories that have stayed with me in the fifteen years since many initially aired and, in this series, I’ll be revisiting all twenty-six episodes, one at a time, to shine a light on a fondly remembered and undeniably influential moment in horror TV history.
Join me as I take a look back at;
Directed by: Norio Tsuruta
Starring: Daniel Gillies, Ryo Ishibashi, Miho Ninagawa, Ethan Amis
Original Air Date: 2 February 2007
Synopsis: A young lawyer suffering crippling nightmares linked to a trauma in his childhood boards a rich clients ship to spend time with the man’s wife, with whom he is having an ill-advised affair.
Revisiting the Masters of HorroR: Dream Cruise