The year is 2137, and “There are no heroes in the Wasteland.”
And that’s pretty much what the entire world has been reduced to since
The Rising, when the Great Old Ones ascended, altering the global topography, creating new mountains and cliffs, unearthing buried cities, and leading to the downfall of humanity; a nigh-on extinction event unwittingly aided by the global governments using nuclear war heads to no effect against the ancient gods.
But that’s all in the past now.
Captain John Henry Booth, a Recon & Extermination Ranger for the Remnant-mistakenly believed to be all that remains of the United States-leads his Gamma Squadron team on a mission to the Black Cathedral somewhere in the Waste, to rescue a number of kidnapped children and eliminate their captors. Unfortunately, John didn’t count on Alan Ward, the Remnant’s former Director of Arcane Studies and now ostracised zealot, being behind the child abductions.
Sadly, the rescue mission does not end well for John and his team.
Some time after the bloody massacre of his Gamma Squadron, John, sole survivor, awakes to find himself face-face with Mercury Takahashi, the Remnant’s top intel extractor. It seems John’s survival, particularly his return home, was under deeply suspicious circumstances, which has led to him being falsely, and publicly accused of his team’s murders by the Council of Leaders, and so he was deemed a killer and given a false trial and execution.
Not a good situation for John to be in: besmirched, stripped of rank, and with a family who now believe their war hero father is a psychotic murderer. But Takahashi doesn’t plan on interrogating John; instead, she wants him to help her escape New Arkham and the Remnant to see the world beyond its fortified borders. It seems like suicide, but John wants to return to the Black Cathedral, find Ward, fill in the gaps of his missing memory, and kill him.
Thus begins the exciting and action-packed pulp adventure.
Phipps paints a good clear picture of his post-apocalyptic world, which comes alive in the small details e.g. during Booth’s escape from New Arkham, he gives a parting glance at the USAF base, mentioning how the now defunct traffic control towers have been reduced to homes for rich families. It’s little things like this, not to mention the savage Cthulhu worshipping tribes, the melding of magic and salvaged tech, a ghoul with a penchant for Old Earth Hawaiian shirts and rock ‘n’ roll, and a garish city of sin being vied over by several gangsters, which help create a grand depiction of a deadly but fascinating world.
The author has also packed it to its squiddy gills with Lovecraft lore and horrors, from night-gaunts, Elder Things, the Necronomicon, the Dreamland, “Reanimated-class undead” or “West Boys”-named for Herbert West’s devastating formula whose effects brought New Boston to its knees-and many other popular entities and references.
I also liked John as a character. He’s hardened, cynical, and stares the harsh truths of life in the eye; having joined the R&E Rangers in the hope of dying, he fights for humanity knowing they’re a lost cause, but is unwilling to simply lay down and make death too easy on a world full of horrors. And his backstory is interesting, which I won’t divulge here.
And post-Epilogue, Phipps has included a nice and succinct breakdown of the story’s world and history, including an in-depth glossary of all of Lovecraft’s labyrinthian creatures and lore, which is not only a cool feature, but also a nice refresher course to help readers less initiated with the multitudes of his whacky-named bestiary.
All in all, if you dig Lovecraft and Mad Max, I recommend checking this book out.
Oh! And there’s a second book, which I will certainly be reading in the near future, preferably before Cthulhu rears his iconic face.