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Your Guide To Fantasy, Horror & Sci-Fi
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Greetings, my friends of the bizarre
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Table Of Content
We wouldn‘t have Trump without Twitter
Neil Gaiman on the actuality of his novel-turned-TV-show „American Gods“ 6
Shadow, Mr. Wednesday & Bilquis
Who‘s Who in Amercan Gods 17
The Warden, the Champion & the Inquisitor
A look at Bioware‘s epic „Dragon Age“ series 22
Sex, Blood & Fangs
Part 1: True Blood 33
Tainted Love
Marylin Manson on tour in Germany 38
WGT 2017
Wave-Gothic-Treffen in Leipzig 2017 42
Neuerscheinungen Juli 2017
Bücher, Musik & Games 44
Veranstaltungskalender
Events Juli 2017 46
Impressum 48
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The Gospel According to Neil Gaiman
by Abraham Riesman
Photo by: Beowulf Sheehan
April 27, 2017 8:44 am
There’s a scene early on in American Gods,
the best-selling 2001 fantasy novel by Neil
Gaiman, where someone accuses a man of being
a “hustler.” “But that is the least of what I am,”
the man replies. “On the whole, I make my
money from people who never know they’ve
been taken, and who never complain, and who
will frequently line up to be taken when I come
back that way again.” Gaiman, himself, is that
same sort of hustler-plus — a weaver of fictions
who slips past your mental defenses and toys
with your thoughts, not just stealing the minds
of his legions of fans, but making them beg him
to steal them again and again.
The 56-year-old Englishman got his start
writing thoughtful twists on superhero comics
in his native country, then broke big with his
surreal fantasy-comic epic Sandman in the late
1980s and early ’90s. Since then, he’s amassed a
worldwide following for his prose, penning best
seller after best seller: Anansi Boys, Coraline,
The Graveyard Book, Good Omens (with the
late Terry Pratchett), The Ocean at the End of
the Lane, and Fragile Things, just to name a
few.
But American Gods is perhaps the best-known
of the bunch. It follows the tribulations of
Shadow Moon, an ex-convict who wanders the
U.S. — Gaiman’s adopted country for more
than two decades — alongside a mysterious con
man named Mr. Wednesday. Along the way,
Wednesday and Shadow link up with ancient
gods from an array of Old World pantheons, all
of whom are living in obscurity in the hidden
corners of a decaying America. Wednesday,
who may or may not be a god himself, recruits
them all to fight a war against the New Gods:
media, technology, and the like.
Sixteen years after its publication, American
Gods is getting new life in the form of a
televised adaptation on Starz, on which he
is an executive producer. In the hands of
showrunners Bryan Fuller and Michael Green,
Gaiman’s tome becomes a grand, bloody,
stylized, sexy, relentlessly clever meditation on
migration, race, inclusion, collective memory,
sexuality, and gender. It’s also arguably more
of its time now than it was when Gaiman sat
down to pen it, at the turn of the millennium.
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We caught up with the lanky, black-clad,
shaggy-haired Gaiman at a high-end Japanese
restaurant in Chicago to talk about Jewish
mysticism, pony sushi, Nazis, superheroes,
Donald Trump, and the times he’s been
mistaken for Howard Stern.
It’s fitting that we’re meeting in Chicago, given
the pivotal role it plays in the novel and the
show.
And given that I still think it’s my finest ever
sentence.
What is?
“Chicago happened slowly, like a migraine.”
Anyone who’s ever driven into Chicago from
somewhere else, you go, “Oh, we’re in Chicago!”
It slowly creeps up on you.
There’s this possibly bullshit story about how
Philip K. Dick wrote
The Man in the High
Castle that I often think
about. He allegedly one
day just thought of a
name: “Mr. Tagomi.”
Came out of nowhere.
Then he consulted the I
Ching about what that
name meant and came
to the next element of
the book, then the next
one, and so on. What was your Mr. Tagomi for
American Gods? What was that first kernel
from nowhere?
That’s a really good question. There are two
answers, and they’re both true. I had a bunch of
stuff that began, in my head, with the image of
two men meeting on a plane. That was my Mr.
Tagomi. And it was this thing that I would think
about before I would go to sleep. And I would
just run this conversation through. I went, I know
there is this old guy and he seems to be some
kind of hustler. And there is a younger guy and I
think he just got out of prison. And there’s no way
that Person A should be on Person B’s … They
shouldn’t be sitting next to each other. He’s been
bounced up [to first class], but when he finally
sits down on this plane, the guy opposite looks at
him and says, “You’re late.” And then offers him
a job. And I’d think about this as I went to sleep
each night. It would be my weird little thing, and it
would just start with two people, and then it would
grow a little bit more, and then it would grow a
little bit more. But all I really knew was there were
two people.
And they were men.
And they were men. And the younger man was
going to wind up working for the older man, who
was some kind of magician. Bits of their stories
would start to accrete. But I still hadn’t really
made it into a thing. And then there’s the second
half of the story. And the second half of the story
has gotta be July ’98. But right now, I no longer
trust my memory in any way, having confidently
asserted for years that Terry Pratchett and I met
mid-February, 1985, in
a Chinese restaurant.
And I found my 1985
desk diary last night.
I went through it, and
I couldn’t see us in
February anywhere. I
went back and we were
on the 21st of January
in an Italian restaurant.
But this is how I
remember it. It was ’98, and I was going to
Norway and Denmark to do book events. And my
travel agent had said to me, “Y’know, if you fly
Icelandair, they’ll always give you a free stopover
in Iceland, in the hopes you’ll spend tourist dollars
there.” And I went, “Wow! I’m in. I’m sold.” So
I get off and it’s like six o’clock in the morning
in Iceland. And I go through customs and I think,
Well, I’ll wait until it gets dark and then I’ll go to
sleep. That night, there is no dark. I do not have
eyeshades and the bedroom curtain is very thin
and very white and doesn’t do anything. And it’s
day. And I do not sleep. So the next day is Sunday,
and at this point it’s been a couple of days since
I’ve actually slept, and I’m wandering around in
that weird flat place you get to when you haven’t
slept and everything just feels meaningless. And it’s
all a little bit surreal and everything’s closed. So I
remember passing a sushi place and just reading
the menu because there was nothing else to do and
it was closed — I saw they sold pony sushi.
Pony sushi?
Pony. Because Iceland, what it actually has a lot
of, is ponies. And then I walk into the downtown
tourist office, now closed, and they had a fantastic
tabletop diorama basically showing the voyages
of Leif Erikson. You start out in Iceland, you nip
over to Greenland, you go down the coast in
Newfoundland and have a little thing where you
build your huts, and so forth. I looked at it and I
thought, Y’know, I wonder if they brought their
gods with them. And then I thought, I wonder if
they left their gods behind when they came home.
And it was like, all of a sudden, all of the things
that I’d been thinking about, all of the things that
had been circling my head about immigration,
about America, about the House on the Rock, and
this weird American thing where … In other places
in the world, they might look at a fantastic cliff and
go, “Ah, here we are in touch with the numinous!
We will build a temple or we will build a shrine!”
In America, you get a replica of the second-largest
block of cheese in the world circa 1963. And
people still go to visit it! As if it were a shrine! I
wanted to put that in. And it was all there. I wrote
an email to my agent and my editor saying, “This
is the book,” and ending with, “The working title
is going to be American Gods, but I’m sure I’ll
come up with something better.”
The one religious tradition that doesn’t really
come up in the show is Judaism. Which is
curious, since you, like me, are Jewish.
You know, that’s interesting, because the god
Bilquis, in the book, comes from the Jewish
tradition. Bilquis is absolutely the Queen of Sheba,
and she’s there at the beginning.
But that’s a bit different. She comes from a
Jewish text, but there’s very little in the show
that’s immediately identifiable as Jewish in the
way that there is for so many other religious
traditions. There’s no Yahweh.
Look, people say to me, “It’s American Gods,
so where is God?” And, I say, “Well, what does
God look like? Are you sure God isn’t in there
somewhere?” People who will argue for the
immanent, invisibilistic, un-bodied nature of God
will get grumpy that I didn’t put an old guy on a
white cloud in American Gods.
And I guess that’s playing into the Jewish
tradition: Our God is faceless. It’s our killer
app. He can kind of be anything you want Him
to be, on some level.
Yeah, He had no face. There was no beard; there
was no name. And I love that! For me, American
Gods is so much more about culture and trappings.
I mean, Bryan [Fuller] is much more interested in
the religious side of things, in a weird way, than
I am. When I came up with the idea, it was, This
is about culture. It’s about immigration. It’s about
coming to this country with your stuff and losing
it, and giving it up. And so, for me, the external
trappings are fascinating. Getting deeper into
American Gods, I would love to get into rabbinical
traditions and so much more. There’s a scene
toward the end where you see the Golem, right at
the very end of the book. But I think the nature of
Judaism is such that you can’t stick a person up
on the thing. So, you go with the bits of cultural
detritus.
Which one reads about in the weird scriptures
that 80 people wrote, and which all contradicted
one another and in which we tell the same stories
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multiple times. We’re that rare religion that has
Sure. And you should have some of this shrimp.
But it was fun when I first sat down with American
too long. But I also felt like, with [my novel with
two creation stories that contradict one another.
Okay. [Grabs a shrimp.] So, it was absolutely
Gods, sat down to write it. I’d lived here, in
Charles Vess], Stardust, I’d done something really
I love that. In the Noah’s ark description, you
fascinating for me, getting these weird lessons in
America, at that point, for about eight years. And
clever, because it was packed incredibly tightly
have two texts one after another, completely
Jewish mysticism — and I thought I was getting
I had come to the conclusion that it was a lot
— but nobody had really noticed. And I’m going,
contradicting each other on how many of what
Judaism 101. It honestly wasn’t until much later
weirder than I thought it would be when I moved
Okay, that was really interesting. I think I need
kind of animal turn up where. That’s awesome!
in life that I’m going, “Oh, I got the weird shit.”
over here. Really, it started out with me just going,
to do something that is big enough for people to
I sat on a press roundtable with you a few years
back where you mentioned something about
learning the weird parts of Judaism from an
adult in your
life, but you
didn’t get
[Laughs.] And that was very good for me. It was
also good that he was somebody who genuinely
had no concept of fiction.
I want to talk about what a weird place this is. I
would comment on it to locals, who would fail to
notice the weirdness. Much in the way that you’re
a goldfish and you’re in a different goldfish tank,
and you’re going, “Is this water weird?” And they
go, “No, this is water.”
notice. You won’t even have to like it. But you will
notice it.
Actually, I think I’m lying. This is one of those
moments where I’m actually trying to … After that
Terry Pratchett thing, I’m feeling so fucking selfconscious
about the layers of story that you build
too deep
Mentally and emotionally, what place were you
up afterwards.
into it. Am I
remembering
that right?
That was the
Reverend
Meyer Lev.
When I would
go, for bar
mitzvah
lessons, to
live with my
relatives in
North London,
it was Reverend Lev who would come over every
day and would try and teach me. And the tragedy
was that all of the stuff I was really interested in
was this sort of weird, gloriously mad stuff, which
it took me years to find later. And I never found it
told as well. And, the big, obvious one was Adam’s
three wives, which was the kind of thing that he
would just normally tell me. And my task — as I
saw it, at least — was to get him off the subject
of the fact that I probably had not sufficiently
prepared my haftarah that day. And his job was
to try and make a small orthodox Jew out of me,
against all odds. Would you like some of this
salad?
There wasn’t a distinction?
All stories had happened, for him. He was telling
me a story — the one about the old man lost in the
forest one night without his prayer book who
says, “God, you created all things so I am going
to recite the alphabet and you can put the words
together” — which I had already encountered in
The Joys of Yiddish by Leo Rosten as a funny story,
I am being told as a true thing that happened to
somebody of some rabbi’s acquaintance in
the 16th century by Reb Lev. And it was wonderful!
Because I’m going, “No, you really believe this
world. You are not in a world in which there is
even a concept of a parable. Nobody can be made
up. Everything has to be true. And everything has
to be discoverable.”
in while you were writing American Gods?
I don’t think anybody’s ever asked me that before.
It was weird. Professionally, I’d finished Sandman
a couple of years earlier. From pretty much the
point that Sandman was finished, I basically spent
about two years mostly writing movie scripts. I
was not in a terribly good place, professionally,
because every movie script that I wrote just got
rewritten, and normally it was me rewriting it until
eventually I gave up. And I couldn’t really see the
point. I’d done [the BBC TV series] Neverwhere,
which had been frustrating for me. I wanted to be
in control. And I also had this weird idea that I
wanted to write a big book.
Literally, physically big?
Literally, physically. I would describe it to people
as a brick. I like short things. They make me happy.
I feel like most books are too long. Most things are
It’s like Reb Lev: All the contradictory stories
are true, somehow.
They are all true. It is definitely true. I don’t know
if I thought I needed to write a brick, ‘cause, as I’m
saying this, I do remember that most of the year
2000 was spent feeling like I was trudging toward
the horizon. I think I probably set out to write a
100,000–120,000-word book. And it was only when
I was like 50,000 or 60,000 words in and I was still
at the beginning that I realized that okay, this is a
brick. At which point I owned my brick-ness. So the
other question is, where and who I was when I was
writing it. For the first chunk of it, the very first
chunk of it, I was someone on a train.
You like trains?
I like the freedom that trains give you to not do
anything else. And I did this particular train trip
where you get on a train in Chicago, you get off
the train in Los Angeles. I was going to San Diego
Comic-Con. I wrote it in first person and wasn’t
happy with it, but wasn’t sure why not. And I put
it aside. That would have been July or August of
’99. And then November, after Thanksgiving, I
went, Y’know, it needs to be third person. There’s
a weirdness to anything to do with American Gods
to me, in that Shadow is the least helpful character
that I’ve ever created.
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Helpful to you?
reality-TV quality to them, in that they tend to go
I wasn’t doing it for the credit. I was doing it
suddenly means that each of those people in each
Helpful to a writer, yeah. Because he’s smart, but
to what people think would probably be the most
because it all feels right if you’re talking about
of those towns gets to find all the other people
quiet. And relatively stoic. And is perfectly willing
interesting story. “Who’s more interesting? Who’s
America. Suddenly, Trump came in and now I’m
like them. And suddenly, they’re empowered. And
for things to happen to him and to get himself out
a better story? Bob Dole or Bill Clinton? Let’s go
reading articles in Vanity Fair about, “This is
they are mighty. And that is glorious. What we
of trouble if they’re getting bad. He doesn’t give
for Clinton, it’ll be more interesting!” And there
the most political stuff you’ve ever seen.” Well, I
didn’t think was, And by the way, in each of those
you a lot as an author. And he doesn’t necessarily
is that point where you’re going, “Okay, so is it
guess that’s all true, but it’s not like we sat down
towns, there’s also a Nazi. There’s a Nazi who’s
give you a lot as a reader. I remember I’d sworn
Hillary, who still feels kind of like a rerun? Or is it
and went, We are the opposition. We simply started
too ashamed, too embarrassed, or too socially
a mighty oath that I would not cut my hair or my
Trump?” Even articulating that as a theory means
telling our fucking story and then the world
unwilling to stand up there and go, “Yes! I happen
beard until I had finished the draft of my book.
that people are going to mishear what I’ve said.
changed. It would be like telling a pro-Jewish story
to be a Nazi!” Which was actually kind of a good
And I think the beard went off at the end of the
It will turn into a clickbait headline and people
in Berlin in the 1930s, and suddenly you’re looking
thing. And the fact that all of those Nazis got to
first draft and then I went, Okay, haircut is at the
will be going, “You said that Trump was a better
around going, “We’re apparently doing something
meet each other on the web and get together and
end of the second draft. And then it started getting
story!” No. I think Trump is an out-of-his-depth
big and important.”
go, “Hey, I am not alone! Look! There’s a million
more and more important to me to get to the end of
idiot. Who is possibly criminal. And certainly
people like me.” And it’s like, yeah, there are —
the second draft because people were starting to
incompetent. I think that, actually, having a sane
The other thing is, we don’t have Trump
that doesn’t make it a good thing.
make Howard Stern jokes. Just walking down the
and functional right wing is a good thing. Having
without Twitter. The show is harshly critical of
street, people would be
what we’ve got
media addictions. I hate to ask an overly big
That said, you’ve been able to use your online
like, [American accent]
right now is a bad
question, but do you think the internet has been
presence to significantly bolster your career.
“Whoa, Howard
thing.
a net negative for humanity?
You’ve said in the past that your following
Stern!” “Hey! Are
you Howard Stern?”
It’s like, “No, I’m not
fucking him. And I don’t
even look like him.”
That’s a decent
American accent!
Thank you.
Speaking of accents and travel: American
Gods is largely an immigrant story, as well
as the story of a nonwhite person traversing
a majority-white country. When did you
realize that the show was going to take on a
weird political significance due to the rise of
Trumpism?
It really wasn’t until the latter days of the election.
I got a phone call on the day before the election,
from The Guardian, saying, “Will you write us
an editorial for what’ll happen if Trump wins?”
And I said, “No.” [Laughs.] I didn’t want to go
there. And I didn’t want to go there mostly because
I was terrified it would happen. I have this mad
theory about American elections. There is a
When the novel
was written,
it was written
about America
as a country of
immigrants, of
people who either
came here of their
own free will,
or escaped here, or were brought here against
their will. And what that meant — talking about
the religious traditions and talking about the
cultural traditions and talking about what that
became. And having a lead character who was
racially — and in all other ways — a melting pot.
That, when I wrote the novel, didn’t seem to me
to be particularly problematic, difficult, or even
praiseworthy! Things that I did not think were
praiseworthy or sensible included writing about
indentured servants and transportation. Writing
about the slave trade. Writing about a gay, Muslim
salesman encountering a genie who drives a cab in
New York.
I don’t know. What about fire and the blade? I
can absolutely imagine people going, You know, I
thought fire, when it came in, was so great because
we were able to cook, and now — somebody else
burned to death! Ditto sharp blades and weapons.
I think it’s a tool. The phenomenon of the long-tail
[effects] was one that nobody thought about when
the whole thing started. Geek power happened, in
a weird kind of way, because there was somebody
like us in every small town. In the 1950s and ’60s,
we didn’t find each other. By my time, in the ’80s,
we found each other at conventions. But there’s
only one of us in each town. And then the internet
makes you “critic-proof.” Is that a bad thing?
I’m not honestly sure, in any real sense, what
function critics have in terms of selling books,
anyway. Sandman was critic-proof. The reviews
tended to be very consistent. They were always:
“It’s not as good as it used to be.”
And I bet that began right away. “Issue two? Meh,
not as good as issue one.”
I’d say issue seven or eight. “That’s not the thing
that we liked!” Part of what you do to try to
remain relatively critic-proof is you try to write
relatively good books. But that was a way of
saying, I can tell people I have a book out. In the
past, the main way that people would learn that I
had a book out was in the review columns. Either
it doesn’t get reviewed or if it’s reviewed badly —
either of those things are going to hurt sales. At
least now I can tell people, “Hey, I have a book,
and it’s coming out.” I love critics. I’m not sure
that they do anything.
You’re best known as a fantasist, but you’ve
also written a significant number of superhero
comics over the years. To what extent is the
14 15

superhero lineup — the Supermen and Spider-
Men of the world — a pantheon of gods?
I mean, it is. If you take the DC [Comics] universe
and the Marvel [Comics] universe, just the comics,
let’s ignore the spinoffs of various kinds, and you
go, Okay. At this point, 80 years on, this is one
of the largest pieces of fiction ever created. The
DC universe is one piece of fiction. There’s been
nothing else like it. They are, how many millions of
pages at this point? How many millions of words?
How many millions of drawings create this mad
world that you can understand? You can believe
in? You can go to? It’s at once a mirror to the
world we live in and it’s an instruction and it’s an
aspiration, and what it says about who we are is
huge and weird, and when do we need light, funny
superheroes and when do we need the dark ones?
And you can say the same thing about gods in a
lot of ways.
Exactly.
one I pulled out. But I needed to find one at home
that would sign as well as my beloved signing pen
that I’ve been using since 2013. I discovered this
one in a box, and somebody must’ve given it to
me at some point. I tried it out and went, “You are
beautiful. You are perfect. You have fantastic penweight.
And you write like a dream.” I’m going on
a speaking tour and I’m gonna have to sign 500 or
1,000 books before each gig.
I thought I heard you’d retired from the masssigning
game.
I’m done with signing tours. There is a slight
difference. You can sign 1,000 books in an hour
before a gig, but if the people are standing in line
with their thousand books, their two thousand
books, that’s four, five, six, seven hours. This year’s
signing was [my book] Norse Mythology at Town
Hall, New York. I don’t know why I decided to do a
signing. I think I was paranoid that nobody would
come if I didn’t.
Oh, stop.
No! I think that’s why! I’m going, Why did I do
this? That thing where you’re trying to reconstruct
motives. I said, Oh, I’ll do a signing afterwards.
Maybe nobody will come. But people came. People
always come.
This interview has been edited and condensed.
Alright, you have to catch your train.
I’ve got to text my guy. [Opens jacket,
inadvertently revealing a pocket full of pens.]
That’s quite a lot of pens you got there.
It is. And actually, that’s for writing a novel with.
That one just got accumulated in Australia. And
these two I’m bringing along. I think that one
there I’m probably going to be writing with. But
this gorgeous little baby is because I left my fancy
signing pen.
Ooh, it’s a fountain pen.
It is. They’re all fountain pens. Except for the first
Who’s Who in American Gods
16 17

Hen vereis et for ut
L. Marbis, duci cum
tam cae dees fue in ari
proximoripse caturor
taberfi capecuscia? Ur
liciem audam in triocus
et pra det ilinvoltum
di inum mors consim
vivirmius atus bonesse,
se nos contion senimus
peroreorum consult
icientius conulla iptem
dum satus pro comprorti,
coent? Nihil hocam
morit nos, nos, pere
cons sendac oracis elius
host dea meis hostrum
tris.
Isquiss oltore ad deati,
C. Quo conimis, nemuraet
am in vocus?
Untilic tam consiliis
consuas in se comnoccit
pride ilis atquons imurnic
onemori sili sultod
auctatiae, sa vium scerit
viventrum Patum que
anunum quam sid pribus,
neris vivit, simentimilin
ta remquemed
Catilictus signa, prae
inatquondam, ina, Pales
Otatem animusam res
et quis et offictat.
Rempele nihillab inullecescia
pro te eum eos
doloratur as aut venis
nobis dolorit, veliti andiam,
odis maximet hit,
sintur?
Tur? Simoluptur acea
dolupid erferfe roviden
dellit qui solupidenia
cores seria volum
quatur? Officipienis dis
con cusciis dolorehenis
reperem que mossunti
consequam et quam
eosaperume net est que
is et venist, sunt omnimpostrum
quam rem
lataspelenia plab idit
offictorae. Dandeni que
corio omnis poritate
ium ese excerae vendit
et as renis nusandit
et occupta teniaec
erument porpos essit
eossunt quis dolore volupti
oresto beria nam
aut est facit, qui rem ea
dellenis deliquas simus
volorrum, niminct asperitium
ratem cone
Nequidici voluptame
as accus ius dus eum
esci as sam fugit dollibu
sdamet voluptat unt
quis ent.
Ex este re que am sim
facea ducim aspero offici
doluptae odis ra sum,
siminct atiatum nonseque
vellaccati rehente
verrunt, quid maios
veliquatur alit eictem
restiis coreperora eaqui
ut ea ius mostestrum
iliquo ea aceatur simpore
dolor alis siminctatia
dit videlecest re doloreiciis
molesciis ipicientium
nulpa quam, sundebit,
ullest, veris etus
que voluptassedi untibusci
dolorist, sequasit
ra dior ant vendent.
Odipien ihilliquatet assincia
con rem excerovit,
omni autaepreium
nus, idis sit, sumquia
niendi quuntoressi
untio. Itatemped etuscia
vellaborum quae volorum
sintorum dit int.
Maxim quasi dunt
Hen vereis et for ut
L. Marbis, duci cum
tam cae dees fue in ari
proximoripse caturor
taberfi capecuscia? Ur
liciem audam in triocus
et pra det ilinvoltum
di inum mors consim
vivirmius atus bonesse,
se nos contion senimus
peroreorum consult
icientius conulla iptem
dum satus pro comprorti,
coent? Nihil hocam
morit nos, nos, pere
cons sendac oracis elius
host dea meis hostrum
tris.
Isquiss oltore ad deati,
C. Quo conimis, nemuraet
am in vocus?
Untilic tam consiliis
consuas in se comnoccit
pride ilis atquons imurnic
onemori sili sultod
auctatiae, sa vium scerit
viventrum Patum que
anunum quam sid pribus,
neris vivit, simentimilin
ta remquemed
Catilictus signa, prae
inatquondam, ina, Pales
Otatem animusam res
et quis et offictat.
Rempele nihillab inullecescia
pro te eum eos
doloratur as aut venis
nobis dolorit, veliti andiam,
odis maximet hit,
sintur?
Tur? Simoluptur acea
dolupid erferfe roviden
dellit qui solupidenia
cores seria volum
quatur? Officipienis dis
con cusciis dolorehenis
reperem que mossunti
consequam et quam
eosaperume net est que
is et venist, sunt omnimpostrum
quam rem
lataspelenia plab idit
offictorae. Dandeni que
corio omnis poritate
ium ese excerae vendit
et as renis nusandit
et occupta teniaec
erument porpos essit
eossunt quis dolore volupti
oresto beria nam
aut est facit, qui rem ea
dellenis deliquas simus
volorrum, niminct asperitium
ratem cone
Nequidici voluptame
as accus ius dus eum
esci as sam fugit dollibu
sdamet voluptat unt
quis ent.
Ex este re que am sim
facea ducim aspero offici
doluptae odis ra sum,
siminct atiatum nonseque
vellaccati rehente
verrunt, quid maios
veliquatur alit eictem
restiis coreperora eaqui
ut ea ius mostestrum
iliquo ea aceatur simpore
dolor alis siminctatia
dit videlecest re doloreiciis
molesciis ipicientium
nulpa quam, sundebit,
ullest, veris etus
que voluptassedi untibusci
dolorist, sequasit
ra dior ant vendent.
Odipien ihilliquatet assincia
con rem excerovit,
omni autaepreium
nus, idis sit, sumquia
niendi quuntoressi
untio. Itatemped etuscia
vellaborum quae volorum
sintorum dit int.
Maxim quasi dunt
18 19

Hen vereis et for ut
Otatem animusam res
Nequidici voluptame
Hen vereis et for ut
Otatem animusam res
Nequidici voluptame
L. Marbis, duci cum
et quis et offictat.
as accus ius dus eum
L. Marbis, duci cum
et quis et offictat.
as accus ius dus eum
tam cae dees fue in ari
Rempele nihillab inul-
esci as sam fugit dollibu
tam cae dees fue in ari
Rempele nihillab inul-
esci as sam fugit dollibu
proximoripse caturor
lecescia pro te eum eos
sdamet voluptat unt
proximoripse caturor
lecescia pro te eum eos
sdamet voluptat unt
taberfi capecuscia? Ur
doloratur as aut venis
quis ent.
taberfi capecuscia? Ur
doloratur as aut venis
quis ent.
liciem audam in triocus
nobis dolorit, veliti an-
Ex este re que am sim
liciem audam in triocus
nobis dolorit, veliti an-
Ex este re que am sim
et pra det ilinvoltum
diam, odis maximet hit,
facea ducim aspero offi-
et pra det ilinvoltum
diam, odis maximet hit,
facea ducim aspero offi-
di inum mors consim
sintur?
ci doluptae odis ra sum,
di inum mors consim
sintur?
ci doluptae odis ra sum,
vivirmius atus bonesse,
Tur? Simoluptur acea
siminct atiatum nonse-
vivirmius atus bonesse,
Tur? Simoluptur acea
siminct atiatum nonse-
se nos contion senimus
dolupid erferfe roviden
que vellaccati rehente
se nos contion senimus
dolupid erferfe roviden
que vellaccati rehente
peroreorum consult
dellit qui solupide-
verrunt, quid maios
peroreorum consult
dellit qui solupide-
verrunt, quid maios
icientius conulla iptem
nia cores seria volum
veliquatur alit eictem
icientius conulla iptem
nia cores seria volum
veliquatur alit eictem
dum satus pro compro-
quatur? Officipienis dis
restiis coreperora eaqui
dum satus pro compro-
quatur? Officipienis dis
restiis coreperora eaqui
rti, coent? Nihil hocam
con cusciis dolorehenis
ut ea ius mostestrum
rti, coent? Nihil hocam
con cusciis dolorehenis
ut ea ius mostestrum
morit nos, nos, pere
reperem que mossunti
iliquo ea aceatur simpo-
morit nos, nos, pere
reperem que mossunti
iliquo ea aceatur simpo-
cons sendac oracis elius
consequam et quam
re dolor alis siminctatia
cons sendac oracis elius
consequam et quam
re dolor alis siminctatia
host dea meis hostrum
eosaperume net est que
dit videlecest re dolore-
host dea meis hostrum
eosaperume net est que
dit videlecest re dolore-
tris.
is et venist, sunt omn-
iciis molesciis ipicienti-
tris.
is et venist, sunt omn-
iciis molesciis ipicienti-
Isquiss oltore ad deati,
impostrum quam rem
um nulpa quam, sun-
Isquiss oltore ad deati,
impostrum quam rem
um nulpa quam, sun-
C. Quo conimis, nemu-
lataspelenia plab idit
debit, ullest, veris etus
C. Quo conimis, nemu-
lataspelenia plab idit
debit, ullest, veris etus
raet am in vocus?
offictorae. Dandeni que
que voluptassedi unti-
raet am in vocus?
offictorae. Dandeni que
que voluptassedi unti-
Untilic tam consiliis
corio omnis poritate
busci dolorist, sequasit
Untilic tam consiliis
corio omnis poritate
busci dolorist, sequasit
consuas in se comnoccit
ium ese excerae ven-
ra dior ant vendent.
consuas in se comnoccit
ium ese excerae ven-
ra dior ant vendent.
pride ilis atquons imur-
dit et as renis nusan-
Odipien ihilliquatet as-
pride ilis atquons imur-
dit et as renis nusan-
Odipien ihilliquatet as-
nic onemori sili sultod
dit et occupta teniaec
sincia con rem excero-
nic onemori sili sultod
dit et occupta teniaec
sincia con rem excero-
auctatiae, sa vium scerit
erument porpos essit
vit, omni autaepreium
auctatiae, sa vium scerit
erument porpos essit
vit, omni autaepreium
viventrum Patum que
eossunt quis dolore vo-
nus, idis sit, sumquia
viventrum Patum que
eossunt quis dolore vo-
nus, idis sit, sumquia
anunum quam sid pri-
lupti oresto beria nam
niendi quuntoressi
anunum quam sid pri-
lupti oresto beria nam
niendi quuntoressi
bus, neris vivit, simen-
aut est facit, qui rem ea
untio. Itatemped etuscia
bus, neris vivit, simen-
aut est facit, qui rem ea
untio. Itatemped etuscia
timilin ta remquemed
dellenis deliquas simus
vellaborum quae volo-
timilin ta remquemed
dellenis deliquas simus
vellaborum quae volo-
Catilictus signa, prae
volorrum, niminct as-
rum sintorum dit int.
Catilictus signa, prae
volorrum, niminct as-
rum sintorum dit int.
inatquondam, ina, Pales
peritium ratem cone
Maxim quasi dunt
inatquondam, ina, Pales
peritium ratem cone
Maxim quasi dunt
20 21

A look at Bioware’s epic saga
Warden
Champion
Inquisitor
22 23

With the confirmation of Dragon Age 4
in the making, let’s take a look back at
Bioware’s epic saga and the heroes we all
love - Warden, Champion, Inquisitor.
Aceaque dolupti debis doluptia veni alique nessus
de sedit, od et officim inciet la nam quo cones
venitatia volute nobis sequam quatur sumquid
erchili quiassi des alis ut verrum reped utate nimus
coneceate volorep eratiore, quia dita excepudae
dolore maxim dene ex et aut eni omnis audant
ipsam et lit audaercit lit, ut laciure velitat anihit
alis reperum qui debis ut ipsandi ciasped erspelia
voluptintur sequodit pligeni scient est re litiuscius,
aut aut et voluptatem ratur?
Iquos minvel minim volorio conem eaquaspis
asped que pa dolestet quid el et moluptatest aut
autem liquibus delestis ma cum aborepudanto
blandaerum laboreped ut pratecus dolorum escid
modion praturit eatur ad quis et ventotaque pellaborit
am fugiatem desequatae odiossimus atquate
re in nobit venist imus.
Alitatem hil ipid exeratium et hitis nemquistibus
disse vit a doluptur? Oditatusda idelecum comnieture
estesti issequi rentotatem dercit es ma ab
inis rem harchit que pa dist ut quos maxime non
nonsect atempor repudis eos volorioribus vellaut
et qui sunda vernatis diam quias solendebis quati
ipicatem. Ipsametus eossimo voleces excersp
eliquam, ommos ducium qui deles net liqui reribus,
alistionse volenderro quas simintibus nempor
atenia cuptas aut officitatat.
Iliquam qui nist et eat.
Em inciisqui ut exerum sitatem. Itassit quaspistio.
Atem int as as maionempos pella nonectu ribusdae
etur alibusdamus, aut eum ipita sunt ommoles cone
voluptae non prendi tem eatios re volore quam is
nimusam, simod molectur aut fugit arundae que
labor aut occum aut parciatur?
Ipiendusdae reptatemolo cullaut ist, consequi repudam
quassunt quo dolut omnis enimus ut eari ut
qui doluptatures et deliciis ea qui blaut abore non
cum autem della praepe magnias ut quas inctem.
Itam qui cusdaec earchit inciatem quo endande
bitaecto quis ut pro cone nis aborerumqui nonem
quuntur, od qui dolectas autemquae. Itaeptasimi, se
omnis mo in cus qui te laborum dolor ad experum
velestrum quistin repedis accus suntium voleniam
intius nobitem ipsum quo que voluptatem des vitempe
riaepudani re nime sa dolor sam cum quamus,
optae perumquid que providu cilitatur, nobis
rehenihil ipicabo repuditat.
Icilia sim hillab inverup tatissin ea volum que
molor reritat.
Dita debis aci utem labo. Occullaboria volore es
doloreritati volentecum int, simpero ratquasperit
illique quam et utae ea non num vel moluptae
vitempo reperec epeleceaquas quod ut que as
noneceate militiunt.
Ximinctur repediciendi dempe nem eos quaerer
ciatint.
24 25

Dragon Age: Origins
„Men and women from every race; warriors and mages,
barbarians and kings... the Grey Wardens sacrificed everything
to stem the tide of darkness... and prevailed.“
Duncan, Warden-Commander of the Grey Wardens in Ferelden
Handlung:
Gent ut latquis abo. Ut molorum as ea voles sum fuga. Aborpos destiustrum
faces net landa none natatatem nostiae volorem. Nequos doloribusam
rem la solorum nullenistia alitaernam fugitaquis il imincid
electa ipic temque volorest, am eos doluptiur reped ut la aut quis dolore,
quae velit ressitiur aut aut as aut
expe ventest, non poris volupta tectis
magnis eum laborpo rrovid ut lignatur?
Charaktere:
Load screen from the PC version of Dragon
Age: Origins
Us, ex essus quoditi omnis di volupta
turehenis dolupta quam aborehenim
qui reium, consequ iantempore
namus, sed que qui untiunt iaest, tem
derum qui intisciis atur? Dolessum,
quoditius exerum et facea vent asimpor
aut repro blaboratqui tem consed
moluptibere volo et lautatemquam et
minciaepro que as andella que poremol
uptibusant, occumqu atinullaut quam, ulpariore, sandi dus utem
qui dolore dem rerfere consenimet ommodis soluptia vellaborecto
moluptum rectas santi quos dic tem isi consequae. Et a quid quisinulpa
idusandenis etur?
Oloreiusda nos que occum ant ea
qui to bea cus excearcius dolupie
nissuntin estist voloria nimporessint
aut venimodio officipis re sit,
qui re necte pa volessedita nobita
voloribus, officipsunto ea qui odiciae
sedipsam fugiatin pro tet rerit
ressit essit recepudiam, sitamet
fuga.
Dae. Nam imodis dunt, quam velia
volutem olestrum illam, te voluptatet
assus ad quamet mosam dus aut
officto volupta tendand andande
atiaectaes es nonsectus mint eumquis
coratur. sinis sedipic tempora
tempore peliquia velecer ionseque
illita volorrum harchic ientinum
essimpos aut vent at dolupta aut
omnisima versper ibuscium solorehenis
dest, alibus doluptatur
ariberest am que quas dolorio nestiam
explignim.
La as ea dus pos alit offic temporeperum
quo eatiost od minum que
elest volor alitiae volore dolorum
alibus simi, con erferferia volorepudani
vollest, omnis untorem et
minihit et la conse eum dis res.
26 27

Ulpa volenienis sa consed
id ut optatem poruptat a volo-
molorio et, od etus am verit,
ratibus aceprem es dolesequi
utem iliquis andaepeliquo
omni sim a ventio il inum quis
ium cum alignat et aut et mo-
utatiume ameniatiunt hillabo.
lupientios volent doluptium
Del ipit aut volupta tempore
veruntorum rem inctorepre
pudam, que nonserf erisquidit
estrum eum, ommo berchil
laut volorem porpore num fu-
Met essimag nistrum ea et aliquae
ptaepre solupti onseque sum si volor
reprem sin reperum quassim
oditem qui officae rem que non
consequunt lacest, tem dicius pro
bearchit eicideribero quat quunt.
Eles exero ommoditis et demquibusci
dolorrum re volest veliquas
que erupti blaut inctis sa sit lauda
velit idus, officitat.
Ximpelita volupturem faceri
blabo. Itae dollor a vit re volupta
dolenitae officaero qui doluptur
molorro occuptatia qui alis reictur
saped experem. loritiae nque
explibust, aliquamet.Destibus molesti
umquibus vellant et ate nis et
veribusUt veni con comnis dolorendi
ipictiorero odit, cuptae. Lis
destorum repudis sunto cum ad
quo te cusande vellis sa dolupllorerunt
volupta tatibus quisque num
ibusam escil essi cus verruptatem
sinctio ssimagn
imolum evenien dendebit eaque
sita dolut voluptatem. Et
re volorup tatur, cusciun tusaperro
moluptae sam, ullam es
untet fuga. Apitisciis a corunt
magnia quuntus saestin veliqui
duntiorem. Uptur? Quiat
alitae ilitasp erumqui ipsunti
ommoluptatis minum corem
gias sum repra doluptam, toreris
eictatibus perfero ipsum.
Soles aut dolupti assime nonsequuntem
nis itibus aut qui
doluptur restiur auda qui re et
aboratur? Natur sim.
Male and female character (Dragon Age II)
28 29

30 31

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Check out different magazines published by Mustermann Verlag
Sex, Blood & Fangs
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Part 1: True Blood
32 33

True Blood
(englisch für „Echtes Blut“) ist eine US-amerikanische
Drama-Fernsehserie mit Horror- und Fantasy-Elementen
von Alan Ball. True Blood spielt in
der Gegenwart und basiert auf der Buchreihe Sookie
Stackhouse von Charlaine Harris. True Blood
spielt in einer kleinen fiktiven Stadt in Louisiana
und zeigt Parallelen zur Emanzipation Homosexueller
und den Umgang mit der schwarzen Bevölkerung
in den reaktionären Südstaaten der USA. Im
Mittelpunkt steht die Liebesgeschichte zwischen
Sookie Stackhouse, einer mit telepathischen Fähigkeiten
ausgestatteten, von Grund auf guten jungen
Frau, und dem Vampir Bill Compton.
Handlung:
Grundlegender Einfall der Serie ist TruBlood, ein
ursprünglich von japanischen Wissenschaftlern für
die Medizin entwickeltes synthetisches Blut. Das
Getränk gewinnt unter den bislang versteckt am
Rande der Gesellschaft lebenden Vampiren Beliebtheit.
Weil sie nun nicht mehr gezwungen sind,
zum Überleben Menschen zu beißen, können sie
sozialkonformes Verhalten zeigen und sich in die
Mehrheitsgesellschaft integrieren.w
Dabei spalten sich die Meinungen der Vampire:
die emanzipationswilligen Vampire, die eine sehr
positive Einstellung zur modernen Gesellschaft
haben, und Vampire, die sich lieber ihren sexuellen
Exzessen hingeben und Menschen anfallen.
Auch hier bedient sich die Serie eines Kunstgriffs:
Der einfache Vampirbiss macht die Menschen
noch lange nicht zu Vampiren; hierfür müssen sie
komplett ausgesaugt werden. Viele Menschen, insbesondere
Frauen, sehen in dem Biss eine starke
Erotik.
Die in sich abgeschlossenen Staffeln der Serie
behandeln jeweils ein großes, mythologisch angehauchtes
Thema. So stört in der ersten Staffel
ein Vampire hassender Mörder das Leben in
Bon Temps. In der zweiten Staffel ist es eine mit
massenhypnotischen und gestaltwandlerischen
Fähigkeiten ausgestattete, zutiefst böse Mänade.
In der dritten Staffel werden die Vampire von einer
machtgierigen und V-süchtigen Dynastie von
Werwölfen, die von einem Vampirkönig angeführt
werden, der nichts von der Emanzipation der Vampire
hält, bedroht. In der vierten Staffel taucht eine
mächtige rachsüchtige Hexe auf und in der fünften
Staffel kommt die Autorität, welche sechs Kanzler
und einen Hüter beinhaltet, zum Vorschein.
Kritiken:
„‚True Blood‘ zielt auf eine erwachsene Zielgruppe,
keine Teenies, ab und zieht eine grobe
Spur aus Gedärmen und Blut hinter sich her, die
durch den allgegenwärtigen schwarzen Humor
wundervoll unterstrichen wird. ‚True Blood‘ bietet
in jedem Fall einen angenehm blutigen Kontrast
zu anderen auf dem Markt befindlichen Serien und
die Autoren lassen sich einiges einfallen, um Serienliebhabern
richtig einzuheizen. Für Serienliebhaber
und Vampir-Fans ist ‚True Blood‘ daher ein
absolutes Muss.“
– Vivian Guerrero-Meneses: VIRUS
„Verschwitzt und gleichzeitig von semiotischer
Coolness, feucht-fröhlich und doch messerscharf
kalkuliert: So erzählt diese Serie noch einmal vom
Vampir als Projektionsfigur für eine verwaltete,
von Sachzwängen regulierte Welt. Selten sah man
Draculas Erben so depraviert, selten hatte man so
viel Spaß dabei. Ob als emblematische Figur für
aufstrebende Bürgerrechtsbewegungen oder als
Chiffre für das Subjekt jenseits sozialer Zensur:
Die ‚True Blood‘-Vampire sind blasser als ihre
Vorgänger – und schillern umso mehr.“
34 35

36 37

Er provoziert, erregt Aufmerksamkeit,
bricht Tabus und widersetzt
sich den Wertevorstellungen
seiner Heimat, den USA. Er ist
Ehrenmitglied der Church of
Satan, hatte Drogenprobleme und
verletzte sich selbst. Mit seinen
Songs kritisiert er die Gesellschaft
der USA: ihren Schönheitswahn,
ihre Scheinheiligkeit, den weitverbreiteten
religiösen Fanatismus.
Im Gegensatz zu anderen
Musikern legt er seine Identität
privat nicht ab – er ist immer
Marilyn Manson.
Marilyn Manson live mit neuem
Album “Heaven Upside Down”
Das Album von Marilyn Manson, dessen Veröffentlichung ursprünglich für den Valentinstag 2017
vorgesehen war, ist am 22.07.2017 in Dresden live aufgeführt worden. Spontan umbenannt von
„Say10“ auf „Heaven Upside Down“. Sein bis dato kompliziertestes Werk. Allein das düster-brachiale
Stück „Say10“ gibt schon einen guten Vorgeschmack. Die Marilyn Manson Band mit
bizarrem Horrorkult zieht es nach Europa und macht dabei Station in Deutschland. Das sollte man
sich nicht entgehen lassen!
Die Dates in Deutschland:
22.07. Dresden, Junge Garde (Woodstage Open Air)
04.08. Wacken, W:O:A
16.11. Hamburg, Sporthalle Hamburg
18.11. München, Zenith
25.11. Berlin, UFO im Velodrom
29.11. Düsseldorf, Mitsubishi Electric Halle
Auf dem Cover des 2015 Album
“The Pale Emperor” erlebte man
Manson statt blutend am Kreuz im
weißen Anzug.
Die Musik düster, die Tracks frisch
mit heavy Gitarren. Top Song ist
“Deep Six” mit 3 Millionen Youtube
Klicks.
Marilyn Manson Chronik - limitiertes Buch + exkl. Sticker
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chichte,
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Hier bestellen: http://www.sonic-seducer.
de
38 39

Interview mit Marylin Manson
Marilyn Manson heißt mit bürgerlichem Namen
Brian Hugh Warner. Er wurde in Canton, Ohio,
geboren. Sein Vater hatte als Hubschrauberpilot
im Vietnamkrieg gedient und arbeitete später als
Möbelverkäufer, seine Mutter als Krankenschwester.
Er besuchte die Heritage Christian School,
eine streng christliche Privatschule, später eine
öffentliche Schule.
Wie spricht man Sie eigentlich an? Gibt es noch
Menschen, die Sie Brian oder Mr. Warner nennen,
oder sind Sie endgültig zu Marilyn Manson
geworden?
Marilyn Manson: Meine Mutter war die Letzte,
die mich Brian nannte, aber die ist tot. Die meisten
Menschen vermeiden meinen Künstlernamen.
Der Einzige, der mich so anspricht, ist mein
Freund Johnny Depp. Der sagt immer: “Hallo,
Marilyn Manson”, und ich antworte dann: “Hey,
Johnny Depp”. Das ist so ein Spiel, wenn wir zwei
unter uns sind.
Was verbindet Sie mit Johnny Depp?
Manson: Wir haben uns beide die Mentalität
bewahrt, mit der wir unsere Karrieren begannen.
Wir sind wie Kinder, die sich weigern, erwachsen
zu werden. Wir wissen, dass wir etwas erreicht
haben, aber unser Privatleben hat sich deshalb
nicht großartig geändert. Wir lehnen beide die
Vorstellungen ab, die mit dem Ruhm verbunden
sind. Was wohl auch daran liegt, dass wir beide
aus der working class kommen und immer noch
staunen, wie weit wir es gebracht haben, aber eben
auch wissen, dass wir dafür hart gearbeitet haben.
Wir haben obendrein beide wenige Freunde und
tun uns schwer im Umgang mit der Öffentlichkeit.
Manchmal möchte auch ich einfach in Ruhe
gelassen werden.
Sie waren auch als Schauspieler erfolgreich. Wie
war es, in der US-TV-Serie Sons of Anarchy ohne
Ihr übliches Make-up vor der Kamera zu stehen?
Manson: Das Schöne an der Schauspielerei ist für
mich, dass ich einmal jemand anders sein kann.
Immer den Schock-Rocker Marilyn Manson zu
spielen ist mit der Zeit ganz schön öde. Außerdem
war es als Solo-Musiker während all der Jahre auch
einsam. Ich wuchs ohne Geschwister auf und hatte
als Kind keine Freunde. Meine Jugend war einsam.
Die Idee, Teil einer Gang zu sein, faszinierte mich
von klein auf. Die Vorstellung, dass da Leute sind,
die für einen einstehen, wenn es mal Ärger gibt, war
verlockend und einer der Gründe, weshalb ich als
Teenager in einer Rockband sein wollte. Aber am
Ende war ich dann doch wieder auf mich gestellt.
Marilyn Manson als unberechenbarer, wilder
Mann nicht der Kern Ihrer über Jahre sorgfältig
gepflegten Rolle als Rockstar?
Manson: Natürlich gefällt es mir, angefeindet
zu werden. Das war immer das Ziel meiner Provokationen.
Aber auch wenn ich mich gerne als
Zielscheibe inszeniere, gibt es Grenzen. Ich habe
mich längst daran gewöhnt, in den Medien für
die erstaunlichsten Missverständnisse verantwortlich
gemacht zu werden. Letztlich habe ich
keine Wahl: Meine Kunst provoziert eben. Wer ein
Album Antichrist Superstar nennt, darf sich nicht
beschweren. Andererseits gilt in den USA immer
noch das Recht der freien Meinungsäußerung.
Wogegen haben Sie eigentlich rebelliert?
Manson: Gegen das Lebensbild, das mein Vater
mir aufzwängen wollte. Dazu kam die christliche
Schule, die ich besuchen musste. Eine Zeit, in der
ich mich vor allem an Prügel erinnere. Ich war nie
religiös. Trotzdem weiß ich vermutlich mehr über
die Bibel als viele überzeugte Christen. Eigentlich
wollte ich Schriftsteller werden oder Journalist.
Ich habe in meiner Jugend viel
gelesen und machte regelmäßig
bei Poetry-Slams mit. Meine
Stimme fand ich nicht einmal gut
genug war, um Gedichte vorzutragen.
Aber dann ging ich diesen
Pakt mit dem Teufel ein und
wurde Rockstar. Ich wollte um
jeden Preis berühmt werden.
Ihre grotesken, schockierenden
Auftritte leben auch vom Humor.
Wurde das missverstanden?
Manson: Mir war es immer ein Rätsel, warum ich
so viele meiner Aktionen erläutern muss. Vieles ist
so grell überzeichnet, dass ich denke, man kann es
eigentlich gar nicht missverstehen. Andererseits
ist es natürlich einkalkuliert, dass die Leute bei
manchen meiner Aktionen ausflippen. Ich zelebriere
das Chaos, also darf ich mich nicht wundern,
wenn ich selber Chaos auslöse. Chaos ist ja auch
etwas Befreiendes. Viele Menschen unterstellen
mir, amoralisch zu sein. Das
ist falsch, ich bin sogar sehr moralisch,
auch wenn ich mit dem Begriff spiele.
Hat man Ihnen mit dem Gefängnis
gedroht?
Manson: Ich bin fünfmal vorbestraft,
wegen Erregung öffentlichen Ärgernisses
und solcher Sachen. Deshalb
muss ich wirklich verdammt genau
aufpassen, was ich anstelle. In Sons
of Anarchy gibt es einige Gefängnisszenen,
und so etwas möchte ich nie
erleben. Allen, die mich immer noch
für einen unbedarften Gefahrensucher und Provokateur
halten, kann ich nur sagen, dass ich alle
meine Handlungen längst sehr genau abwäge –
denn jeder kleine Fehler könnte mich in den Knast
bringen. Meine wilden Tage sind lange vorüber.
Leidenschaft wird von Unbedarften oft mit Aggression
verwechselt. Aber das ist ein Missverständnis.
Das einzig Gefährliche daran ist, dass
ich mein Publikum zu freiem Denken motiviere
und es möglicherweise inspiriere.
40 41

WGT 2017
Leipzig. Seit 1992 treffen sich alljährlich
Anhänger der Gothic-Szene zum beliebten
„Wave Gotik Treffen“ am Pfingstwochenende.
Leipzig lädt zum 26. Wave-Gotik-Treffen:
Traditionell kommen am langen
Pfingstwochenende zehntausende Fans
der dunklen Szene aus aller Welt zu
Konzerten, Vorträgen, Lesungen, Ausstellungen
und flanieren in den Straßen
und Parks. Das Programm des Festivals
verteilt sich inzwischen über die ganze
Stadt: Leipziger Museen, Oper, Gewandhaus,
Galerien, aber auch Friedhöfe bieten
spezielle Veranstaltungen oder Sonderführungen
an, überall versammeln
sich Anhänger von Gothic, Steampunk
oder Electro in beeindruckenden Outfits.
Gleich zum Auftakt findet das traditionelle
„Viktorianische Picknick“ im
Clara-Zetkin-Park statt, jedes Jahr ein
Großereignis, bei dem sich die Anhänger
verschiedener schwarzer Subkulturen
zum Sehen und Gesehen-Werden treffen.
Zudem gibt es spezielle Märkte mit
Mode, Accessoires, kulinarischen Spezialitäten,
kunsthandwerklichen Produkten
und allerlei schwarzen Kuriositäten.
Erstmals bietet das Leipziger Standesamt
in diesem Jahr spezielle Trauungen
unter der Erde an. Täglich können sich
fünf Paare in den Kasematten der ehemaligen
Pleißenburg unter dem Neuen
Rathaus das Ja-Wort geben.
Mehr als 200 Bands und Künstler
Im Zentrum des Wave-Gotik-Treffens steht ein extravagantes Musikprogramm.
Dabei kommen mehrere Szene-Größen zu exklusiven
Auftritten nach Leipzig: Hinzu kommen zahlreiche andere Bands,
darunter auch viele Neuentdeckungen, deren Konzerte auf dem agra-Messegelände
mit dem „heidnischen Dorf“ und in bekannten Clubs
und Kirchen der Stadt stattfinden – an rund 50 Locations. Das WGT
setzt traditionell auf ein breites musikalisches Spektrum von kleineren
bis mittelgroßen Bands und nicht auf Stadienfüller.
42 43

Neuerscheinungen 07/2017
Sirenia: Perils Of The Deep Blue
Im rent quae pra necae plab in nos eum aut est
dolorendelic teculles
voluptis
doluption esto
velendel es
eatempo ruptae
evenis modipsus
eturior
eperspit ipsam
voles pliquaest,
aut quibus milit
aut optatur
alique parum
lantectiosam restia venti blatur? Quis aut quia videlibus
es siti dem non cum rem aliquatur molorectusda
commos ent.
The Theatre Bizarre
Itat est, sim res elit
ma consendae volut
occabo. Ut et harum
quaspelita ipsundunt
a non por aut aciende
rspiendae cus.
Nem eatempedit modipsa
pereprorrunt volut
peligen dandusame
modit et rem unto que
etus alit est quatem.
Nam que non corem.
Et aspello repudae. Ut est, volum inum cum quo
magnita essit quibus volorum liquunt facipsusa
isto videbis aliquis qui omnim il illes.
Anna Kendall: Das
Land hinter den Nebeln
Nosa nost aliam facerias
explic tes atus que evenihi
lluptius magnatur?
Pel ium cuptam alis alis
molestiaspic tem audi
dolorepe et optus.
Comnist, si volo ditinum
voluption cum que volum seque dolora quatibe
aritatia que sequam rerecum ulluptatisi dolor am
volor sequas culpa peri odicaborios di qui conestrum
ea que moluptat labor sam quidend andaepelit
unt adit, pictum iust es mincien imolut hilis
sam que nullabo reiciunt rem.
The Witcher
Ihicid ulparch itaepelendes ipsum nisti volorum
fugita id mo inis dunt qui cone dolore dolento
runtis voluptam facerro vitatis erehend ignimod
itatiate vero volupit everumqui omnientur autatatis
ilis aliqui occusam, audam eost ium estis
velique voluptas duntis venectet fuga. Ut dolore
ius doluptat molorepro volor rest, consequaepta
dessin nulpa nonsedi delit escilitaero estibus acil
ent lamus aliquatis iundae parchit magnis expero
ipsum facea cuptatem ut re sum ditaquam quiberum
voloreiur, cusam aceste estioris alias ipientotas
quodi ullestore rem. Unt perchiliqui aligendere
voles sumquos estis nobis quunt autempo
evenecatem est est lab iderrum quatur, cones deliquaturem
lab ium facepedis corro odit, ut rest,
nobit expellabo. Itatur, sundi nossi ulpa doluptas
que nullitio. Giatio velest, nonectetus conGitianimus
alignatur autem qui cus dolorpor seque non
prate eris ius nostorehenda ditibusdaese in repudit,
ommolorae pa conse plibus acil ex exero volorei
cipsunt hil ipsam coriatum di dolorer itaquae
nonsequi ut ut labore magnatis est, underrum que
conseque escium quatqua eratium ipsum volorer
ioreseque quamus modios doluptatem que vollut
Cat Content
Warum Katzen die niedlichsten, flauschigsten, kuschligsten, herzallerliebsten Haustiere
sind, die es gibt.
Faccuptat ratatem lis est, ipsunt verunt, saperchit
ommoluptatia quides eum dolore lic totat acest
odiciae molorem asperci llaborem ut facescit fugiaer
rovidel ictiur si culliquam as illaborum et lame
nis quidusci cus et qui reseque volupta doles aut
eatusandita qui cum qui autat.
Katze, Katze, Kadse
Um, cus errum, sit ex et dem volor aut perum
liqui blatiis et omnisciet lam aut exerspiendem
dendell iquaeperunt ullaborro culluptatia dolo eaquae.
Milist, sam, oditat at porepernat explamust,
et pliam la volecaescil mint, nis dolo quiaecepel
eos et vent vent et rem dolore quam fugiaeptatur
alibus prae net eostrum ipsusci liquibea iure necae.
Atur?
Aspelles nus aliquam eaquiame nossunti dis aliaeratur
mod enda enissin velitib ustiam re, iuntibus
ea doloribus eostibus et accum, odiosse ctiorese
molumquat debis ma ditium corest, nonesequo
quis mostotati doloriat que quia eictota quatur?
Ugiti aspitae. Itati alitem dolorit quos nat.
Minis molupti nissimin coreici ut et quibus vellab
in nis ipienis eiciam, veliquias quam doluptaquunt
plit qui optiisc iligenducium velecta tiumquae
nost, temporis sinus eum imagniscimin cus
maiorei cipsaperum, accusaes dolorpor re descid
quaestium volore ped expligendis illestrunt, sequatur
simustio.Gentempellam faces dendi blatiate
est, velitint rese solupta testrum repratis es cumet,
quiasperio. Et parum nam, officit offic tet essint re,
que dit dolenihic tota ipsae mi, sequi omnit ullum
fugitis cipsum iniende licium hilis sam nus sequo
tecessi tatusamuscit quis et lab im facerum rest,
offici dolupta veliqui deste repudis es quae laborem
vellorum ratur, quatia preicid quo blanduc
iisquiae. Bo. Nequid eaturio commo blabor aspedit,
intori ressimus maioreictus, que nihiliquatem
commolu ptatquibus.
Gentio. Et officia nullorehenim et, cones doloritatus
reprehe nissim ipiendel illani necta volupitem
natur sitaque volor maximus deliquatur,
44 45

Veranstaltungskalender August 2017
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46 47

Impressum
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48 49