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3. Florida
> Adjusted number of serial killings per 1 million: 9.92
> Total no. of serial killings: 778
> Worst decade for serial killings: 1980’s

Florida trails just two other states in terms of total serial killer victims, with 778 documented victims since 1900. As was the case across the nation, serial killers were most active during the 1980s. Florida recorded 247 murders by serial killers during that 10 year period. While serial killings are far more uncommon than homicides and violent crimes in general, Florida, like a few other top states for historical serial killings, is not especially safe. There were 541 violent crimes and 5.8 murders per 100,000 Floridians last year, each among the 10 highest rates compared with other states.

2. Nevada
> Adjusted number of serial killings per 1 million: 12.19
> Total no. of serial killings: 98
> Worst decade for serial killings: 1980’s

Over the first half of the 20th century, only two people were killed by serial killers in Nevada. Starting with a single victim in the 1950s and peaking at 33 victims in the 1980s, the total number of victims spiked to 80 in the second half of the century. The increased regularity of serial killings coincided with Las Vegas’s boom as a gambling destination. In the 30 years between 1970 and 2000, eight of the victims of serial killers were prostitutes.

The serial murder rate is relatively high in Nevada, and the occurrence of violent crime in general is relatively common as well in the state. With roughly 636 incidents of violent crime per 100,000 residents, Nevada has the second highest violent crime rate in the country.

1. Alaska
> Adjusted number of serial killings per 1 million: 15.65
> Total no. of serial killings: 51
> Worst decade for serial killings: 1980’s

No state in the country has a higher rate of serial murders than Alaska. As was the case in most other states, serial killers in Alaska claimed more victims in the 1980s than in any other decade. Robert Hansen, perhaps the most prolific serial killer in the state’s history, was sentenced to 461 years of prison in 1984 after confessing to the particularly gruesome murders 17 women. More than half of the 51 serial murders that occurred in Alaska took place between 1980 and 1990. Not only does Alaska have a higher incidence of serial killings than any other state, it also has the highest violent crime rate in the country.

Bradley B. Beaulieu’s Song of Shattered Sands series is about as epic as fantasy gets.

Twelve Kings in Sharakhai

Paperback$18.00

Whereas most modern epics are trilogies (or begin life that way before they grow in the telling), Beaulieu’s followup to The Lays of Anuskaya trilogy was planned as a six-volume saga from the jump. Inspired by Middle Eastern cultures and legends, the Song of Shattered Sands—which began with 2015’s Twelve Kings in Sharakhai—follows the rise of Çeda, the low-born child of a slave, from the grit of the gladiatorial pits to command a rebellion against the vile kings who dominate her people.

The ambitious arc of the series—coupled with a book-a-year release schedule—has resulted in a change in cover artists along the way. By the fourth volume, Beneath the Twisted Trees, the series was on its third artist, Micah Epstein, who followed in the footsteps of Adam Paquette and Donato Giancola. Working alongside DAW Art Director Adam Auerbach and with input from the author (Beaulieu counts himself lucky that his publisher, DAW Books, and editor Betsy Wolheim allow him to be involved in the cover process), they envisioned a new look for the series that places Çeda front and center.

When it came time to create the art for the fifth volume, When the Jackals Storm the Walls (available in July 2020), Epstein hit the ground running, producing the most arresting cover of the series to date—which we are pleased to reveal today, along with the back cover blurb:

The reign of the Sharakhani kings has been broken. Queen Meryam now rules the city. Çeda, meanwhile, has succeeded in lifting the asirim’s curse, though it came at a terrible cost: Nalamae was slain in battle against her sister goddess. All is not lost, however. Çeda knows Nalamae will be reborn, and so begins a quest to find her.

The scheming King Ihsan has been busy as well, mining the legendary Blue Journals for a way to save the city and the desert beyond from certain destruction. He believes he’s found one, but it won’t be easy, especially when the only tools left at his disposal are his own wits and guile. As he begins to gather the other fallen kings and convince them to work together, he realizes that one person is crucial to their success: Çeda.

Çeda must now choose: work with the kings she’s vowed to destroy or risk losing the city she loves. Whatever she decides, the path will be dangerous. Her allies are divided. Sharakhai is under threat from neighbouring kingdoms. And now the gods themselves are stepping in . . .

How does a cover like this come to be? Keep reading as we host a conversation between Bradley Beaulieu and Micah Epstein as they discuss the finer points of fantasy cover art…

With Blood Upon the Sand

Paperback$18.00

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Bradley Beaulieu: Recognizing that the art director has a lot of input here as well, is it fair to say that cover artists struggle with just how closely to represent a character and/or a scene in the novel versus abstracting the contents of the book to create an impactful piece of art?

Micah Epstein: It tends to vary from cover to cover. In a perfect world, these fit together seamlessly. One of the reasons why I like to read the story before sketching the cover is so I can try to find a moment or moments that really showcase a major emotion of the book. I’ll work up a couple sketch options that come at it from a few different angles, for example, emphasizing energy and action, or power and mystery.

There are certainly occasions when things deviate from the specifics in the book, and I’ve had that happen in both directions—sometimes due to the art director’s request, sometimes based on my own judgment call. In most cases, small details are less important than larger emotional qualities. I always like to ask the AD or author early on to describe as closely as possible the exact emotional beat we’re aiming for in the cover: what aspect of the book do we want to showcase to new and returning readers. This serves as a point of reference that can help guide our decisions through any of the smaller course corrections that might happen along the way.

BB: In the case of When Jackals Storm the Walls, you’ve created a piece that, on the one hand, doesn’t appear exactly as-is in the books, but on the other, symbolizes so much about the book, particularly the ending. How easily did the basic components and their composition come to you?

ME: To be honest, I really agonized over the composition for this one. I must have tried out a couple dozen different solutions before I arrived at the ones I was happy with. When we started the project, Adam Auerbach, my art director at DAW Books, pointed me toward the crystal cavern scenes, and when reading through we were completely in agreement that we wanted to launch from there. Since we had Çeda very still and stoic on the cover for Beneath the Twisted Trees, I knew that I wanted to show her in motion for this one. Each book in the series has been nicely distinct in terms of its color palette so far, and the design team made the very wise decision to ask that I keep the trend going.

A Veil of Spears

Paperback$16.50$18.00

Other than Adam’s requests and my own requirements for the piece, it could have gone in a lot of directions, which is where the exploration in the sketch stage happens. Ultimately, it’s the core emotional beat I mentioned earlier made most of the decisions for me. Given what I had to work with, there were a lot of different covers that could have been good pieces of art in a vacuum, but when I really got down to it, only a couple could really be right for the story.

BB: A few years back, I stumbled across Dan Dos Santos’ fantastic blog post on Muddy Colors about art composition and implied lines. I later found another one that incorporates this into a larger list of art composition “pro tips.” I bring this up because I immediately recognized the implied lines and how your piece draws the eye, from the sword and knife curving counterclockwise, to the large crystal shard and scabbard bringing it back, to the pattern of smaller crystal pieces hanging in the air, all the way back to Çeda’s leading arm, bent as it is at the elbow. We’re constantly being led around the piece, over and over, and being pulled back to the intensity in Çeda’s eyes.

Looking deeper, I can also see “the rule of thirds” and “the golden ratio” being applied. I’m sure there’s plenty more that I’ve missed. What can you tell us about the composition you chose? What did you hope to accomplish and what other artistic gems are hidden inside this piece?

ME: Truth be told, to this day I still don’t really “get” the Golden Ratio. Principles like that can absolutely be useful in analyzing a finished composition, but personally I’ve never found them very helpful as starting points. That being said, there are some core principles that I take into every sketch these days, and they’re all to do with visual organization and the basic emotional resonance we have toward certain shapes, angles, values, and colors. One set of principles I owe entirely to my first mentor, comic artist and illustrator Brian Stelfreeze, is the idea of “Black-White-Grey,” which is essentially a way of organizing the values in a piece for maximum clarity and efficiency.

Other principles I consider are things that operate on a very basic, hindbrain, emotional level: the way horizontal lines tend to produce feelings of stability and calm, sharp diagonals tend to imply motion and tension (something I used liberally on When Jackals Storm the Walls), rounded shapes imply slow movement and calm, and jagged shapes give a sense of motion or even danger—right down to the human and sometimes culture-specific reactions we have to certain colors.

I’ve seen these ideas expressed in different places here and there, but by far the best and most concise example I’ve ever read (and one I’d instantly recommend to anybody looking to study composition) is the book Picture This:How Pictures Work by Molly Bang. The Rule of Thirds and the Golden Ratio are appealing to us because they express certain groupings and ratios of these more simple, atomic principles. Brian once said to me that “an illustration is a program designed to hack a person.” At the end of the day, the marks on the page are just there to produce a specific reaction in the person looking at the image.

Beneath the Twisted Trees

Hardcover$28.00

BB: Another thing I think the art does really well is connote emotion and intent on the part of Çeda, the main character in The Song of the Shattered Sands. What sort of process do you go through in general to find that emotional note, be it mystery, a sense of adventure, betrayal, danger, or what have you?

ME: I find that a lot of the time, it works out pretty nicely that the emotion of the protagonist mirrors the major emotion of the story. I usually end up showing the protagonist on a book cover, and so it’s often just a matter of finding a scene or moment where their emotion will best sync up with the general note of the story that I want to communicate.

In this case, I got extra lucky because Adam made a great call in pointing me to the perfect scene: one where we have action, mystery, fantasy, and more all wrapped into one sequence.

BB: Lastly, what do you hope people take away from it? Wolfenstein razor1911 german patch download. Or perhaps a fairer question is: what was your intent in portraying Çeda in this particular way?

ME: On a small scale, the intent is the emotion. I want people to feel first and foremost the action and intensity of Çeda bursting into motion—an instant of grace in a whirlwind of movement. There’s a feeling of mystery and high fantasy that we wanted to work in with the background elements, and the combination of the three is really the target I was aiming for.

On a larger scale, I want the image to stake out the book’s place in the series. Over the course of the five books so far, we’ve seen Çeda move from a figure in the shadows to someone at the head of major events, and the covers have reflected different parts of her journey, thanks to the other fantastic cover artists Adam Paquette and Donato Giancola.

Book 5 is the penultimate book in the series, and so I wanted the art to reflect that. Last time I painted Çeda calm and determined, ready to make a stand. This time I wanted to show that we’re ramping things up as we head into the finale with A Desert Torn Asunder.