FLESH TO STEEL: EIGHTH TOWER'S GIGER, FICTION CURATION

My Eighth Tower Publishing story, "Flesh to Steel, Steel to Flesh," will be featured in an upcoming, Dark Fiction anthology commemorating the artwork of H.R. Giger. (The story is currently being edited by Chris McAuley, who's done a terrific job perusing prior submissions I've penned.) 

As a little background, "Flesh to Steel, Steel to Flesh" acknowledges Giger's macabre influence and does so by touching upon similar, thematic sources. In other words, it's a conceptual overlap that relates to the notorious Carl Jung (notorious because his mystique does, in fact, hold an unfortunate, unpleasant side) and in particular, the metamorphic works of Clive Barker. (Barker's novel, The Great and Secret Show, was a huge inspiration in this regard, in that it demonstrates how a popular concept can be shared in numerous, subconscious ways.)

As such, Hellraiser's Cenobites link to Giger's Necronomicon paintings, but so do Star Trek's nefarious Borg. I reference both the Cenobites and the Borg in my story, plus allude to the sado-masochistic writings of the Marquis de Sade and the Outer Gods of H.P. Lovecraft's fiction, drawing a correlation among the queue. How's that for a menacing blend!

In the end, "Flesh to Steel, Steel to Flesh" is still a forefront, Giger subsidiary, based on the artist's frightful and shocking, biomechanoid compositions. 

As to the precise fashion my fable incorporates such, well, I must keep that a secret until the volume is released, though a few hints may manifest in the upcoming months. Stay tuned. 

HELLRAISER VIA FATHOM: REMASTERED RE-RELEASE

One of the macabre greats returns to theaters in remastered form to tear our souls apart once more, thanks to Fathom Events. The submission is, of course, Clive Barker's Hellraiser. 

The movie, based on Barker's Faustian novella, The Hellbound Heart, may have begun with modest acceptance, but soon ascended in popularity through video rentals and word of mouth. It spawned three, cinematic features; a subsequent line of direct-to-disc sequels; a Hulu reboot; Marvel/Epic and Boom! comic-book series; fan clubs; and a torrent of high-quality collectibles, most of which are still sought after today. 

The original movie wasn't only penned by Barker, but directed by him and offers an impressive cast (several members close to Barker's heart): Doug Bradly (Pinhead); Simon Bamford (Butterball); Nicholas Vince (Chatterer); Grace Kirby (the Female); Sean Chapman/Oliver Smith (Uncle Frank); Clare Higgins (Julia); Andrew Robinson (Larry), Robert Hines (Steve) ... and Ashley Laurence (Kirstie). This ensemble is, indeed, pleasing and helped to embed the erotic, Hammer-like charm that Barker desired, albeit with a sadomasochistic puzzle box for followers to test and adore. 

It hardly seems that almost forty years have passed since Hellraiser's release, but such only proves the movie has weathered the fickle test of time and beyond any doubt will continue to do so. After all, it has so many devilish sights to show ... over and over again. 

Hellraiser re-possesses cinemas February 5 & 6. Check local listings for showtimes, and oh, for sweet anguish's sake, be certain to bring your Lament Configuration to ensure the utmost, heightened effect. 

Collectible Time: Rock Rebel/Universal Monsters Pillow and Mezco Hellraiser III/Pinhead Cube for Christmas

Brett Turner has hit the mark again, with a couple, magnificent Christmas gifts sent straight from his exotic homeland of Canada...

Rock Rebel's 14" x 14", Universal Studios pillow spotlights Karloff's Frankenstein Monster, who's surrounded by Lancaster's Bride; Chapman's Gill-man; Lugosi's Dracula; Chaney Jr's Wolfman and Kharis. What a breathtaking collage, and it adorns both sides of the velvety black fabric. (I'm most fond of how Chaney's personas are positioned opposite each other.)

This classic-horror novelty would please any Universal Monsters fan. I'll cherish it for years to come...

As a creepy bonus, Brett added a Mezco Toyz's "Hellraiser III: Hell on Earth"/Pinhead Lament Configuration. This puzzle b(l)ox/Rubik's Cube measures 2.25" and is graced by lurid images of Doug Bradley's iconic, demonic character, aka Captain Elliott Spencer, including a cropped version of the film's famous (NYC backdrop) poster.  

Brett knows how huge a "Hellraiser"/Clive Barker fan I am, so anything regarding such was certain to strike a grateful nerve. However, do I dare tinker with this piece and risk Cenobite transformation, not to mention an anguished outcome of the Uncle Frank kind? Hmmm...

Whatever my fate, I'm grateful to dear ol' Brett for his exquisite presents. (God bless and Merry Christmas, my friend!!!)

COENOBIUM: WHEN YOURS TRULY COMPOSED HELLRAISER FAN FICTION

In the early 90s, I gave the Clive Barker/fan-fiction scene a whirl. I hadn't reflected much on it until a few days ago when I stumbled upon Hellbound Web's acknowledgement of Coenobium # 4. 

The site doesn't offer much on the Coenobium series, detailing the content for only seven of the fifteen-issue, Diane Keating-edited/produced series. Nevertheless, #4's ingredients do, indeed, acknowledge "Mistress...by Mike Housel". (For what it's worth, the Official Clive Barker Resource Website {Clive Barker - Revelations} also references #4, but ignores my contribution. Damn it. Guess "fan fiction" isn't considered prestigious enough...)

In case you're wonderin' (and how couldn't you be?), "Mistress" describes how its titular character was summoned through (what else?) a Lament Configuration. I styled the character's dominatrix semblance after Diana Rigg's Emma Peel and Tura Satana's Varla. I believe there's a healthy smidgen of Maila Nurmi's Vampira in there, as well. (Mistress' body is roughened...darkened to resemble a catsuit; her pretty, pale head tacked with leather strips: a crown of whips, if one will.) Before her demonic alteration, Mistress was a geisha, but then...well, let's just say my wee yarn harbors a "feminist" slant, though I doubt Gloria Steinem would ever endorse it. 

The story is more in sync with Marvel Epic's offshoots than "Hellbound Heart" or the novella's related movies, but then, the comic-book content owes everything to those emanating elements, even if Pinhead is at most a recurring guest. 

"Mistress" was (as I recall) reprinted by the Clive Barker Appreciation Society around the time I penned its sequel. Alas, I can't say which Coenobium includes "The Ecstasy of Amorphousness". It's not referenced by either Hellbound Web or Revelations. "Ecstasy" was also as much a sequel to my Herschell Gordon Lewis-inspired, self-published Wonderful, Magical, Literary Elixirs story, "Of Summer Urges and Sweet, Balmy Blood". 

(For better or worse, "Summer Urges" has since turned controversial. The absurd cause I won't reveal here, but it's suffice to say that it connects to our current, censorious times. I'm certain "Ecstasy" would offend the same hypocritical hyenas if it were re-circulated. "Mistress" probably would, too, along with those plans Barker had for a lascivious Universal Mummy "remake". Same ol' song and dance, no matter what the atmosphere...)

In addition to the "Mistress/Ecstasy" set, I composed the Cenobite narrative, "Let There Be Laughter in Shame" (I favored long, pretentious titles back then; so sue me), which mates the ol' ventriloquist-dummy theme with "The Amazing Colossal Man", per puzzle-box tinkering. 

The story exists exclusively on compact cassette. I performed it, with the electronic assistance of my friend, Kenneth Santitoro, for a Coenobium contest and won Grand Prize: a "Hellraiser III: Hell on Earth" press kit, signed by Barker.

Ah well...thought I'd share these hellraisin' tidbits, since my friends and followers do on occasion inquire about my early work. 

For a curious hoot, check out the Coenobium scoop at ... http://www.cenobite.com/collect/coen.htm.  

(Too bad the fanzine didn't last longer and that an online edition hasn't surfaced with accessible reprints and recent movie/book reviews. There's a huge "Hellraiser"/Barker audience out there. The effort wouldn't be in vain.)

I saw Hellraiser: Judgment...

The "Hellraiser" series has been around a long spell, going back to Clive Barker's genesis of the Cenobite concept in his novella, "The Hellbound Heart". That the series went the direct-to-disc route after the fourth installment never bothered me, beyond the fact that I'd have appreciated bigger-screen premieres for each new story, all of which I thought were fine, even if they didn't always measure up to the original quartet. (And I realize that some will go so far to say that things slipped right after "Hellbound: Hellraiser II", but many of those same folks never dared pick up a Marvel adaptation of Barker's mythology, let alone explored how far the series could--and should--go. In other words, some have sorely missed the bloody, potential point). 

"Hellraiser: Judgment" is the latest (and tenth) entry in the franchise, written and directed by "Hellraiser" special-effects guru, Gary J. Tunnicliffe, who wrote "Hellraiser: Revelations" and now plays an officious Cenobite called the Auditor. The film also stars Paul T. Taylor as the new Pinhead, who takes the reins from Stephan Smith Collins, who took such from long-lasting legend, Doug Bradley. 

Keeping with tradition, this entry doesn't skimp on its demons, which include Mike J. Regan as the Chatterer; John "Feast" Gulager as the Assessor; Joel Decker as the Butcher; and Jillyan "Die Gest" Blundell as the Surgeon. Blundell also acts as one of the Stitch Twins, paired with Lindi Simpson. In clustered form, we also get Andi Leah Powers, Mary Kathryn Bryant and Valerie Sharp as the Jury; and acting as the Cleaners, Diane Ayala Goldner, Molly Nikki Anderson and Christina Parson. (There's also the tall, angelic Jophiel, played by Helena Grace Donald, whose ironic presence ultimately defies and defines Pinhead's fate.)

Though most of the Cenobites act as little more than gruesome garnishing, the real (most visible) leads are terrestrial, but no less interesting for it. They include the brotherly detectives, Sean (Damon Carney) and David Carter (Randy Wayne), who are assisted by the diligent Christine Egerton (Alexander Harris). Heather Langenkamp (Nancy Thompson of sweet, ol' Elm St.) has a marquee-value cameo as a helpful landlady, though the main supporting, female role goes to Sean's forlorn wife, Alison (Rheagan Wallace), who impacts the brothers' relationship as they dissect the heinous acts of a Ten Commandments-motivated serial killer called the Preceptor. 

The Preceptor is tied to the Cenobites, of course, whose magnetizing allure brews from an off-the-beaten-track "Old Dark House", which one of the brothers locates with dire, revealing results. Charles Dickens references (catering mostly to "A Tale of Two Cities") weave through (and contrary to what one might think, work to a sensible and symbolic degree), as the sadomasochistic carnage tiers in the most clever and repulsive ways. (The Abominable Dr. Anton Phibes would be most impressed, to say the least.)

This mix makes "Judgment" feel like “Hellraiser” meets “Seven” meets “Silence of the Lambs” meets "American Horror Story: Hotel", with extraterrestrial pages inserted from “Twin Peaks: the Return": a wide hodgepodge for sure, but for the most part, the pieces fit. 

Its gory bridges, however, aren't as stylized as what one finds in the initial "Hellraiser" films, where a kind of Hammer Studios sensuality was employed. “Judgment” behaves more like a supernatural variation of “Hostel”, “Saw” and "The Human Centipede", and therefore, holds kinship with H.G. Lewis’ films, though devoid of the ‘60s/’70s nostalgia. This fiendish layering won’t suit every person's taste and for the general squeamish, “Judgment” would be best avoided.

For those who appreciate modern monstrosities, however, the film should invigorate. It stays uninhibited from start to finish, just like many of Barker's short stories and novels: unapologetic and cruel in the way life (and death)'s foibles are displayed. The film is by no means a ground breaker in this respect and doesn't pretend to be. Tunnicliffe simply allows the story to stretch the franchise's familiarity to worthy measure.

I'm relieved, therefore, that the writer/director/make-up artist (and those others involved in the production) didn’t try to reinvent the wheel to the point of insult: “Judgment” doesn’t spit in the eye of its fan base like “Last Jedi”, that is. Even when the Auditor and Pinhead discuss the inadequacy of the Lament Configuration in the age of computerized chills, the story (and accompanying atmosphere) remain pitted in what Barker commenced. Though the tale is current-day, it's still old and weathered in the best, Gothic horror sense. The addition of a clunky, old typewriter as a main feature reinforces this, with the Auditor using the device to cull confessions from those who enter his crusty chamber.

Arguably (when all is said and done), "Judgment'"s creaky, doleful interludes between new and old are what make it cozy, as any insufferable friend's sporadic presence would and should be; therefore, this chapter is a hellraising success, no matter what the ding-dong naysayers may say. 

Also, much like "Curse/Cult of Chucky", "Phantasm: Ravager" and the recent "Leatherface", there's no reason why this one couldn't have played theatrically. It, too, has a guaranteed, built-in audience, despite those who've hypocritically denounced the series for its perceived, degenerating descent. To its further advantage, "Judgment" offers a swell, finale that strengthens its subtitle's meaning. If you don't believe me, check it out for yourself, and damn you to sweet, eternal Hell if you should dare disagree.