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Clive Barker's Hellraiser (1989) #8
Clive Barker's Hellraiser: Book 8
They say, All good things to those who
wait." But for those impatient souls, we
offer Clive Barker's Hell...
Rush to get tickets to a tragedy directed
by the Cenobite, Face. Feel your pulse
quicken as demonic pet displays
unwholesome affection. Hurry to the
audition where an actress loses more than
herslf in the part. Whisk away a world
leader's ideals to find the capering face of
atrocity. And join an expedition into the
rank legions of the Devil's Brigade.
Well....what are you waiting for?
Contents:
Homecoming by John Rozum, Mark Texeira
Devil's Brigade, Part Three: The Haven on Hell Street bu Ron Wolfe, John Van Fleet
Losing Herself in the Part by Doug Murray, Dwayne McDuffie,
Grey Morrow
Devil's Brigade, Part Two: Inside the Laager by Larry Wachowski, Joe Barruso
wait." But for those impatient souls, we
offer Clive Barker's Hell...
Rush to get tickets to a tragedy directed
by the Cenobite, Face. Feel your pulse
quicken as demonic pet displays
unwholesome affection. Hurry to the
audition where an actress loses more than
herslf in the part. Whisk away a world
leader's ideals to find the capering face of
atrocity. And join an expedition into the
rank legions of the Devil's Brigade.
Well....what are you waiting for?
Contents:
Homecoming by John Rozum, Mark Texeira
Devil's Brigade, Part Three: The Haven on Hell Street bu Ron Wolfe, John Van Fleet
Losing Herself in the Part by Doug Murray, Dwayne McDuffie,
Grey Morrow
Devil's Brigade, Part Two: Inside the Laager by Larry Wachowski, Joe Barruso
64 pages, Paperback
First published January 1, 1991
About the author
Clive Barker
684 books15.3k followersClive Barker was born in Liverpool, England, the son of Joan Rubie (née Revill), a painter and school welfare officer, and Leonard Barker, a personnel director for an industrial relations firm. Educated at Dovedale Primary School and Quarry Bank High School, he studied English and Philosophy at Liverpool University and his picture now hangs in the entrance hallway to the Philosophy Department. It was in Liverpool in 1975 that he met his first partner, John Gregson, with whom he lived until 1986. Barker's second long-term relationship, with photographer David Armstrong, ended in 2009.
In 2003, Clive Barker received The Davidson/Valentini Award at the 15th GLAAD Media Awards. This award is presented "to an openly lesbian, gay, bisexual or transgender individual who has made a significant difference in promoting equal rights for any of those communities". While Barker is critical of organized religion, he has stated that he is a believer in both God and the afterlife, and that the Bible influences his work.
Fans have noticed of late that Barker's voice has become gravelly and coarse. He says in a December 2008 online interview that this is due to polyps in his throat which were so severe that a doctor told him he was taking in ten percent of the air he was supposed to have been getting. He has had two surgeries to remove them and believes his resultant voice is an improvement over how it was prior to the surgeries. He said he did not have cancer and has given up cigars. On August 27, 2010, Barker underwent surgery yet again to remove new polyp growths from his throat. In early February 2012 Barker fell into a coma after a dentist visit led to blood poisoning. Barker remained in a coma for eleven days but eventually came out of it. Fans were notified on his Twitter page about some of the experience and that Barker was recovering after the ordeal, but left with many strange visions.
Barker is one of the leading authors of contemporary horror/fantasy, writing in the horror genre early in his career, mostly in the form of short stories (collected in Books of Blood 1 – 6), and the Faustian novel The Damnation Game (1985). Later he moved towards modern-day fantasy and urban fantasy with horror elements in Weaveworld (1987), The Great and Secret Show (1989), the world-spanning Imajica (1991) and Sacrament (1996), bringing in the deeper, richer concepts of reality, the nature of the mind and dreams, and the power of words and memories.
Barker has a keen interest in movie production, although his films have received mixed receptions. He wrote the screenplays for Underworld (aka Transmutations – 1985) and Rawhead Rex (1986), both directed by George Pavlou. Displeased by how his material was handled, he moved to directing with Hellraiser (1987), based on his novella The Hellbound Heart. His early movies, the shorts The Forbidden and Salome, are experimental art movies with surrealist elements, which have been re-released together to moderate critical acclaim. After his film Nightbreed (Cabal), which was widely considered to be a flop, Barker returned to write and direct Lord of Illusions. Barker was an executive producer of the film Gods and Monsters, which received major critical acclaim.
Barker is a prolific visual artist working in a variety of media, often illustrating his own books. His paintings have been seen first on the covers of his official fan club magazine, Dread, published by Fantaco in the early Nineties, as well on the covers of the collections of his plays, Incarnations (1995) and Forms of Heaven (1996), as well as on the second printing of the original UK publications of his Books of Blood series.
A longtime comics fan, Barker achieved his dream of publishing his own superhero books when Marvel Comics launched the Razorline imprint in 1993. Based on detailed premises, titles and lead characters he created specifically for this, the four interrelated titles — set outside the Marvel universe — were Ectokid,
In 2003, Clive Barker received The Davidson/Valentini Award at the 15th GLAAD Media Awards. This award is presented "to an openly lesbian, gay, bisexual or transgender individual who has made a significant difference in promoting equal rights for any of those communities". While Barker is critical of organized religion, he has stated that he is a believer in both God and the afterlife, and that the Bible influences his work.
Fans have noticed of late that Barker's voice has become gravelly and coarse. He says in a December 2008 online interview that this is due to polyps in his throat which were so severe that a doctor told him he was taking in ten percent of the air he was supposed to have been getting. He has had two surgeries to remove them and believes his resultant voice is an improvement over how it was prior to the surgeries. He said he did not have cancer and has given up cigars. On August 27, 2010, Barker underwent surgery yet again to remove new polyp growths from his throat. In early February 2012 Barker fell into a coma after a dentist visit led to blood poisoning. Barker remained in a coma for eleven days but eventually came out of it. Fans were notified on his Twitter page about some of the experience and that Barker was recovering after the ordeal, but left with many strange visions.
Barker is one of the leading authors of contemporary horror/fantasy, writing in the horror genre early in his career, mostly in the form of short stories (collected in Books of Blood 1 – 6), and the Faustian novel The Damnation Game (1985). Later he moved towards modern-day fantasy and urban fantasy with horror elements in Weaveworld (1987), The Great and Secret Show (1989), the world-spanning Imajica (1991) and Sacrament (1996), bringing in the deeper, richer concepts of reality, the nature of the mind and dreams, and the power of words and memories.
Barker has a keen interest in movie production, although his films have received mixed receptions. He wrote the screenplays for Underworld (aka Transmutations – 1985) and Rawhead Rex (1986), both directed by George Pavlou. Displeased by how his material was handled, he moved to directing with Hellraiser (1987), based on his novella The Hellbound Heart. His early movies, the shorts The Forbidden and Salome, are experimental art movies with surrealist elements, which have been re-released together to moderate critical acclaim. After his film Nightbreed (Cabal), which was widely considered to be a flop, Barker returned to write and direct Lord of Illusions. Barker was an executive producer of the film Gods and Monsters, which received major critical acclaim.
Barker is a prolific visual artist working in a variety of media, often illustrating his own books. His paintings have been seen first on the covers of his official fan club magazine, Dread, published by Fantaco in the early Nineties, as well on the covers of the collections of his plays, Incarnations (1995) and Forms of Heaven (1996), as well as on the second printing of the original UK publications of his Books of Blood series.
A longtime comics fan, Barker achieved his dream of publishing his own superhero books when Marvel Comics launched the Razorline imprint in 1993. Based on detailed premises, titles and lead characters he created specifically for this, the four interrelated titles — set outside the Marvel universe — were Ectokid,
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Displaying 1 - 3 of 3 reviews
September 6, 2018
The first story is the highlight in this one - 'Coming Home.' A cenobite is allowed to return home to entrap the soul of the brother who sold him out. Jimmy Palmiotti's art is rather good - the facial expressions are great.
After that though - bleugh. The next two stories deal with hell being accessed through a play script and a film. John Van Fleet does the art on 'The Haven on Hell Street' and I really hate his art style and the story is super dull - I think the only thing to recommend it is the idea that the road to hell is paved with good intentions - but honestly don't waste your time, there are far better stories that do this. 'Losing herself to the Part' at least features a cenobite. so-so art, but not too keen on the story largely because the victims seem to survive which just doesn't work for my concept of the hellraiser mythos. It plays with the idea of actors going through mental hell to give a convincing performance but sadly feels like a story in which the hellraiser content is merely tagged on.
The final tale 'Inside the Laager' is written by Larry (Lana) Wachowski (of Matrix fame) -sadly I truly loathed this one - it has barely any hellraiser content whatsoever and is a confused mess dealing with issues of racism and war - we jump back to zulu, forward to apartheid and then into the future? to neo-nazis. Joe Barruso's ugly art really does nothing to elevate this one.
Some of the interior full page illustrations between stories are gorgeous but the stories are pretty poor and this volume adds nothing to the hellraiser mythos.
After that though - bleugh. The next two stories deal with hell being accessed through a play script and a film. John Van Fleet does the art on 'The Haven on Hell Street' and I really hate his art style and the story is super dull - I think the only thing to recommend it is the idea that the road to hell is paved with good intentions - but honestly don't waste your time, there are far better stories that do this. 'Losing herself to the Part' at least features a cenobite. so-so art, but not too keen on the story largely because the victims seem to survive which just doesn't work for my concept of the hellraiser mythos. It plays with the idea of actors going through mental hell to give a convincing performance but sadly feels like a story in which the hellraiser content is merely tagged on.
The final tale 'Inside the Laager' is written by Larry (Lana) Wachowski (of Matrix fame) -sadly I truly loathed this one - it has barely any hellraiser content whatsoever and is a confused mess dealing with issues of racism and war - we jump back to zulu, forward to apartheid and then into the future? to neo-nazis. Joe Barruso's ugly art really does nothing to elevate this one.
Some of the interior full page illustrations between stories are gorgeous but the stories are pretty poor and this volume adds nothing to the hellraiser mythos.
May 13, 2014
Bill did warn me that not all the stories were very good, this one definitely hit a low. Snuff films, assholes even when they tried to do more serious stories about homeless and apartheid they just feel flat cause it was still just the same basic plot reused time after time. The cover says, now bi monthly which may explain why the content was much poorer. The only redeeming thing about this was the different art styles.
August 8, 2019
you gotta love this series man
Displaying 1 - 3 of 3 reviews