Posts Tagged ‘H.P. Lovecraft’

Radio 4 Serialising New Version of ‘The Case of Charles Dexter Ward’

May 21, 2020

Interesting news for fans of the Horror writer H.P. Lovecraft. Radio 4 begins a new version of his short story, ‘The Case of Charles Dexter Ward’ on Monday, 25th May 2020. It’s split into ten parts, and is being broadcast on weekdays at the same time of 7.45 pm. It’s been updated by the show’s writer, Julian Simpson, so that the the pair investigating Ward’s disappearance from a secure psychiatric hospital are a couple of podcasters, Matthew Heawood and Kennedy Fisher. In several of Lovecraft’s short stories, the main characters’ final act is to write down their adventures for others to find just before they’re finally killed or captured by whatever nameless cosmic horrors are pursuing them. ‘The Call of Cthulhu’, in which a sailor, who has narrowly survived an encounter with the malign elder god in his sunken island of R’lyeh, and writes down his account of the experience shortly before his own death, is one classic example of this. However, as it’s now 2020 instead of the 1920s, and it’s for the radio, Friday’s edition of the show, according to the Radio Times, has the pair uncovering his audio files.

This could be good. The Beeb has broadcast some of Lovecraft’s works before. Radio 4 Extra a few years ago serialised ‘At the Mountains of Madness’, which was read by a narrator. That seemed to stick faithfully to Lovecraft’s text. While this obviously takes a few liberties, it could still be worth listening to. On the other hand, it could be like the BBC 1’s version of the War of the Worlds last year, which diverged so much from Wells’ book that it was ultimately disappointing. Let’s hope it isn’t.

Bad Taste Movie Alert! Charles Band’s ‘Corona Zombies’

April 27, 2020

Readers of this blog will know that I have a taste for Science Fiction, and some Fantasy and Horror, as well as movies that are so spectacularly bad or trashy that they’re hilarious or simply weirdly entertaining. It’s a type of cinema that’s been dubbed ‘Badfilm’ or ‘psychotronic’, and consists largely of low budget B-movies and their imitators. In recent years there have been a number of SF, Fantasy and Horror comedies that have deliberately parodied these films. Enough people love horrendously bad movies to have made The Room into a hit film despite it being judged one of the worst films of all time.

Half the world is in lockdown because of the Coronavirus crisis, but this hasn’t stop the masters of schlock horror producing their wares. I am therefore very pleased to inform you that the master of low budget ‘Orror’, Charles Band, has released his latest masterpiece of bad taste: Corona Zombies. I found a review of it and a trailer on the excellent website, Moria, which is an encyclopaedic collection of reviews of SF, Fantasy and Horror films.

It’s plot is very simple. A young woman, Barbie, comes back to her home in a trailer park to put on the news, where she learns that a special police unit, Corona Squad, has been formed to investigate the hijacking of a consignment of toilet paper. In the course of doing their duty, they’ve been attacked by a horde of ravening zombies. The film was completed in the very short space of a month, and the original footage shot for this epic only has three actors – the woman playing the heroine, a bloke who appears at various points in makeup as a zombie, and another woman, who’s just a voice at the end of the telephone when Barbie phones the authorities wondering what’s happened. The rest of the movie – 75 per cent of it – is made up of old footage from the 1980 Italian horror movie, Zombie Creeping Flesh. Which has been taken by Band and redubbed to give it deliberately silly dialogue. Band also recycles a few pieces of footage from one of his movies, Zombies vs Strippers.

Band first appeared in the 1980s when he formed Empire Pictures and then Full Moon. He’s responsible for a string of low budget schlock flicks, such as Ghoulies. However, Empire were also responsible for a couple of excellent ’80s horror movies by Stuart Gordon and Brian Yuzna, Re-Animator and From Beyond. Loosely based – and very loosely at that – on short stories by the cult SF/Horror writer H.P. Lovecraft, these had very good creature effects and went in for over the top splatter, so that they didn’t take themselves too seriously. Both Re-Animator and From Beyond have become classics of ’80s Horror. Re-Animator was praised by critics at the time for its wry humour. It starred Jeffrey Coombs as mad scientist Herbert West, who has discovered a serum to reanimate the dead. In one scene West makes a deadpan joke about getting parts as injects a severed head and its former body.

Band himself, however, doesn’t seem to have risen to these cinematic heights, and simply continued to grind out his low-budget epics, often using old footage from his previous movies. He’s not alone in this. Roger Corman used to do it. So did Herschel Gordon Lewis and Samuel Z. Arkoff. I think it was Arkoff, who used to buy up foreign language European movies, edited and re-dubbed them, and then released them to unsuspecting American public as completely new movies. I’ve got a feeling one of his works of staggering genius was Billy the Kid Versus Dracula. He was certainly responsible for Sign of the Gladiator. This was originally an Italian sword and sandal epic set just after the fall of Rome. It had nothing to do with gladiators, but movies about them were in vogue at the time and one of the characters had been a gladiator. So he bought it, changed the title, did a bit of editing, and behold! Another masterpiece to wow the paying public. Band here seems to have followed their methodology.

Lewis and Arkoff released their movies as serious films, but Band is different here in that the film’s meant to be funny. There are apparently a lot of jokes about toilet paper shortages, as well as the new vocabulary that’s come in with the crisis, such as ‘flattening the curve’ and ‘social distancing’. The Coronavirus crisis itself isn’t funny, but it is important that people all over the world keep morale up. It’s why there’s a short film in between the programmes on the Beeb most nights in which an unseen narrator recites a poem about how we should all keep our spirits up, while inspiring images of ordinary British life, including Dad’s Army, flash by. It’s one of the reasons why every Thursday we’re all out on our doorsteps clapping for the NHS. We can keep our spirits up by laughing. And one of the ways we can do that, is through trashy films in deliberately bad taste. Like Corona Zombies.

Moria gave this splendid example of American cinema a single star, meaning that it’s rubbish, and warned that although it was the first of such movies, it wouldn’t be the last. Which to aficionados of badfilm is probably an endorsement of a promise of lots of similar horrific goodies to come. Be afraid. Be very afraid.

Unfortunately all the cinemas are close, so I have no idea where you’d see it. On DVD or streaming service, perhaps.

The Morie review of this work of cinematic genius is at:

Corona Zombies (2020)

Cartoon – The Tories: Nightmares of the Flesh

March 23, 2020

Here’s another of my cartoons lampooning and attacking their Tories and their noxious leading members. In this case, it’s influenced by a few of the ‘body horror’ films of the 1980s – The Thing, Society and From Beyond, and one of the early ‘Nemesis the Warlock’ strips in 2000 AD, ‘Killerwatt’. Body horror is that part of the Horror genre, where the human body mutates and takes on warped, twisted forms, though I think it can also include the ‘torture porn’ subgenre, in which people are tortured and mutilated.

In The Thing, an American base in the Antarctic discovers a crashed UFO, from which an alien escaped to infect members of the base’s team and their animals. The alien replicates and hides by infecting other creatures, devouring them at a cellular level but copying their form – until it finally reveals itself by twisting itself into weird, hideous forms. As the bodies mount, and successive characters are revealed to have been infected and taken over, paranoia mounts. The horror is as much in the fear and distrust the characters have of each other, as of the grotesque appearances of the Thing itself.

From Beyond, directed by Stuart Gordon is roughly based on the short story, ‘Beyond the Wall of Sleep’ by H.P. Lovecraft. However, the film bears little resemblance to the story that inspired it. In the film, two scientists, Tillinghast and Dr. Pretorius, are using a device, the resonator, to peer into a unseen dimension surrounding our own and its denizens. Tillingast is arrested for murder after one of the creatures from that dimension then appears and bites the head off his superior, Pretorius. He takes a curious policeman and a female psychiatrist from the mental hospital in which he has been confined back to his laboratory, and set the resonator running to show them he’s telling the truth. But each time they switch on the machine, Pretorius appears, in progressively grotesque forms as it is revealed that he’s become a monster of hideous appetites. The slogan for the movie was ‘Humans are such easy prey’.

In Society, directed by Gordon’s collaborator, Brian Yuzna, the horror is mixed with social comment aimed squarely at the class system of Reagan’s America. It’s hero is a teenage lad, Bill Whitney, who finds out that he’s really adopted, and his upper class family, their friends and colleagues, are really monsters. These creatures have total control of their bodies, which they can deform and twist like rubber or plastic. They are predatory and exploitative, feeding on ordinary humans in orgies in which they melt down almost to a liquid state to feast on their victims.

It’s hard not to see this as a comment on the exploitative, predatory nature of the rich business class set free by Reagan and the Republicans.

But these films were anticipated in their horrors by 2000 AD and ‘Nemesis the Warlock’. Created by comics veterans Pat Mills and Kevin O’Neill, the strip was set thousands of years in the future, when humanity had moved underground, away from the devastated surface and the planet’s name was now Termight. Ruling Termight was Torquemada, grand master of the Terminators, a quasi-monastic order, who had turned humanity’s fear of intelligent aliens into a religion and led wars of extermination against them. Opposed to him was the alien hero, Nemesis, and his resistance organisation, Credo. The character first appeared in the two ‘Comic Rock’ strips, ‘Going Underground’ and ‘Killerwatt’ in 1980, several years before the above films. In the latter story, the alien chased Torquemada down the teleport wires the grand master was using to get to his capital, Necropolis, after his train journey overland was interrupted by a gooney bird, a colossal bird creature resembling, or evolved from, the Concorde airplane. As the two raced down the wires, they had to cross the Sea of Lost Souls, a nightmare sea of neutrons and twisted bodies created when a gooney bird sat on the teleport wires.

Two panels showing the Sea of Lost Souls from ‘Killerwatt’. Art by that zarjaz master of the macabre, Kevin O’Neill.

In this cartoon, I’ve drawn a similar landscape, complete with surfers, where the denizens of the sea are Tory politicos. They are Boris Johnson, David Gauke, Dominic Cummings, Jacob Rees-Mogg, Nicky Morgan and Theresa May. I hope you enjoy it, and that it doesn’t give you nightmares. Oh yes, and what you see behind them is supposed to be giant tongues, in case you thought it was anything else.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Cartoon: From Below Journalistic Standards

February 2, 2020

Welcome to another of my cartoons satirising the Tories. In this one I try to send up two of the most notorious of their press lackeys – Rebecca Wade and her boss, Rupert Murdoch. The cartoon’s inspired by the 1980s Lovecraftian Horror flick, From Beyond by Stuart Gordon and Brian Yuzna. Gordon and Yuzna have made a number of films based on the works of H.P. Lovecraft, beginning with Reanimator, which remains probably the best known of them. Based very roughly on Lovecraft’s story ‘From Beyond the Wall of Sleep’, The film is about a pair of scientists, who attempt to see into unknown dimensions beyond our own using a device, the resonator, which stimulates the pineal gland. One of the entities attacks and kills the lead scientist, Dr. Pretorius. His assistant, crawford Tillinghast, is arrested and confined in a lunatic asylum. He then attempts to clear himself by taking a policeman, Bubba Brownlee , and female sychiatrist Katherine McMichaels back to his laboratory to show them he’s telling the truth about the experiments. Setting the resonator running again, Pretorius returns, gradually mutating into a terrible monster intent on evil. The film’s slogan was ‘Humans are such easy prey’, which became the comment in the cartoon because of the Murdoch press’ complete contempt for press regulators and their vain attempts to uphold journalistic standards.

I’m afraid the text isn’t easy to see, as the red I used is too close to the background purple. But I hope you can still make it out.

Enjoy!

 

Lookalikes: Eric Pickles and Monster from H.P. Lovecraft

January 28, 2020

Mike yesterday put up a piece mischievously suggesting that Sajid Javid, the current Chancellor of the Exchequer, bears an uncanny resemblance to the Dr. Who villain, the Collector, from the Tom Baker era story The Sunmakers, and also Gollum from Lord of the Rings. Javid was posing in publicity photo with the new 50 pence piece, which will be issued to mark Brexit. And yes, he does look somewhat like Gollum, shown in a still from the movie in which he peers at the One Ring.

In the same spirit, I’ve also noticed an uncanny similarity between the former Tory minister, Eric Pickles, and a monster in Tim White’s awesome cover painting for the third volume of Grafton’s H.P. Lovecraft Omnibus, The Haunter of the Dark.

Eric Pickles

Lovecraftian Horror

Of course, there’s no similarity whatsoever between stories of a group of monsters aiming to enslave and destroy humanity, and the creatures of H.P. Lovecraft.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mr H Reviews Praising New Lovecraft Movie ‘The Colour Out Of Space’

January 26, 2020

Something different from politics this time, which I hope will pique the interest of fans of the 20th century SF/Horror writer H.P. Lovecraft. Richard Stanley has directed a film version of Lovecraft’s short story, ‘The Colour Out Of Space’. Starring Nicholas Cage, Joely Richardson, Tommy Chong and others, the film’s due to be released in Britain on the 28th February.

Mr H Reviews is a film news and reviews channel on YouTube, largely specialising in SF, Horror and superhero flicks. The titular presenter is a massive fan of H.P. Lovecraft, who wrote tales of cosmic horror and madness for pulp magazines such as Weird Tales. The film is largely the work of Richard Stanley, who is best known for his SF movie Hardware. This was about a sculptress in a decay future city, whose partner finds the remains of an unknown robot in a radiation-poisoned desert. He brings it back to her so she can turn it into art. When she reassembles it, it is a lethally efficient military robot that then goes on a killing spree to fulfill its programming. The film was extremely similar to a short tale illustrated by the mighty Kevin O’Neill in 2000AD, and Stanley lost the case when the comic sued for plagiarism. Stanley doesn’t seem to have a directed a motion picture since the debacle of The Island of Dr Moreau back in the 1990s. This fell apart, and Stanley was sacked as director, largely because of the casting in the title role of Marlon Brando. Brando behaved extremely bizarrely, making odd demands and requests and seems to have been determined to have the movie shut down. With costs mounting and shooting overrunning, Stanley was sacked and the film completed by another director. The script was also written by Amaris and has superb cinematography by Stephen Annis, who has also made videos for Florence and the Machine.

Stanley is, however, a superb director and Hardware is highly praised. In this review Mr H gives fulsome praise to the movie without giving too much away. Based on the short story of the same title, this is about a surveyor in Arkham telling the story of the strange events in order to try and make sense of it. Something strange falls out of the sky and begins to change the people and environment. The humans suffer bouts of madness, but in contrast to this the environment grows ever more beautiful. The visitor from space is an alien creature, and Mr H praises the work that has gone into it. He says that the film is like Annihilation, which is also about something from space falling to Earth and changing the environment, making it bizarrely beautiful. However, H believes that the Lovecraft film is better. He also states that the creature in it is similar to The Thing, John Carpenter’s classic ’80s adaptation of John W. Campbell’s short story, ‘Who Goes There’. The creature work is excellent and it is more of a homage to the earlier film, rather than a rip-off.

There are a number of Easter eggs in the movie referring to earlier adaptations of Lovecraft’s work. One of these is the name of one of the daughters, Lavinia. I also noted scrawled on the wall in one of the video clips played in this review is the slogan ‘No flesh shall be spared.’ It’s a line from Mark’s Gospel which was used as the slogan for Stanley’s Hardware.

The film’s intended to be the first of a series set in Lovecraft’s universe. Unfortunately, it doesn’t have wide distribution over here and is only showing in Showcase cinemas. But he highly recommends seeing it, even if you have to drive several hours to the nearest cinema.

I’m a fan of Lovecraft’s fiction, which unfortunately has had a very uneven history when it comes to film adaptations. This one looks extremely promising however.

It’s on in the Showcase cinema in Cabot Circus in Bristol, and I shall hope to see it. If you’re interested, then Google to see if its playing anywhere near you.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Trailer for Movie of HP Lovecraft’s ‘The Colour out of Space’

November 8, 2019

I found this trailer for a forthcoming movie version of H.P. Lovecraft’s short story, The Colour out of Space, over on YouTube. It stars Nicholas Cage and is directed by Richard Stanley.

Lovecraft was a master of cosmic horror, and the creator of the Cthulu mythos about malign, alien gods that seeped down from the stars untold aeons ago. Although they were banished from Earth by the ancient Elder Races, they are constantly seeking ways back. And when the stars are right, and the sunken city of R’lyeh rises from the deep, Cthulhu, the bat-winged, octopus-headed god will rule over a mankind reveling and killing. And in untold aeons even death may die.

The trailer says it marks the return of Stanley to directing. This is welcome news. He made an excellent film about a berserk robot going on the rampage in a decaying future, Hardware, back in 1989.  2000AD sued and won for plagiarism, as the film’s plot appeared to be stolen from a short story from comic, ‘Shocc!’, drawn by the master of macabre art, Kevin O’Neill. This was about an explorer, who finds a war robot and gives it to his girlfriend. It then comes back to life, and goes on the rampage. The film has cameos with Lemmy, a member of the Goth band The Mission, and Iggy Pop as the DJ, Angry Bob, and the soundtrack includes Motorhead’s ‘Ace of Spades’, The Mission’s ‘Power’ and Pil’s ‘Order of Death’. There’s a reference to the earlier film in the trailer. A shot of the family’s kitchen shows a framed Biblical quotation, ‘No flesh shall be spared’. This was also used in Hardware to explain the B.A.A.L. robot’s genocidal mission to exterminate all humanity.

Stanley disappeared from directing movies, although he continued to make documentaries and pop videos, after the debacle of a version of H.G. Wells’ The Island of Dr. Moreau. Stanley originally intended it to be a relatively low budget film, but the studio wanted a big star. Stanley chose Marlon Brando. Big mistake. Once in the movie, Brando proceeded to do his best to wreck it through bizarre demands and massively arrogant behaviour. There was a documentary made about this whole shambles a few years ago. One of the actresses provided an example of Brando’s weird, cavalier attitude to the film. She went to him to ask the great Hollywood star for acting tips. He told her to carry on doing whatever she liked, because it didn’t matter as the film would be shut down in three weeks anyway. He also asked a member of the production crew if they should ‘f**k with’ one of the producers. When the man asked why, as the producer was a good guy, Brando made a very lame excuse. It’s pretty clear from this that Brando didn’t have any respect for the film. With costs and time overrunning, Stanley was sacked, and a veteran Hollywood director brought in instead to salvage something from the mess. The result apparently is a competent film, but it’s not the really amazing movie that would have appeared if Stanley had been able to complete it according to his vision.

It’s a pity that there was that plagiarism case between 2000AD and Stanley over Hardware. 2000AD want to produce films based on their characters. Two films have been made of ‘Judge Dredd’, but both have performed less than expected at the box office. The most recent, 2012’s Dredd, starring Karl Urban, was a critical success. There’s too much enmity there, but I’d say that if anyone could direct a great movie based on 2000AD’s cast of heroes, Stanley is the man for the job.

Looking at the trailer for the movie, it seems to have rejected Lovecraft’s original plot for the Hollywood cliche of a happy American family that moves into a rural area, only to find something sinister and threatening. It’s a long time since I read the original story, but I don’t think it’s the one Lovecraft wrote. Still, it looks like it could be a really good film, even if it is somewhat less than faithful to Lovecraft.

And to show everyone what Stanley’s Hardware was like, here’s a video for Pil’s ‘Order of Death’ using clips from the film from Hert Zollner’s channel on YouTube.

Enjoy!

Brian Cox Reveals Great Cthulhu on Pluto

June 27, 2019

Brian Cox’s astronomy series, The Planets, shown on BBC 2, came to an end on Tuesday. After taking the viewer on a tour of the solar system and its creation and history, looking at Mercury, Venus, Mars, Jupiter, and Saturn, it finished by looking at the planets in the freezing depths of space almost at its limits – Uranus, Neptune, Pluto, and the various other dwarf planets believed to have come in from the Kuiper Belt, like Quaeor, Varuna, Eris, and one of the strangest objects discovered in the group, Ultima Thule. This last has a dumb-bell shape, formed by two spherical asteroids collided and fused. It also showed some of the spectacular photographs sent back by recent NASA probes into that almost unimaginably remote part of the Solar system.

Far from being a featureless ball of ice, Pluto was shown to be a world of mountains, with craters like the Moon and a heart-shaped plain. This was believed to have been created through liquid water welling up from beneath its icy crust, smoothing over any impact craters on the surface. And one of these topographical features had a name to delight fans of H.P. Lovecraft’s SF/Horror fiction: Cthulhu Macula. Of course, the cold, dim, icy edge of the solar system is very suitable for a place named after one of the malign cosmic gods of the Cthulhu mythos, the Great Old Ones, who seeped down from the stars. Like Great Cthulhu himself, sleeping in his house in the sunken island of R’lyeh in the Pacific, they are dormant, just waiting their chance to return and once again subdue humanity to their hideous power. It also shows how there must be at least one person in NASA, if not the rest of the Astronomical Union, who’s into Lovecraft.

But there’s another, historical reason why this part of Pluto should have been named after one of Lovecraft’s monstrous fictional creations. One of the evil extraterrestrial races in his short stories is the Fungi from Yuggoth, otherwise known as Pluto. These are space travelling giant insects, at least in appearance, who have established bases on Earth. They are masters of surgery. Unable to bring their agents to their homeworld complete, they surgically remove their brains, keeping them in a suitable life-support container when they fly through the depths of space. Lovecraft wrote the story in which they make their appearance the year Clyde Tombaugh discovered Pluto, and so wrote the newly discovered world into the story.

The Planets has been an excellent series, not least for its computer recreations of scenes from the solar system’s remote past. It also had a fitting choice of band for its signature music: Muse. The Bournemouth band have written a series of hits about space and physics, like ‘2nd Law’, ‘Supermassive Black Hole’, while the video for ‘Sing For Absolution’ had them as astronauts fleeing an Earth in the grip of a new Ice Age, to travel into a future when the Sun is hotter and the Earth a burned cinder.

I don’t know if there will ever be a crewed mission to Pluto. Given that it’s five decades since we put men on the Moon, and are only now considering returning there, it’s not going to be any time soon. And I really doubt that we will find Great Cthulhu himself there when we do. Perhaps that’s what was need to keep up interest in space exploration: we should have found Cthulhu there, in his city where the angles are wrong, waiting for when the stars are right.

Ia! Ia! Cthulhu R’lyeh ftagn!

 

Xelasoma on his Favourite Artists of the Fantastic

February 3, 2019

And now, as Monty Python once said, for something completely different. At least from politics. I found these two videos from the artist Xelasoma on YouTube, in which he discusses six masters of fantasy art and how they have influenced him. They are Roger Dean, Patrick Woodroffe, and Rodney Matthews in video 1, and Jean ‘Moebius’ Giraud, Philippe Druillet and Ian Miller in video 2.

Roger Dean will be remembered by fans of ’70’s prog rock for his amazing album covers for the bands Yes and Asia. Woodroffe and Matthews are also artists, who’ve produced record covers as well as book illustrations. Moebius and Druillet are two of the geniuses in modern French SF comics. Moebius was one of the ‘Humanoides Associes’ behind the French SF comic, Metal Hurlant. Among his numerous other works was Arzach, a comic, whose hero flew across a strange fantastic landscape atop a strange, pterodactyl creature. As Xelasoma himself points out here, it’s a completely visual strip. There’s no language at all. It was also Moebius who designed the spacesuits for Ridley Scott’s classic Alien. Xelasoma describes how, after he left art school, Moebius spent some time in Mexico with a relative. This was his mother, who’d married a Mexican, and the empty, desert landscape south of the border is a clear influence on the alien environments he drew in his strips. Xelasoma also considers him a master of perspective for the way he frequent draws scenes as viewed looking down from above. And one of the pictures illustrating this is of a figure in an alien planet looking down a cliff at a sculpture of rock legend Jimi Hendricks carved into the opposite cliff face. Druillet, Xelasoma feels, is somewhat like Moebius, but with a harder edge, drawing vast, aggressive machines and armies of fierce alien warriors. He’s also known for his soaring cityscapes of vast tower blocks reaching far up into the sky, which also influenced Ridley Scott’s portrayal of the Los Angeles of 2019 in Blade Runner. The last artist featured, Ian Miller, first encountered in the pages of the British Role-Playing Game magazine, Warhammer. His style is much more angular, deeply hatched and very detailed. Fans of H.P. Lovecraft will recognize several of the pictures Xelasoma chooses to represent his work as depictions of some of the weird, sinister gods from the Cthulhu mythos. They include not only Cthulhu himself, but also of the half-human, amphibious, batrachian inhabitants of the decaying port in the short story, The shadow Out of Innsmouth.

What Xelasoma admires about all these artists is that they don’t follow the conventions of modern western art established by the ancient Greeks and Romans and the Renaissance. They alter and distort the human form and that of other objects and creatures. He describes Dean’s landscapes as organic. Patrick Woodroffe and Matthews also create strange, alien creatures and landscapes, and with the creatures Matthews depicts also very different from standard human anatomy. Many of the creatures, machines and spaceships in Matthews’ art are based on insects, and appropriately enough one of the bands whose cover he painted was Tiger Moth. This featured two insects dancing on a leaf. Another picture, The Hop, shows an insect band playing while other bugs trip the light fantastic in the grass, surrounded by items like used cigarettes. His humanoid figures are tall, stick thin, with long, thin, angular faces and immense, slanted eyes. Xelasoma admires the way Matthews can take a train or a deer, and turn them in something uniquely his, as he shows here. He states that he first encountered Dean’s and Woodroffe’s art in the art books his mother had, such as Woodroffe’s Mythopoiekon. He also identifies somewhat with Woodroffe, as neither of them studied at art school. Woodroffe was a French teacher, while for Xelasoma art was far too personal for him to submit to formal training.

Xelasoma points out that these artists were creating their unique visions before the advent of computers using the traditional artist materials of paint and brush, and before courses in SF, Fantasy and concept art were taught at colleges and universities. Nevertheless, he finds their work far more interesting and inspiring than modern SF and Fantasy art, which may be more anatomically accurate, but which, too him, seems very ‘samey’. He complains that it doesn’t make him hallucinate, which the above artists do. Well, I hope he doesn’t mean that literally, as that could be very worrying. But I know what he means in that Dean, Woodroffe, Matthews, Moebius, Druillet and Miller create strange, fantastic worlds that have a striking intensity to them. They seem to be complete worlds, either in the far past or future, or parallel realities altogether, but with their own internal logic drawing you into them.

Discussing their influence on him, he is critical of artists that simply copy the work of others, changing a few details but otherwise keeping to and appropriating the other artists’ own unique visions, some times trying to justify this by saying that their work is a ‘hommage’ to the others. Xelasoma is well aware that his own work is very different to the artists he talks about here, and that many of his viewers won’t be able to see their influence. But he goes on to describe how they have influenced him at the general level of form or composition, while he himself has been careful to develop his own unique style.

Dean, Woodroffe and Matthews have produced books of their work, published by Paper Tiger. Matthews and Miller also have their own websites, for those wishing to see more of their work. Moebius passed away a couple of years ago, but was the subject of a BBC4 documentary. There’s also a documentary about Roger Dean on YouTube, presented by that grumpy old Yes keyboardist, Rick Wakeman. Xelasoma believes in their fantastic depictions of landscapes and animal and human forms makes them as important and worth inclusion in museums and galleries as Graeco-Roman and Renaissance art. I wouldn’t go that far, but I would maintain that in their way, they are far more significant than many contemporary artists that have been promoted as ‘official’ art. Xelasoma’s documentary really shows only a few pieces from these artists’ works, and the bulk of these videos are about the particular impact they have on him. But nevertheless it’s a good introduction to their work, and explanation why they should be taken seriously as artists beyond their origins in popular culture.

Part I

Part II

BBC Drama about Horror Writer H.P. Lovecraft

October 30, 2018

This looks like it could be one for fans of the 1920s Horror/SF writer H.P. Lovecraft. Next Tuesday on Radio 4, 6th November 2018 at 2.15 pm Radio 4 are broadcasting a drama, ‘Talk to Me: H.P. Lovecraft’, by Sara Davies and Abigail Youngman. The blurb for this in the Radio Times runs

The strangest of all HP Lovecraft weird tales isn’t fiction at all but concerns his marriage to businesswoman Sonia Greene. The horrors which make Lovecraft’s fiction so chillingly effective may not have been merely a product of his imagination. (p. 139).

Weird Tales was the name of the magazine that published Lovecraft’s horror stories. Lovecraft is famous as the creator of the ‘Cthulhu mythos’, about a pantheon of evil alien gods – the Great Old Ones – that seeped down to Earth from the stars. They have been banished, but nevertheless still wait for their chance to return, when the stars are right and Great Cthulhu himself rises from the deep in the submerged city of R’lyeh. Either to destroy humanity, or bring about an unhallowed age of reveling and killing.

It’s hard to see how the cosmic horrors he described had any basis in reality. But Lovecraft himself was racist. He was anti-Semitic, despised Blacks and the non-White immigrants then entering New York and America. Recurring themes in his stories are racial decline, inbreeding and miscegenation. Not just with evil, non-human races, as in his short story The Shadow over Innsmouth, but also with other, human peoples. Cthulhu is worshipped by mixed race ‘mongrels’ like the rural people of Louisiana and the docks districts of the ports. He also had contempt for the rural ‘White trash’ of the southern US as well.

It’s questionable just how racist Lovecraft was. He was racist, but at the time so were many other Whites, and it’s actually debatable whether he was worse than most other people. I don’t know much about his personal life, except that he spent most of it in his home town of Providence, Rhode Island. I also think that his wife was Jewish. She said that she did her best for him, so that he would become a chrysalis out of which would emerge a great writer. She lamented that the great writer did indeed come forth, but that he became ever more distant from her. See the biography, The Strength to Dream. I suspect the drama’s about his deteriorating relationship with his wife, as he moved away from her to produce his tales of cosmic horror.