Posts Tagged ‘‘Society’’

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Thought Slime’s Top Anti-Capitalist Horror Movies

November 1, 2018

This is a suitably Hallowe’en themed video from the left-wing American vlogger, Thought Slime, which I found on YouTube. In it, he discusses the top five horror movies with an anti-capitalist messages. They are George A. Romero’s original Dawn of the Dead at 5, The Stuff, 4, Alien at 3, John Carpenter’s They Live, 2, and Society at no.1.

In Dawn of the Dead, the heroes take refuge from the zombie apocalypse in a shopping mall. However, the zombies themselves are drawn to it because of its importance to them in their former lives. Thought Slime then discusses how the film thus presents zombies as a metaphor for mindless consumerism. He also acknowledges that Romero himself didn’t intentionally put an anti-capitalist message in the movie, and only realized that he had after he had made it.

The Stuff is, Thought Slime says, not a good movie. One of the actors insisted on improvising his own lines, and it shows. But it is very clearly an anti-capitalism film. It’s about an evil corporation that finds a highly good seeping out of the ground, and decides to package it as a new foodstuff. Not only is this mess addictive, it also gradually takes over the brains of those who eat it, and eats them from the inside out. The company isn’t worried about this, because it’s making them lots of money, and so they kill Federal investigators and anyone else who might discover its evil secret. The movie also includes fake adverts for this Stuff, and has it shown served in restaurants.

Thought Slime explains just how close this satire is to the behavior of amoral companies in the real world. The tobacco companies knew about the lethal effects of the product they were selling, and continued to promote it. And Big Oil is very aware of the damage petrochemicals are doing to the environment, but are intent on selling them because of the massive products they make. Even though this threatens to destroy the world.

Alien also has an anti-capitalist message, as the real villain isn’t the titular extraterrestrial creature, but the Wayland-Yutani Corporation. The Alien’s like a wild animal, a force of nature. But the Wayland-Yutani corporation, which employs the Nostromo’s crew, are completely amoral. They want it for their weapons division, and considers the crew expendable. Thought Slime compares their disregard for the safety of their workers with that of the corporations mining rare earth elements now, who similarly aren’t concerned with protecting the lives of the miners they employ. He also ask which company would also be so set on acquiring such dangerous weapons. As he ponders, the name ‘Raytheon’ appears on the screen, the name of one of the big American weapons manufacturers. He also makes the point that the Alien itself is a metaphor for sexual assault and the invasive nature of pregnancy, but doesn’t elaborate on it as it has been better explained elsewhere.

In They Live, an unemployed vagrant, played by the wrestler ‘Rowdy’ Roddy Piper, discovers a pair of magic sunglasses that reveal that the Earth has been taken over by evil capitalist aliens, and the subliminal messages that they put in banknotes, the press and adverts to keep people enslaved, obedient and consuming. The aliens represent current capitalism and the capitalist class, while the spectacles are a metaphor for class consciousness. He discusses how the Nazis have taken this film as an anti-Semitic metaphor about the Jews, and makes the point that this is angrily denied by the director and writer, John Carpenter, himself.

He argues that within the film there is no alternative to capitalism, and compares this to Noam Chomsky’s book on propaganda. This argues that the major news outlets and the media all have this bias. He also recommends Mark Fisher’s Capitalist Realism, which argues that capitalism ensures that capitalism is the only economic model people will consider.

He puts Society in top position because, if They Live is didactic about the evils of capitalism, Society is practically a call to revolution. In this movie, the rich are a completely separate species of goo monsters with predatory sexuality that prey on the poor. The hero is a normal lad a family of them has raised, but that’s just a joke they’re pulling at his expense. He can never really be one of them. Class mobility is an illusion. They control the politicians, education system and the police. Anyone who tries to expose them is consumed by the system. It isn’t a conspiracy movie, like They Live, which suggests that before the aliens arrived, society was just and good. But in Society, there has never been a good past. The goo monster rich have always been in control. The goo monsters don’t need to do what they do. They simply behave as they do because they enjoy it. And humans are, in this movie, a metaphor for the poor.

He concludes by saying that he doesn’t think that these movies were made to turn people anti-capitalist, but framing it that way makes it easier to communicate an anti-capitalist message to people. Horror movies are uniquely positioned to do this as they are a commodification of death and suffering. They’re considered more mercenary than other movies, are cheap and easy to make, and can turn a big profit at the box office, even if they’re terrible. Here the opening titles come up for the film, Ghoulies, which he explains at the beginning of the video is one of his favourites. And even when a horror movie is good and artistically accomplished, it inspires scores of cheap knock-offs. It’s considered a low genre which provides cheap, almost pornographic thrills. Thought Slime then argues that this attitude is rooted in classism. In other words, he says, hoity-toity types ignore horror movies. Which is why they’re good for reaching out to people against capitalism.

Warning: There is some foul language, and it naturally contains clips from the films it mentions. Though as this video was posted on YouTube, it shouldn’t be too horrific for the proverbial People Of A Nervous Disposition.

Nazi Stormtrooper Publishes Book on Satanism, with Ideas Drawn from Horror Novels

April 17, 2016

I’m sorry I haven’t been posting things on here for over a week or so now. I’ve been doing other things, that have kept me busy. Thanks, however, to everyone who’s persevered with the blog in that time and kept reading, just in case. Your interest and support is appreciated.

I found this interesting little article by Matthew Collins over on the Hope Not Hate site. It seems Ryan Fleming, a member of the National Front has published a book, the Codex Aristarchus, on Satanism. Fleming is a member of the Nazi Satanist group, The Order of the Nine Angles. He also knows a thing or two about evil. In the book, he quotes extensively Ian Brady, the notorious Moors Murderer, and the book puffs itself as ‘coming from the blood-stained moors of England.’ He was also sent down by the beak for two years for forcing a vulnerable young man to perform a sex act on him.

So, this is a guy, who can be reasonably described as vile and sick.

See the article at: http://www.hopenothate.org.uk/blog/insider/nazi-sex-offender-releases-book-4836

What struck me is that the book promises to teach its readers how they can turn themselves into an astral vampire, so they can feed off the human herd. Interestingly, the term he uses for ‘astral vampire’ is ‘wamphyri’. This should be familiar to aficionados of the British horror writer, Brian Lumley. It comes from Lumley’s own vampire novels, the ‘Necroscope’ and ‘Blood Brother’s series.

Necroscope Wamphyri pic

Lumley’s vampire novels are a strange mixture of the supernatural and straightforward science fiction body horror. The vampires – wamphyri – are humans infected with a pernicious symbiont, a tape worm-like creature that warps their minds and bodies. Those infected not only feed on blood, but they also develop the ability to warp and mould their bodies into any shape, rather like the demonic members of the upper classes in the Brian Yuzhna 1980s horror flick, Society. Or the mutating Doctor Praetorius in Yuzhna’s From Beyond. Back in their home dimension, the vampires’ lairs, their eyries, are made out of the mutated body parts of their victims, which they sculpt into the required shapes using their arcane skills in creating monsters. This element of the novels ultimately derives from the various mad scientists, and their experiments in manufacturing monsters from the ghastly fiction of H.P. Lovecraft. Which is entirely natural, given that Lumley started out writing horror and fantasy fiction within Lovecraft’s own Cthulhu mythos.

As for astral, or psychic vampires, I think this comes either from Aleister Crowley, or from Anton LaVey, the late head of the Church of Satan. The connection between Lumley’s vampires and Satanism is that in his book, Shaitan is the first vampire. It is, however, only hinted that the character is the fallen angel of Judaism, Christianity and Islam. Lumley’s Shaitan has no real memory of who or what he was before he fell and turned up on the vampire creatures’ extra-dimensional homeworld, and his powers, although supernatural, are derived entirely from his infection with one of the creatures.

Lumley’s books are, however, straightforward works of Science Fantasy/ Horror fiction. They’re not remotely Satanic, except in the sense that they are set in worlds where supernatural evil is real. If anything, they’re more strongly influenced by Spiritualism – the Necroscope of the title, Harry Keogh, can talk to the dead rather like Spiritualist mediums. The last book in the series also shows a slight Christian influence, in that Keogh finally wins the battle against the vampires after they crucify him. But that’s it. There’s no great mystical teachings there, and the whole thing is purely for entertainment. Christopher Lee in an interview on Pebble Mill once described the Hammer Horror movies he was in as morality plays. Dracula rose from the grave to prey on the living, but after causing carnage and mayhem, good eventually won. Usually in the form of Peter Cushing with a stake in one hand and a hammer in the other. Lumley’s book are the same.

So, if you’re looking for a good book on vampires, I recommend Lumley. I read them about twenty years ago. They’re fun pieces of body horror, good wins in the end, and they don’t pretend to teach you any great mystical secrets of the universe. Although multidimensional mathematics is discussed with the disembodied souls of leading German mathematicians in the first book, Necroscope.

Or you could go to the all-time classic itself, Bram Stoker’s Dracula. As for wanting to be a vampire, you’re far better off watching the classic Hammer films and listening to Goth tracks like Bauhaus’ Bela Lugosi’s Dead (Undead, Undead). Those won’t teach you any great mystical secrets either, but then, neither will Ryan Fleming, or A.A. Morain as he styles himself as the book’s author. But unlike Fleming, Lumley, Stoker and Bauhaus don’t pretend to.