Tag Archives: Manic Exorcism

Necroscope – In Memory of Brian Lumley And The Dark Legacy He Left Behind

The recent passing of Brian Lumley left the world an emptier place as loyal fans stand together with heavy hearts at the loss of a true visionary. A visionary, yes, and what he envisioned – and, in turn – shared with us all has become the thing of untold magnificent nightmares.

Lumely was a true master of the macabre and worthy successor of the eldritch terrors originally introduced by H.P. Lovecraft. Without a doubt, the man’s extensive legacy of written horrors shall unendingly sink their dripping fangs into the beating veins of new generations yet to come. Those who discover Lumley’s chilling works are never left the same as though a radiance cast in ebony takes hold and slowly consumes the imagination.

“Since reading Lumley’s “Necroscope” series, I know that vampires really do exist!” —H. R. Giger

Lumley’s vampires dropped the romantics and are the lecherous children of Satan, who became the first vampire upon his expulsion from Heaven at the hands of his Almighty Father. Satan, dejected, lost, and insatiable stood as lord and sovereign of all demons of the night and spread his malignancy across the cold, dark corners of space.

The saga opens with Necrosope. Harry Keogh, the Necroscope has the unique ability to speak with the dead, the Great Majority as they’re known. The dead are restless, their spirits linked to their abysmal graves and after many long and lonely centuries, they crave for a chance to speak openly with the living once more. For that reason, they revere the Necroscope and divulge vital information when needed. As Necroscope Harry also unlocks a way for the dead to speak with one another and divulge vital information they’ve been sitting on for untold years.  

So imagine it this way. Upon dying Albert Einstein hasn’t stopped thinking but has had many long years to further compound his wisdom and theories but there’s no one to share his revelations with. The Necroscope builds the bridge to brilliant minds of the past and, in turn, learns from their wisdom. But the dead whisper of a terrible evil ravaging both the living and the departed

Set during the height of the Cold War both the East and the West have their ‘gifted’ agents and will stop at nothing to bring one another down. Unbeknownst to the paranormal high command in England the Soviets have their own type of Necroscope. A ghoulish man who torments both the living and (especially I might add) the dead, he tears the fetid guts from helpless cadavers to learn their coveted secrets, and, worst of all, the dead feel every single thing he does and are helpless to stop him. This Necromancer, Boris Dragosani, a ruthless KGB enforcer catches the attention of an ancient vampire, and the vampire, that Old Thing buried beneath an old Romanian ruin is ready to sink his evil seed into the Necromancer’s rotting soul as a way to spread his violent will from beyond the grave.

This is just the first book. As the series spreads out (and personally the 2nd is my favorite) we learn more about these demonic things, the vampires, and the hierarchy they exist in. How the vampires, the Vamphyri, come from a dark dimension outside of the world we know and hold dear. They’re compassionless, nearly unkillable, and hold their homeworld in an icy grip of unrelenting terror. They have invaded our world and with them brought the fell presence of their father Satan. Ok I’m gonna say it, these things are METAL AS FUCK!

As someone who consumes a lot of vampire lore (I grew up in Eastern Europe, friends, the very lands of the Vampyre!) I found the Vamphyri to be unlike any other kind of vampire we’re accustomed to. True, the classics are there such as the blood-drinking and aversion to sunlight. They also can morph … or maybe it’s just merely them letting down their masks, to reveal hideous faces with grotesque bat and wolf features. The other thing that really stands out to me is how damn near indestructible they are.  For example, cut the hand off one and it will sprout tentacles, eyes will suddenly bulge out and line it, and dozens of gnashing mouths ( filled with rows of fangs I might add) will start attacking you. It’ s not so easy to kill one of them. They are the children of pure evil and frankly take pleasure in that. They take, fuck, and eat whomever they so desire.

The series flows from the familiar roots of gothic horrors and gradually mutates into cosmic terrors. It grows and it builds like a fungal infestation and I found myself tearing through one book after another just to devour the next chapter in the saga. Lumely had a way of always hooking me. There were times I wouldn’t stop to eat until I finished a book. I would wake up at night thinking about the characters and worry for their safety.

One moment that really stands out to me is when a fetus calls out for help from a nearby cemetery and the whole fucking graveyard opens up as a legion of zombies march to protect the unborn child and his mother. Another one is when Harry raises a macabre troop of rotting Tartars, their bloodlust not satiated even after all these centuries in the grave, and they slaughter everyone in his way.

When it comes to vampire stories Brian Lumely certainly left his mark on the world. Necroscope’s been my absolute favorite vampire saga and I can’t imagine anyone coming close to the brilliance and imagination he possessed. I had the honor of meeting the man almost ten years ago. Got my copy signed that day and got to meet one of the few people who’ve sincerely inspired me to write. It’s with a heavy heart I write this but how could I not? The man will be missed but his legacy lives on.

Necrscope is only one of the many great contributions he made to the field of horror and bizarre tales. Lumley must also be praised for his extensive contribution to the Cthulhu Mythos, many of which I own. Some could argue few have worked more extensively in the eldritch world Lovecraft invented than Brian Lumley. If there’s anyone who has please let me know because I’ll be adding their work to my library soon. Fans also celebrate the incredible Titus Crow saga – that’s a whole article all on its own if we were to get into that.

Not to mention many fans hail Khai of Khem to be Lumley’s best work yet. Again, this is only the surface of his many darkly imaginative works.

What would these books be though without the awesome cover art? If you’re noticing a trend it’s because each of these covers were done by Lumley’s friend, the one and only Bob Eggleton. Both of these men brought us some amazing nightmares.

In closing, well what more can I say? He was a great man and one of the few heroes I was blessed to meet. I’m saddened his pen is now set aside and the typewriter that spelled vampiric horror for decades now sits in gray silence. Thank you for all the amazing stories, stories I got lost in. You took me on an adventure that started in my teens while I lived overseas and I’ve crossed the world with a copy of Lord of the Rings and a Necroscope book in my backpack. Who knew I would actually stand in your presence? Little ol’ me from St. Petersburg, Russia! What a world. Goodbye, kind sir, and again thank you.

Manic out

‘MASTERS OF THE UNIVERSE: REVOLUTION’ spoiler-free review

Many people have been asking for my opinion about Kevin Smith’s latest work on the He-Man franchise for Netflix. As a huge fan of He-Man, I am always excited to see new content related to my favorite fandom. I recently pre-ordered an Orko figure by Mondo and even took an extra job temporarily to feed my collector’s itch and expand my MOTU collection. He-Man was the first hero I ever knew and I’ve always been fascinated by the champions and evildoers’ conflicts across Eternia. As I looked back at my work, I realized (kinda shocked by) how much time I’ve dedicated to this subject alone. Fair to say I might be a little obsessed, to be honest.

A few years ago, when the trailers for Kevin Smith’s Masters of the Universe started appearing, I was excited to return to Eternia and enjoy new adventures. The show promised beautiful animation and had some great voice talents like Mark Hamil (The Joker, Batman Animated, and Arkham games series) and Tony Todd (Candyman, Hatchet, Venom in Sony Spider-Man 2). However, that enthusiasm quickly faded like a fart in the wind once the show actually streamed. I’m not one of the fans who hated it to the point of wanting Kevin Smith’s head on a silver platter, and I don’t think the show was as bad as festering hemorrhoid like many let on about. Frankly, I found the two MOTU Revelation shows to be sinfully boring. The biggest issue was the show’s blatant disregard for the established lore created by the talented and imaginative minds behind the legendarium.

So when MOTU Revolution was announced it was met by a very barren field with maybe an occasional cricket chirp. Maybe a yawn could be heard too. You follow? No one out there (but maybe a handful of folks) gave a single shit about anything more Smith’s team had to bring to Eternia. He already drove everyone off and, frankly, it would take nothing short of a miracle to bring back that offended fan base. Myself included. I was the target audience for a new MOTU series but not even I could dig deep enough to find one good fuck to give about Revolution.

I was completely surprised once Revolution finally streamed. I couldn’t stop watching it and found myself invested, excited, and even entranced by what I was seeing. It was like all that old magic came rushing back to me. Watching each episode back-to-back was a refreshing experience that felt like a return to the glorious days of high adventure. Swords and sorcery flowed across each consequential story, connecting them in a pattern that enhanced and deepened the lore and awe revolving around Castle Grayskull. The show joined both those who protect her and those sworn to take her by force in what can be nothing short of a true classic Ultimate Battleground – something that He-Man has always been known for.

Every episode is well-written, with magic vs technology, and good vs evil all woven together in a sovereign tapestry. Episode one sets the tone, and the series builds on it, culminating in an epic battle between the Masters and the Horde Empire, and, oh yes, He-Man battling none other than Skeletor. It’s a fantastic ending that lives up to the legendary comic runs.

I’ll do my best to avoid spoilers (and believe me I want to go over everything here) but Revolution is packed with throwbacks, homages, and plenty of Easter eggs. However, the show doesn’t rely on these nods to make the story work, and they aren’t just there to wink at the camera. Instead, they’re part of a larger tapestry that’s woven throughout the show and provide something new to discover with each rewatch, and it’s a testament to the show’s quality that I’ve rewatched this thing multiple times now. I also appreciate how Revolution not only respects the established He-Man lore but in fact, adds to it. That’s something not easily accomplished and they did so brilliantly.

Indeed the adventures continue and are a must-see. The team did their homework this time around (a sweet fan of mine said they must have read my articles…bless you for that) and set out to actually tell a genuine Masters of the Universe story worthy of Grayskull.

I would love to go over all the Easter eggs and surprises here so maybe that’ll be a new article. In the meantime do yourself a favor and watch MOTU Revolution.

Manic out!

The Resurrection of Godzilla – ‘Godzilla 1985’ And Its Triumphant Impact!

In my humble lifetime, I’ve watched Godzilla rise from obscure campiness confined only to the most niche corners of geekdom to all-out and absolute imperial sovereignty. No longer is he restrained by critiques for bad dubbing nor is he looked down on for rubber suits or string-pulled modeled fighter jets. Nothing is wrong with any of those things; they still hold a marvelous charm and irresistible fun. However, and if we’re being honest, the G-fandom’s always-known Godzilla (and his compatriot Kaiju) always deserved to be much more respected.

It is undeniable that we are currently living in an era where the King of the Monsters, Godzilla, has transcended the skepticism and thoughtless critiques that once surrounded him, and has now become a source of awe, terror, and wonder for the masses. The recently released movie, Godzilla: Minus One, provides clear evidence of the undeniable presence and power Godzilla holds over us all.

Godzilla: Minus One

Not too long ago, being a fan of Godzilla came with a harsh stigma. I remember being made fun of at school for talking about the few Godzilla films I owned. At the time, Godzilla was exceedingly rare and people thought there was something wrong with you if you were a fan. That scarcity meant that many people weren’t aware of what they were missing out on, and it was easier to mock the thing rather than discover how amazing it could actually be. Even my art teacher in 2nd grade made fun of me for choosing to draw Godzilla as a project.

It was extremely difficult to find any Godzilla movie at a store during those dark days, so owning any of them was considered a big deal. K-Mart sometimes had one or two, but it was a matter of some fucking luck to find any. Once in a while, you could catch one on TV and record it. That’s how I got hold of Godzilla vs King Kong and Godzilla vs Megalon. But to own officially released movies? Get out of here. So imagine my surprise one fateful Christmas when Santa left me a shoebox under the tree filled with four (motherfucking FOUR) Godzilla movies! It made me feel rich beyond measure and gave me major bragging rights. We would borrow the movies around at school and with cousins and they were watched to ever-fucking death! My copy of Godzilla vs Mechagodzilla still holds up though.

How Things Have Changed

I went to FYE a few months ago and walked out with a Godzilla energy drink, a sexy as Hell Godzilla shirt (the very one I wore to see G:MO last night), and a Mothra chocolate bar. The store has dedicated an entire section to the King of the Monsters himself. They also had a Godzilla welcome mat I’m gonna have to get soon. 

Not to mention how NECA Toys released just about any version of Godzilla you can think of. There’s even a crazy NES version of the character you can now display proudly on your shelf. I wonder how many people even played that game. It, the game, was another Christmas present one year and despite the Angry Nerd’s verdict I remember always liking it.

That’s not to discredit S.H. Monsterarts and Super 7 who both are releasing amazingly detailed Godzilla figures of their own.

The Criterion Collection released the entire Showa Era on Blu-ray and even though the collection is in a binder that’s too goddamn fucking tall for its own good at least they’re available right? All this is to say Godzilla is every! He can be found at your local Target, Barnes & Noble, and mall. I mean come on, can find the cutest mother fucking plushies of Godzilla, Mothra, and Ghidorah.

Our cup runneth over, friends. My ten-year-old self would be losing his mind over this kind of shit. I mean seriously, Godzilla reigns! 

Godzilla: Minus One

Legendary’s big-budget film (Godzilla: King of the Monsters) brought us one epic showdown between Godzilla and Ghidorah, and I was absolutely blown away. As a kid, I always knew Godzilla movies had the potential to be big, bold, and larger than life, and this film delivered on all fronts. I couldn’t believe my eyes.

Godzilla: King of the Monsters

But that’s not all. A brand new Toho-produced (!!!) Godzilla movie opened this weekend. The studio that blessed us all with the Beast himself is back at doing what they’ve always done best. Word is it’s nominated for best picture too. A fact I’m not surprised by because I always knew these movies, if only done right, could reach this level of magnitude. After seeing the movie for myself I can’t stop thinking of the images given to me. It’s the best, the absolute best, Godzilla has ever been since the original film.

Godzilla’s gone above and beyond to solidify his titanic place in pop culture and is going nowhere. He’s here to stay.

Godzilla: Minus One

So despite Godzilla’s current popularity, it is hard to imagine that the franchise was once discontinued and thought to be dead. In 1975, Toho released what was meant to be the absolute final movie and then pulled the plug on the series with no indication of ever bringing the iconic monster back to the big screen. By popular opinion, Godzilla had run his course and was done.

At that time, Toho was competing with the Gamera films, which had gained massive popularity among younger audiences.

Gamera

In response, Toho transformed Godzilla from a terrifying monster to a more child-friendly character. This new version of Godzilla was focused on teaching brats important values such as how to deal with bullies and the significance of recycling. Yeah, that’ll stick it to that flying turtle! Godzilla cleans up litter.

The character’s popularity was not decreasing, even though the campy and clownish tone of the story was becoming stale. The studio made the wise decision to take a break to allow their creative juices to flow again, as it seemed as if they had run out of ideas. This turned out to be the best decision Toho ever made, because what came next set the world on fire!

It seems like someone out there still remembered the original idea behind Godzilla. He was meant to be a symbol of man’s reckless misuse of atomic power, a force that could not be destroyed. He represented the dawn of a new era, an age defined by the eerie blue glow of atomic energy and all the terrifying consequences it brought with it. Godzilla was the ultimate monster of this brave new world, a horrific beast born from the ashes of human folly.

The Return of Godzilla (1984)

By God, it was time to bring Godzilla back and place him at the heart of the modern world’s current crises, that being the Cold War. The world stood breathlessly on the teetering brink of absolute annihilation as tensions mounted between the East and the West. The only thing anyone could think of at the time was The Bomb. How one small and insignificant mishap could spell the unconditional doom of all mankind. We stood in the shadow of the eleventh hour and many people were counting down the days till the inevitable happened. Possibly it was thanks to this apocalyptic atmosphere that helped restore Godzilla back to his terrifying roots. 

In 1985, Godzilla was resurrected and brought back to the big screen, smashing its way into cinemas and capturing people’s attention. For the first time in my lifetime, a Godzilla movie was released theatrically, and it was this event that truly put the franchise on the map.

In this installment, Godzilla was stripped of his campy and comedic nature. This marked the beginning of a new era of films, which is also my personal favorite, the Hessei Era. And Toho wasn’t fucking around with this one. Godzilla was no longer the friendly creature we last saw. As soon as he emerges from a remote island, he begins wreaking havoc and destruction, leaving a trail of chaos and death in his wake.

It goes without saying they chose a far darker tone that reflected the signs of the times. Viewers are first met with an emotionally charged and brooding score as the film opens setting up the whole feel for what’s awaiting us all. The atmosphere is heavy and threatening as the world of Godzilla 1985 appears to be locked in perpetual night. As far as Godzilla himself the iconic suit gets a massive upgrade in appearance. The big guy had never looked better, not since the original Gojira. As the first in a new saga 1985 got it right and right away too.

The movie, known as The Return of Godzilla in Japan, was released there a year before its Western release. It was considered a true sequel to the original movie, as Toho chose to disregard all the other movies that came after Gojira. A trend that’s no become common among movies released then on.

Godzilla immediately attacks a Soviet nuclear submarine, triggering a chain of events that further fuels the aggression of the Cold War. Ironically, it was the development of nuclear weapons that gave rise to Godzilla, yet these same weapons continue to be the primary means by which humanity seeks to destroy itself. Godzilla emerges from the earth like a mushroom cloud, laying waste to everything in its path. He is both the harbinger of the apocalypse and a symbol of Armageddon.

The movie explores the dilemma of whether to rely on nuclear weapons to destroy Godzilla or to keep them as far away as possible. The idea of using Godzilla’s own source of power against him is about as brilliant as punching yourself in the nuts to forget about your headache, but it puts the Japanese Prime Minister in a terrible predicament. Both the USA and the USSR urge him to use nuclear weapons to take down the monster, making his decision a difficult one. I”d hate to have his job the lousy fuck.

The film is far from perfect but it gets the job done. A common complaint is how it runs slow at times. I recently watched the original Japanese version of the film and, just like how the original Japanese release of Gojira is superior to the Western counterpart, this proved to be a much better experience. The Western version of 1985 has American scenes shoehorned in to (I guess) appeal to American moviegoers. These scenes add little to the plot and are jarring in terms of runtime. The original film, The Return of Godzilla, flows much better and doesn’t feel overly drawn out while it plays out the plot.

To Western fans, it might be nice to see Raymond Burr back reprising the role he had in Gojira. That’s a nice touch that adds some continuity to the story and makes it feel connected to the first movie. But I didn’t miss seeing his scenes when I watched the Japanese cut. It’s a matter of preference.

For the time this was my favorite Godzilla movie and remained so for a long, long time. I wasn’t aware Toho was making other Godzilla movies that followed the events of 1985. When Godzilla falls into the volcano at the end of the movie I cried. I was a little kid and Godzilla was my hero. He couldn’t die! And the end of the movie felt so final. Do I dare say it was operatic? I don’t know, but I know it played my emotions too well. 

Another change I noticed in the Japanese cut – they know Godzilla cannot be destroyed. They lure him to that volcano at the end in hopes of burying him deep, deep into the earth’s core where he will be far removed from the surface world. The idea didn’t work because like I said there were plenty of movies to follow it.

Looking back, it’s clear that Godzilla’s resurgence can be traced back to 1985. The movie was a huge success and paved the way for the popularity that Godzilla now enjoys. It’s hard to say if we would have gotten the Legendary films if it weren’t for 1985. Would Toho have taken the risk to invest in more Kaiju films if 1985 hadn’t worked?

Although not perfect, Godzilla 1985 is a powerful film that demonstrates the enduring appeal of the King of the Monsters. It had a significant influence on many children in my generation, who grew up with the knowledge that Godzilla could not be defeated. They knew that the King of the Monsters would always return, time and time again.

Now I’m going to go see Godzilla: Minus One as many times as I can! You all take care, happy holidays and…

LONG LIVE THE KING! 

Manic out!