Here to introduce this post is Pinhead from Hellraiser:
In a throwaway aside in his review of Brian Yuzna’s From Beyond (1986) in this month’s Sight and Sound the ever-incisive Kim Newman writes:
From Beyond is worth revisiting for its ambitious themes-it takes the torch from Videodrome and passes it to Clive Barker’s Hellraiser, prompting sociopsychological musings on why exactly cosmic horror in the 80s was always yoked to sadomasochistic dress-up.
Naturally I thought, “Somebody need to write about that! I’m going to do it right now!” Several thousand words later I never really pinpointed why the 80s were especially conducive to the conjunction of sadomasochism and cosmic horror, or even if that’s really the case upon closer inspection. However, I do think Kim Newman’s on the money in as much as there remains a good case to be made for establishing a connection between cosmic horror and S and M. Both, I want to argue, offer ‘limit experiences’ that mirror one another as in the alchemical rule that the microcosm (human body) is a mirror of the macrocosm (universe). The bondage practitioner and the protagonist in cosmic horror are both taken to extremes of experience that open up new forms of consciousness. The article concludes by arguing that such “limit experiences” need not always end in evisceration as they do in many horror films. There are also narratives in which the iconography of fetish clubs (if not the practice) is adopted as a form of liberation from threats to reality, as in The Matrix and Return of the Living Dead 3.
Before reaching that final destination though we must embark upon a strange journey that takes in H.P. Lovecraft, Michel Foucault, Hellraiser, Nietzsche, Alisteir Crowley, and the X-Men and more along the way. It is also a companion piece of sorts to my previous post Posthuman Ecstasy: Long Live the New Sex which also dealt with new forms of posthuman sexuality in horror films. Continue reading
In my thesis I have made a distinction between the types of posthuman body found in comic books and how these relate to various other versions of posthumanity in philosophy and transhumanist texts. Of particular interest in terms of posthumanism and anarchy is what I call the posthuman Cosmic Body (more detail can be found by clicking on the link). This final post on Anarchy and Posthumanism (part 1 is here and part 2 is here) will consider how anarchism has been presented within superhero comics and note how these representations usually chime with this vision of the ‘Cosmic Posthuman’. Continue reading
Asmodeus by Alan Moore
In part 3 we delved into the mechanics of comic book continuity and touched upon some of the philosophical implications of such fictional universes as well as drawing attention to some analogous theories from modern physics relating to the idea of the multiverse. Come on, you remember. It was fun wasn’t it? In this part I want to explore further the notion that fictions have some sort of autonomy. We begin first by considering Alan Moore’s concept of “idea-space”. In an interview with Arthur magazine Moore explained that the impetus for his concept of ‘idea-space’ stemmed from trying to understand the nature of consciousness and where our ideas come from:
the best model that I can come up with for consciousness is consciousness as a form of space…Most of us never come out of our living room. We’ve got our individual little private space in our head–just like we’ve got a house as a private physical space. But most of us never go outdoors. We stay within our own identity. However: people who are creative, or people who are questing spirits of some sort or other, have to go deeper. I mean, most people don’t really need new ideas as part of their daily round, depending upon what their job is or what kind of people they are. The same ideas that they had yesterday will probably do just as well today. If you’re a creator, or scientist, or any sort of creator, then you have to look deeper. You have to travel further, to find ideas that no one’s come across before. Rarer ideas.
Moore naturally wonders if such a space would be inhabited; would it contain its own unique ‘flora and fauna’? In Comics are Magic Part 2 it was seen that Moore makes no distinction between art and magic. Both involve accessing, exploring and navigating this ‘idea-space’. As such the demons , angels and other entities encountered by the artist-magician can be understood as living ideas. Or as Moore said in an interview for Blather in 2000: “entities are a kind of compound idea, at least as far as I see them”. Continue reading
In Comics are Magic Part 1 we discussed some strange coincidences and comic book predictions. In this part I want to discuss the use of comics to deliberately manifest such coincidences and changes in reality. First of all it might help to consider the intuitive capabilities of comics creators, starting with Jack Kirby. Kirby is arguably the most influential comics artist of all time, especially in terms of superhero comics. Chris Knowles, author of the excellent Our Gods Wear Spandex, has written frequently about Kirby over at his blog Secret Sun. Knowles says, “Kirby was a man who one co-worker described as being “hermetically sealed in his own imagination.” I’d counter that only by saying that I believe that Kirby instead was in deep communion with the Collective Unconscious. Kirby even claimed that his characters existed inside his head and he merely projected their stories onto paper.” Knowles suggests that