If you are in the select market for a tear-your-face-off race against the powers that threaten to engulf and destroy us all for their own ends, Dan Henk delivers again with The End of the World.
The days of a select few rich white men in suits banging their desks demanding script-to-screen ready novels that appeal to the lowest common denominator are almost over. Today’s fiction is coming from a section of society whose stories are not the stuff of over-wrought fairy tales. Our stories are coming from working class men, white women and women of color, the gender-bent, the “average” people who are proving themselves to be anything but average.
Like the legends of punk rock and heavy metal that answered the call of the marginalized in the middle and lower classes following the Cold War–and hair metal bands–indie authors and indie publishers are publishing the stories they want to write because they are the stories we consumers want to read. They tell us stories in voices very much like our own. The stages upon which indie authors cast their productions are small, intimate venues where there’s little security, little overhead, and lots of a chaos in a tight space. Dan Henk will be your guide at the end of all things.
The End of the World
Henk picks up where Black Seas of Infinity and Down Highways in the Dark left off with The End of the World, a work of Sci-Fi Horror that hits extremely close to home. Criticized as being overly political, Henk takes speculative fiction to new extremes with his bleak extrapolation of a near-post-apocalyptic United States after a failed government elect destroys the last remaining faith of a rapidly dissatisfied populace.
Indeed, the first half of The End of the World is deeply political. The temperament of Henk’s myriad victims of a societal break-down sets the stage for the Deep State horrors that are to come. Henk also brings back the pivotal players from Black Seas and Down Highways, namely Aaron and Dave. Fans from the Black Seas days will remember Dave as the disenfranchised–and then terminated–military scientist who makes off with an insane discovery. Now, Dave is on his way back from the Amazon jungle, a singularly different creature with a new sense of purpose. Aaron is a misunderstood, teen-aged victim of an overly conservative military upbringing. The only thing Aaron wants is another cigarette and for his parents to get off his back as he blunders into powers he cannot even begin to cope with and never asked for.
The Illusion of Agency: Henk’s Signature Style
Henk cleverly traverses the political playing field his characters are mired in. He provides glimpses into facets of uprising and turmoil from all sides and serves up a twisting narrative that will leave the reader unsure which side they should be on. Dave in particular is the focal point of Henk’s exploration of the human condition that brought society to destruction. Dave’s characterization further cements Henk’s reputation as an author of the weird tale with his introspection into the wisdom of mankind’s relentless pursuit of what lays beyond distant horizons.
Frightfully Close to Home
As with Down Highways and Black Seas, Henk continues to explore the divisiveness of the social rank and file and the destructive quality of religious conservationism. Henk takes this a step further with The End of the World. Henk introduces a societal break-down not from the rebellion of a culture fed up with government corruption, but from the implementation of a democratic socialism which heralds the defeat of the free market economy. To the average citizen, it is the straw. Democratic socialism is a spark that ignites an already angry populace, a populace fooled into a false sense of hope that hid the greed and corruption of leaders that claimed to have the best interests of the many at heart.
Henk’s choice of governmental overhaul was no accident. The choice of democratic socialism as the villain of growth is a clue into the rampant decay at the center of government. It is one more lie meant to deflect and obfuscate the truth. No matter what side we stand on, those who seek to enjoy power do so for their own twisted purposes. Those who sell their souls to our enemies will pay the price not in their own blood, but in the blood of those they claim to serve.
This doesn’t strike me as a trope of a horror novel, but it is quickly becoming the battle cry of the working class, who have little time to examine human nature from a the perspective of a metaphorical alien or beautiful celebrity crush. Henk is not interested in high-brow, sweeping epic story-telling. Henk’s signature style lies in his gritty, granular characterization. He spins personalities out of stereotypes, undermining those stereotypes as he goes.
Lovecraft’s Legacy Lives On
There is no denying that Henk carries on H.P. Lovecraft’s legacy of hopelessness that waits just beyond the veil of human perception. Lovecraft’s characters also lamented the illusion of agency fostered in humanity that masked a helpless vulnerability. Henk pushes this legacy by pulling Lovecraft’s cosmic scale down to a granular level. His cast of characters are mere pawns in a societal rat race, unaware of the horrors taking place among their leadership. Henk’s chief strength is his most compelling character, Dave. Dave’s genius lies in his uncertainty. He is a creature wondering if his attempts to transcend a bad deal did not simply make himself a victim of a much larger scam.
At the heart of The End of the World, Henk reveals that the worst people in the world wear suits and sit behind desks. The men and women who can do the most damage to humanity do not have spiky hair and tattoos. The most dangerous criminals in our society offer salvation or condemnation at a whim. For those working and living under them, the government might as well be on another planet. When the infighting tears it apart, the people left to tell the stories will be those clever and tenacious enough to survive the Fall. Henk is himself a survivor, and it shows in his characters. Aaron, Dave, and the rest are determined to see their part in the cosmic joke through to the conclusion.
Dan Henk splits his time between Third Dimension Tattoo in Marshalls Creek, Pennsylvania and his new studio, Abyss Art Studio, in Long Beach, New York. Knowing a little bit of his own story, Third Dimension’s theory that he might be a cyborg is sounding pretty plausible at this point. He also teaches Muy Thai. Henk is a horror author and artist of the highest order, and we have not heard the last of him.
Many of my friends and family may remember back in April of 2011 when I first came upon the short film, The Candy Shop: A Fairy Tale about the Sexual Exploitation of Children. According to the Whitestone Motion Picture’s Vimeo account description, The Doorpost Film Project (in conjunction with StreetGrace and 12Stone Church) commissioned the film as an initiative to call attention to the statistics surrounding the epidemic of the trafficking of child sex slaves through Atlanta, Georgia. Back in April of 2011, my anger was incensed beyond reason. However, I was powerless to do anything. I vowed to remain vigilant and ensure that the people who made it their business to shut down human traffickers were given every possible tool to work with. This film is one of the tools now in the hands of advocates committed to ending human trafficking.
The Candy Shop uses film to provide the public with the tools for recognizing and stopping behavior of human traffickers. Film, and other popular media, are the weapons advocates are using in the next phase of the war on human trafficking.
What’s Wrong With That Place?
The Candy Shop is a 30-minute long short film that director Brandon McCormick (Fear Itself, Blood on My Name) uses to tell a frightening tale that is only part fantasy. Young Jimmy works multiple jobs to pay for his sick mother’s care. Jimmy notices a candy shop across from the produce stand he works for. He can’t help notice that it’s frequented only by men, whose discreet purchases include gorgeously wrapped pieces of candy. The fact that the business conducted in the shop is odd, even disgusting, does not stop Jimmy from considering to enter to the trade. His need for money leads him down into the basement of the shop, where the old shop keeper trills:
“Girls go in, and candy comes out. It’s magical!”
A Different Kind of Monster
The Candy Shop is not just a horror story; the film is an extended metaphor for the way children seemingly disappear. Doug Jones–famous for his role(s) in Hellboy and Pan’s Labyrinth–plays the Candy Shop owner, a decrepit, lecherous old man who sells “candy” to the lecherous older men of early Twentieth-Century Atlanta.
Barely recognizable, again, in aging prosthetics and disguised under grease-paint, this is perhaps his most frightening role. Not even Pale Man could compare. He has no name, but like the human trafficking racket, he has many faces. The human trafficker uses fronts and legal businesses to hide logistics and launder money made from selling human slaves. When one falls, another rises to take his place. We see this in the exposure of the candy shop as it is replaced by the Confectionist at the end of the film. Jones bravely stepped into the role and provided a face and a voice to a villain who is usually very hard to see and even harder to stop.
It is a never ending cycle, daunting to those who consider it their personal crusade the end human trafficking. That does not hinder those devoted to stopping the sexual exploitation of children. Despite the hopelessness of the cause, Nancy pointedly says to Jimmy, “We have to try.” According to Whitestone’s Vimeo account and the statistics quoted at the end of the film, over 500 under-aged girls are trafficked through Atlanta every month. Add that to University of Texas San Antonio’s own InterVarsity Christian Fellowship’s statistics in 2009 that 20% of human trafficking from Latin American countries takes place along the I-35 Corridor. Human traffickers take fully half of the victims sold into domestic slavery under the age of 18 through my hometown of San Antonio (InterVarsity Christian Fellowship “Price of Life” Campaign). As a Texas native living on the I-35 frontage road, this knowledge is both angering and sobering.
The Candy Shop received criticism ranging anywhere from avid praise to blatant disgust. Despite a general outcry against the film’s negative portrayal of Atlanta, the initiative saw wide success. Much of that success is attributed to fact that the film medium reaches a wider audience than a documentary film or other traditional media. In our current political climate, it is not hard to inflate statistics or downplay real issues. The genre film medium at least offers advocates and the film’s initiative a chance to ask viewers to listen first before drawing conclusions.
McCormick takes a different approach. Instead of statistics and police raids, McCormick’s film draws viewers into the dark world where human trafficking exists right under the noses of citizens. The most horrifying aspect of the film is not Doug Jones in makeup. What truly horrifies the viewer is knowing how much of human trafficking takes place in plain sight.
We Must All Do Something
I encourage anyone interested to watch the film and take part in the initiative to stop human trafficking. Those willing to do more will find listening ears at A21 and local advocates devoted to “stopping the Candy Shop”. Like the girls forever trapped as pieces of candy in Nancy’s gentle hands, not everyone can be saved. However, our goals as free citizens must be to work ceaselessly towards a future for these lives, and if we can save just one, we will make a difference.
The road to breaking the cycle ends before it begins when the good people of the world do nothing.
As our administration under President Trump proceeds to separate children from their parents, we must be vigilant and remain aware of what can happen to young kids who disappear into the system. We are already hearing reports of sexual misconduct in connection with these kids. It not acceptable to ignore the fact that these children will become more vulnerable to human traffickers once they are out of their parents hands. We cannot ignore the fact that the system is not designed to protect these kids, and traffickers will see these acts as openings for them to profit from. Jeff Sessions unlocked the door when he began detaining children without parental protection, and in the eyes of human traffickers, the candy shop is open for business.
Your support of groups like A21 can provide investigatory action aimed at rooting out and stopping human trafficking rings as well as providing legal assistance for those trapped within the illegal sex trade.
Ghost hit the ground running hard in 2018. With two tour branches scheduled for this year (Rats on the Road wrapped June 1st and A Pale Tour Called Death picks up in October), a major magazine placement, and the attention of pop culture icons Rhianna and Doug Bradley, Ghost is on a whirl wind winning-spree. Despite legal upheaval in 2017 and mixed reviews following the release of the music video for “Rats”, Ghost has proven that its prepared for the worst, and so are its fans. Their fourth studio album, Prequelle, is the pudding of that anti-papal proof.
Though Cardinal Copia and the Nameless Ghouls are the future of the band, Prequelle is deeply rooted in current events. Ghost’s juxtaposes contemporary metal, early pop, and hair metal with their lyrics of destruction and content of decay. Tobias Forge mentioned in an interview with Blabbermouth that Prequelle “is a record about survival, but through somewhat troubled times.”
Getting Back To Our Roots: The Myriad Styles of Prequelle
Ghost has never been afraid to force the unwary listener to stare directly into the ridiculousness of their own media. On Ghost’s earliest EP, If You Have Ghost, the band corrupted classic pop songs from ABBA, The Beatles, and Rorky Erikson, then reveled in the devastation they wrought. On their latest EP, Popestar, Papa Emeritus 3 and the Nameless Ghouls parodied “Missionary Man”, “Babylon”, and even capitalized on David Bowie’s platinum album, Blackstar, the album that heralded his death, proving that no icon or musician is safe.
With Prequelle, Ghost employs the same tactics of corruption in their latest track list, only instead of corrupting other artists’ songs, Ghost brings their message in true pop form.
As I mentioned in our review of the music video for “Rats”, Ghost fuses the powerful terror of the threat of extinction through a new plague, likening the spread of Ghost’s message to rats carrying a disease of destruction. Ghost’s two most ostentatious influences in the video for “Rats” were clearly Michael Jackson’s “Thriller” video and the dance stylings of Dean Kelly and Debbie Reynolds from Singin’ in the Rain. Ghost does not stop this juxtaposition of pop culture sounds and dire content with “Rats”.
For “See the Light” and “Faith” Ghost draws on the soulful vocal techniques of Michael Bolton and other scions of what we call “Classic Rock”. The use of a synthesizer is a throw-back to classic rock as well as the tracks on Meliora. I don’t think Michael Bolton ever sang about a satanic Eucharist, though. For “Danse Macabre” hair metal was the predominant vocal and rock template employed for delivering a desperate plea from some hapless narrator standing on the brink of overnight destruction. Tobias Forge told Metal Injection Magazine that overall inspiration for “Danse Macabre” and “Faith” came from bands from the ’70s.
“If there’s a reason Ghost sounds like it does it’s because I’ve been such a fan of 60s, 70s and 80s music,” Forge said.
“Pro Memoria” is one example of Forge’s flair for capitalizing on the success of pop rock from the ’70s. The lyrics to “Pro Memoria”:
“Don’t you forget about dyin’, don’t you forget about your friend death.
Don’t you forget that you will die.”
Sounds a lot like The Original Caste‘s “One Tin Soldier” from 1971:
“Go ahead and hate your neighbor, go ahead and cheat a friend,
do it in the name of heaven, you can justify in the end.”
“Pro Memoria” is another example of Forge’s reference to surviving in troubled times. “Pro Memoria” speaks to the constant threat of death hanging over the heads of those living in an arguably Trump-fueled sense of Nuclear urgency that Forge alluded to in his interview with Blabbermouth.
In addition to the 70s and 80s pop influences, there are two instrumental tracks on Prequelle, “Miasma” and “Helvetesfönster”, each an extension of the band’s technical skill, proving that Ghost is perhaps one of the last bastions of Rock and Roll.
“There’s definitely a sense that there is space now in the contemporary rock climate,” Forge said to Metal Injection, “On one hand, as a fan, I feel sad about it. There’s a lot of bands that pass on. They either quit or perish. That, from a rock fan point of view, is a sad thing, knowing that a lot of the old rock guards that we used to know are a dying breed.”
“Helvetesfönster” is intriguing in particular, as it is a classic rock diddy that throws-back to the polka-esque influences that powered “Secular Haze” on Infestessumam.
And at the heart of it is that “something skewed” that has always been Ghost. That little something wicked that makes the first time listener question their moral compass. “Witch Image” points the finger of blame at the warmongers who should be forced to carry the weight of their irreversible sins. “Faith” laughs in the face of mainstream demagogues with guitar and vocals that is at once a nod to European speed metal bands and yet so classically Ghost. It is this “something skewed” that is drawing old fans ever closer to the band, rendering the plaintive cries of gatekeepers impotent, and has new fans thronging to join the flock.
This is Ghost!
Previous Ghost albums will always hold a special place in the hearts of fans. However, there is no doubt that Prequelle is the album putting Ghost on the map. For better or worse, fans from all over the world are converging on venue spaces to see Ghost’s latest incarnation do what it has always done: deliver a powerful show with characters we have come to love as close friends. Prequelle‘s adherence to Ghost’s former styles as well as its embrace of pop rock inspiration infuses the album with new blood while remaining unabashedly Ghost.
For those who are questioning where their band went, Ghost is right here! Rest assured, fans and faithful, nothing has fundamentally changed about this band. Even with the new Ghoul line up and new front-man character, Ghost is every bit the band it has always been, and Prequelle is just one part of the big things to come.
Prequelle is available at all major music outlets including Spotify. You can get tickets for A Pale Tour Called Death wherever tickets are sole, but Austin, Texas will want to get them here.
Seth Tanner and his brother Jesse’s fun evening debunking local urban legends ends with Jesse’s gruesome murder. Seth vows revenge on Jesse’s killer–too bad the murderer has been dead for a hundred years. Seth uncovers a cycle of ritual killings that feed the power of a dark warlock’s immortal witch-disciples, and he’s hell bent on stopping Jackson Malone from becoming the next victim. He’s used to risking his neck. He never intended to risk his heart.
Paranormal Romance’s New Name is Morgan Brice
Urban Fantasy isn’t my usual genre of choice when it comes to consumer media. I walk in the shadows of the fabled heroes of the Time of Legends. I tread the same paths through the stars as the dark, malignant cosmic terrors who stalk lurid and unnameable through the sleeper’s dreaming mind. However, if a certain author pens a certain type of Urban Fantasy under certain auspicious conditions, I won’t be far behind. That is why I was thrilled to get my hands on a copy of Morgan Brice’s debut novel, Witchbane.
The unquiet voices of a section of Sci-Fi/Fantasy clamoring for more inclusiveness have spoken. It is not an illusion, nor is it merely a figment of the populist imagination, that Sci-Fi and Fantasy are evolving genres. Readers are now active participants and allies of the LGBTQ community. That community is finding a voice of its own as more and more genre writers embrace inclusiveness and make attempts at writing for an audience of non-white, non-CIS-gendered readers. Though it is difficult for outsiders, it is possible to write sensitively to that audience in a genuine way that is also an engaging read to anyone interested in picking up the piece.
Disclaimer: if you do not favor novels that include a very nontraditional relationship, I suggest finding something else to drink your coffee with. Witchbane is not traditional Urban Fantasy. I think it only fair to warn you that if you give Morgan Brice’s novel a miss because you don’t like the idea of two guys madly in love with each other, you are missing out.
The Review: Witchbane
Technology and Magic
Witchbane is not just an Urban Fantasy. Brice explores the depths of fear and paranoia faced every day by victims of domestic abuse. We live in a world where anyone can be exploited, and anything can be found online. Everyone could be a predator hiding in plain sight. Current technology and the ease with which we trust our information to the “ether” to is used to ratchet up the characters’ anxiety. Brice is careful not to bog her novel down in pseudo-scientific jargon. There is just enough commonplace technology necessary to keep the story moving and keep the anxiety at maximum overdrive.
And of course, don’t forget the magic. When it comes to magic in urban fantasy, we readers want to see magic users dealing with the constraints of their art and talent in a mundane world. Brice delivers. Her depiction of magic verges on the GrimDark. There’s enough blood to hold your attention for sure. Witchbane is certainly not a Horror novel. Brice does not force magic on the reader either. Magic, like technology, is a tool in Brice’s novel. Magic is great for performing small tasks, or riding into combat hell bent for leather. When it comes to Brice’s villains, blood magic is used to court dark forces. Hopefully we’ll get to see more glimpses of that heinous warlock in forthcoming material.
A Spark of Truth In Fiction
Brice has a knack for creating relatable characters, even to those who have no experience in a homosexual relationship. People of any gender identification could fall prey to an abusive partner. Many people will be able to relate to a veteran coping with civilian life.
In addition to Brice’s characterization, the novel is grounded in the reality that life is hard for homosexuals, even in a progressive Western society. Brice reminds her readers that finding meaningful connections is even harder for members of nontraditional sexuality. This is especially true in a world where at best no one is interested and at worst those minorities are aggressively disliked and marginalized.
Though heterosexual and married, Brice does not call attention to her outsider status. Brice’s language has a normalizing quality that does not break the fourth wall. She uses masculine words to describe body parts and sex organs, like “cock” and “asshole”, much the way any gay man may use them to describe sex with a partner.
Brice’s novel clearly demarcates the relationship of her characters as that of two gay men. Brice carefully balances the work of crafting a good piece of fiction with maintaining authenticity and sensitivity. She is not simply a woman author writing about two men getting it on. Her characters are tender, endearing, and human. They are full of the same misgivings and disquiet that might be found in any new relationship that blossoms under untenable circumstances. Hopefully, Witchbane will find a place in the hearts of all lovers of paranormal romance regardless of gender identity.
A Hot Romance
In the midst of all these things is a steamy, adrenaline-fueled new love that any avid reader of hardcore romance will not want to miss. Brice literally takes both characters all the way. This was new territory for me in a lot of ways. I felt Brice handled the love scenes tastefully. I felt the language normalized the actions of the two characters. Brice shows attention to detail, and the scenes leave the reader as breathless as the characters themselves, swept away on rolling waves of passion and compassion. Masculinity is an equal part of both characters. Neither of them can be said to be wearing the pants of the relationship.
There is no shortage of meaningful plot either. A palpable sense of threat hangs over the pair as they make a mad dash to end a filthy evil. Spirits and ghosts, supernatural allies, and ritual sacrifice are part and parcel of Witchbane. Brice brings a love of ghost stories, supernatural encounters, urban legends, and folklore to Witchbane, filling out the novel’s pulse-racing story.
Those looking for a great romance that spares no hapless bystander will find lots to look forward to in Witchbane. There’s enough magic and mayhem that even the GrimDark readers will find it satisfying. Brice’s novel is a refreshing take on both the romance genre and the urban fantasy genre. Urban Fantasy and Romance are two genres in both large-scale and indie publishing that tend to be so traditional they might as well have a problem with the color of the Starbucks cups at Christmas. Brice introduces us to a world of new devilry to rival any good pop-corn-popping urban fantasy series. Witchbane is a gorgeous love story. Her two beautiful characters that can best be described as so very real, so very human, and so very fun.
A new-found love will roar its way through scenic Richmond, Virginia. You can pick up Witchbane in the Muscular Shirtless Man section of any big-box bookstore! Don’t forget to get your Kindle edition here, or get your hands on a physical copy on Amazon.
About the Author: Morgan Brice
Morgan Brice is the romance pen name of bestselling author Gail Z. Martin. Morgan writes urban fantasy male/male paranormal romance, with plenty of action, adventure and supernatural thrills to go with the happily ever after. Gail writes epic fantasy and urban fantasy, and together with co-author hubby Larry N. Martin, steampunk and comedic horror, all of which have less romance, more explosions.
On the rare occasions Morgan isn’t writing, she’s either reading, cooking, or spoiling two very pampered dogs.
Watch for additional new series from Morgan Brice, and more books in the Witchbane universe coming soon!
You can find Morgan Brice on Facebook in The Worlds of Morgan Brice Facebook group. Her Twitter is @MorganBriceBook. You can see what’s new on Gail and Morgan’s Pinterest page.
There are those for whom the primal, base instincts of our nature is not hidden beneath a waxy façade of normality. For many of us in the culture, business, and obsession of tattoos, we wear our demons on the outside. There are few in the tattoo industry who have not been astounded by the unique compositions of Dan Henk, resident tattoo artist at Third Dimension Tattoo and now the proud co-owner of Abyss Art Studio.
From magazine art to comic art, Henk has made a name for himself in the tattoo industry, and has undoubtedly left his mark on the world of Horror. Known for his brushwork photo realism in black and gray and astounding illustrations, Henk is an artist of many faces.
Drawing on a lifetime of love for horror and science fiction, Henk tried his hand at a different vision. In 2015, Henk published his first novel, The Black Seas of Infinity with Permuted Press, adding the written word to his already stunning repertoire of macabre artwork.
Henk truly lives in the legacy of H.P. Lovecraft in his collection of short stories, Down Highways in the Dark…By Demons Driven. Down Highways cements Henk’s name among the cannon psychological and gruesome horror masters.
Take a Trip Down the Road With Dan Henk
Down Highways In the Dark…By Demons Driven
The Horror genre has been preoccupied with exploring the depths of depravity that exist within every human being. Those who write and revel in the cathartic practice of fictional horror are neither the most frightening nor the most threatening among us. Men and women of keen awareness and heightened senses tend to be the most adept at accessing the most base and primal aspects of the human soul.
Time to take a ride with one of them…
I would normally say, “Where to begin? It was all so good!” and that is still entirely true. But in this instance, I actually do know where to begin. I read “Christmas is Cancelled” first. In fact, I read it before I even got my hands on the collection itself. I met Dan at the Star of Texas Tattoo Expo in January of 2018. With Christmas still fresh in everyone’s mind, it practically called out to me. Dan kindly handed it to me.
Daily I am reminded that the nicest people I have ever met are usually head-to-toe tattoos.
“Christmas Is Cancelled” is like nothing you’ve ever read before. A timeless legend will meet a fate of endless horror that nothing can stop. It was the first time I’d read an indie author who could raise the hackles within just a few pages. The punk rock side of my brain delighted in the violation of a subject that’s usually off limits. It was a delightful display of abject decrepitude. However, Henk’s work is darker than that. Beneath the fun veneer of gruesome slasher horror lays primal disgust.
Henk does not limit his environs. Nowhere is safe. Just try to stand downwind of Henk’s characters/victims. You don’t want to get hit with the perpetual pink spray. Henk handles gore in this collection the way an artist might splash paint across a blank canvas. Blood splatter is merely part of the whole package. Anyone can kill a character, slowly, violently. Henk dispenses with gory pleasantries. He vastly prefers dismantling characters bit by bit, not with a knife or axe, but with the slow unraveling of the mind.
Throughout Down Highways, Henk explores the depraved depths of the human mind. Henk reveals the demons that lay at the heart of even average-looking individuals. The humanity Henk describes spends their entire lives trying to hide the disgusting evil that lurks behind their masks. They roll lidless eyes and flick their lizard tongues while they drool honeyed words to distract and dissemble. Ultimately, the most evil among us hide in plain sight. Henk takes this theory to the next level in “The Small Spaces in Time”, which truly deserved a place in Dark Regions Press’ 2017 publication, Nightmare’s Realm.
The author also examines the impact of trauma on the young mind. Henk traverses the dangers of extreme conservatism that drives youth to rebellion simply to survive their hostile upbringing. Previously, Henk turned this introspective on governmental control in The Black Seas of Infinity. In Down Highways, he turns this examination toward the nuclear family. Nowhere is this more pronounced than in “Dr. Seuss is Dead”, “The Beauty of Ignorance”, and “Down Highways in the Dark”.
At the heart of each of these stories is a sense of whirling through time and space, as powerless to act upon the events around us as we would be drowning in an undertow. Henk’s characters find themselves lost in sweeping vistas of anarchy as they blunder their way through horrors of the soul.
In this respect, this author pays homage to the great master of psychological horror, H.P. Lovecraft.
Sweeping Vistas of Anarchy
Henk expounds on Lovecraft’s ability to build mind-bending expanses of supernatural horror. Lovecraft was only just beginning to find his own voice when he died. It is the welcome burden of authors who followed him to carry on that work. Henk details every single one of his stories with needle-point precision, the mark of a great author and a great tattoo artist. Exposition is balanced with dramatic, awe-inspiring landscapes for Henk’s characters/victims to plummet through. Everything is stunningly painted. Henk can blind his reader with inky blackness, or stop the heart with autumn light.
Setting is important in Henk’s work in the same way setting is important to Sci-Fi and Fantasy writers. Though many of Henk’s stories start out in Suburban America, they don’t stay that way. It is not long before the landscape turns vile and threatening, even if that landscape is a backwoods trailer house away from encroaching civilization, or a sprawling cityscape.
Even the most mundane settings do not feel safe and inviting. Each new scene holds a different sense of hostility and vague threat. Henk capitalizes on feelings of fear of the unknown. As his characters traverse the universe of the mundane or of the mind, Henk reminds us that traveling to new places holds a special kind of paranoia. Even if escaping the present setting is vital for survival, there is a sense of distrust. The previous place might be untenable, but it was a known evil. We see this in “Down Highways” especially, and also in “The Small Spaces In Time”.
All of these things are merely tools in Henk’s cabinet (right beside the Nitrile gloves Dermalize Pro). Our fear of the unknown is punctuated by the fear of what follows us back.
We Are Not Alone
Part and parcel of the Lovecraftian horror legacy is the soul-crushing knowledge that we are not alone, that we have never been alone in the universe, nor even on this planet. “The Beauty of Ignorance”, “Oh The Horror”, “Down Highways”, and “Eye Deep In Hell” explore the possibility that our planet harbors secrets that are better left undiscovered.
These stories do not fall into the mythos camp of those who fight back against the cosmic forces of evil. Henk’s characters are powerless to escape or change their fate. Doom is waiting around every corner. Henk and Lovecraft share an existentialism that scoffs at the idea of reclaiming meaning for the human soul in this collection.
“Oh The Horror”, “Eye Deep in Hell” and “The Beauty of Ignorance” explores the malignant presence of beings that we cannot–dare not–explain. Only once does Henk touch upon the possibility that these powers from outside might be useful. Ultimately, no matter how you toy with the powers from outside, no matter how hard you struggle, for Henk’s characters, there is usually no escape.
Dan Henk proves he is able to tap into that place in the heart of readers that even we would keep safe, and he plows through it. He drags it up and forces you to peer into it. He paints lavish landscapes of cosmic horror that Pickman himself would be proud of. If you value your reputation as a reader of the weird, do not miss Dan Henk and Down Highways in the Dark…By Demons Driven.
About the Author
Dan Henk splits his time between Third Dimension Tattoo in Marshalls Creek, Pennsylvania and his new studio, Abyss Art Studio, in Long Beach, New York. Having met the man and knowing a little bit of his own story, Third Dimension’s theory that he might be a cyborg is sounding pretty plausible at this point. He also teaches Muy Thai.
Texas has no shortage of excellent Renaissance and period festivals. There’s the Texas Renaissance Festival (TRF) in Plantersville in the fall, and in the spring there’s Scarborough Fair in Waxahachie (we have a town called Waxahachie–but you have to say Wax-ay-hae-tch-ee like a Texan or you might as well not say it). But if you’re in the Central, South, or West Texas, Sherwood Forest is a pleasant compromise.
Sherwood Forest Renaissance Festival
Sherwood Forest Renaissance Festival is nestled between Austin and Houston on scenic Highway 290. Year-round camp grounds for season-pass campers and small-scale campers make it convenient to stay for the weekend. In 2018, Sherwood started March 3 and continued through April 22.
Sherwood is no small affair. Though it has grown since it’s inception, Sherwood strikes a beautiful balance between casual weekend fun and the commercialism synonymous with TRF. Almost every attraction available at TRF will eventually make its rounds at Sherwood, attractions like Arsene the Magician, Rondini the Magnificent Escape Artist, Tartanic, Sound and Fury, and the fire dancers. Of course, there are some things you can only see at TRF. Cast in Bronze can only be seen at TRF, and I believe there is also a different group that does Birds of Prey. Adam Crack was also not billed this year when we attended, though he was present in 2017.
Sherwood Forest is one of the only Renaissance Festivals in Texas to feature an all-day theatrical event. Sherwood boasts a wonderful cast for a park-wide theatrical event that includes a court dance, plots between the Sheriff of Nottingham and Prince John, a contact joust, and of course, the daring and dashing Robin Hood and his Merry Men.
Between the attractions and the theatrics, there truly is something for everyone at Sherwood. That’s why we chose Sherwood Forest for our annual Swordplay UTSA Alumni Retreat. We lovingly refer to ourselves as “the Fencers”.
We first started attending Texas Renaissance Festival back in 2008. Our group has changed a lot since then. Many of us have married and divorced. Despite the general upheaval, the core of our group that is still in Texas tries to get together once a year to carry on our Renaissance Festival tradition. We’ve been disdaining TRF. It’s far too big now, and too far away for day-trippers. Sherwood is practically next door, so off we went.
This year saw a good mix of campers and day travelers. The Austin-ites made our regular trek. One of our girls was able to come all the way from Denver. We even had a good smattering of little faces along for the ride.
In honor of our shared love of period clothing and fireside violin–I know, very specific–I put together a photography project of our time at Sherwood. Regretfully, I’m not in any of the pictures. Don’t worry. I had a great time behind the camera this year. Special thanks to Jeremy and Lidia for the use of their Canon Rebel T5i with EFS 55mm-250mm lens. Photos were edited in Adobe Photoshop CC 2017.
For the purposes of privacy, I have left out pictures of the kids.
The Court Dance
Around the Park
As We Wended our Merry Way
See You Next Year
I would like to thank the wonderful cast, crew, servers, costumed patrons, and performers of Sherwood Forest Renaissance Festival for an unforgettable weekend retreat and another great UTSA Swordplay Alumni reunion! See you all next year!
*If you want my opinion on Ghost as a band, I will state it in a different post.*
It is no surprise to myself and the screaming throng of Ghost fans that a music video emerges so soon after the announcement that Cardinal Copia inherited the mic from Papa Emeritus III.
“Rats” marks the first studio single to drop since “Square Hammer” in the spring of 2016. “Rats” debuts Cardinal Copia in the penultimate role as front-man extraordinaire. In the opinion of this humble reviewer, “Rats” is everything we have come to expect from Ghost and so much more.
In addition to dropping the single on Sirius XM Octane last Thursday, Ghost released the official music video for “Rats”. “Rats” speaks to the higher production priority we saw with “He Is”. The video looks more like what you would expect from an actual music video. Where “He Is” tells the Jim Jones-esq story of Papa III leading a cult, “Rats” takes a look at the motion of Michael Jackson’s “Thriller” and spins the fabric of that video into something far more perverse than Jackson ever dared to approach. The combination of the 80s throwback and Ghost’s own flair for the dramatic will leave fans either loving it or hating it.
Sprinkled throughout the video are finally shots of the band members that were lacking in “He Is”. The Cardinal dances an eerie, spastic, version of “Thriller” mixed with a bit of “Singing in the Rain” and “Coyote Ugly”. Veteran fans of the band will remember the 80s-style progressive and classic rock parodies that marked the band’s first EP, “If You Have Ghost”. However, “Rats” transcends those parodies. Like “Square Hammer”, “Rats” is an arena opener (and if you all don’t like me saying it, then here it is from the mouth of Forge to Loudwire). It’s every 80s hair metal band music video you’ve ever seen on Metal Mania, only the breaks make more sense. Pinpricks of purple light recall the band’s promo for “Rats on the Road”, but is also distinctly pop.
Throwing the pop-ish aspects into sharp relief is the juxtaposition of the Cardinal’s dance and the corpses piled in the streets, with people in haz-mat suits removing bodies in bags. The music is also heavier, using a fraction of the synth used in Meliora. “Rats” favors the harder rock base, which is exactly what Forge was going for.
The overall video is a masterwork of pop parody, hair metal perfection, and the darkness promised to us when this album was only in the works. “Rats” is the evolution of Ghost, a natural evolution that speaks to the “New Blood” foretold by the Sister of Sin and Papa Nil. We were given the groundwork for this, and the expectations were set. This is Ghost! True fans will look at the band and realize that nothing has changed. Gatekeeper fans and purists are looking for a band narrative that doesn’t exist and never did. More on that in a different post.
Ghost and Lyrical Genius
Then there’s the lyrics to the song. “Rats” recalls the band’s latent talent for producing songs that are both strikingly familiar and strangely alien. Add this to Ghost’s knack for inventive lyrics. “Rats” is a huge detour from the band’s third original studio concept album, Meliora, designed to be performed and listened to from beginning to end as a full “church” service. Veterans who remember Ghost performing Opus Eponymous and Infestessumam will be pleased with the return to the bands roots–as it were. Songs like “Secular Haze”, “Ghouleh/Zombie Queen” and “Elizabeth” all reference progressive and surfer rock styles, yet are nothing anyone could say they have heard before. Ghost is every music genre, and yet they can be categorized into no specific genre of metal or rock at all. Lyrical content has a lot to do with it.
Poetically, “Rats” is something we’ve never seen from Ghost before. Even if you look at “From the Pinnacle to the Pit” as lacking some of the straight narrative style of Ghost’s songs, or “Spirit” and “Deus in Absentia” as “preaching” a particular message, the structure of the lyrics for “Rats” is entirely different. Each verse is only a few lines long, ended with a repeated two lines varying only in stressed syllables. Without the music, it reads like a poem by Poe:
[Outro: Cardinal Copia]
They’re still coming after you
And there’s nothing you can do
They’re still coming after you
And there’s nothing you can do
In verses one and two, there is a longer fifth line before the repeated last two lines. In verses three and four, the longest line is the first line before the repeated last two lines. Each first line of the repeated line is in major, and the second line is in minor.
Since I had to listen to the song about six times to get the lyrics and to get the images, I think I’ve made a little bit of a discovery. “In times of turmoil, in times like these, belief’s contagious, spreading disease,” reminds me of the ease with which a few demagogues can disseminate ideas–be they true or false–over the internet, and how all of us have become carriers of these digital pathogens, playing into the hands of influencers. The lyrics also speak to how difficult it would be for us to stop–or how difficult it would be for someone to stop us.
“Rats” and Ghost Ideology
Of course, the idea that the human race at large behaves like rats or carriers of disease is not new to Ghost. The lyrics of “Year Zero” asserts,
“Since dawn of time the fate of men is that of lice/Equal as parasites and moving without eyes.”
Like rats, we continue our behavior because its what we’ve been programmed to do. Where “Year Zero” spoke of the coming of the Dark One hiding among us, waiting to emerge, “Rats” declares that the damage has already arrived. Cardinal Copia seems to be celebrating this devastation, leading a group of zombie back-up dancers that follow him as if he were the Pied Piper. The dancers, like the congregation in “He Is” are willing subjects, followers of the Plague Bearer who, like any audience at a metal show, are prepared to go forward blindly to do his bidding. Like the deranged pastor in “He Is”, Cardinal Copia revels in being our glorious leader. In the video, he even dances with an umbrella like Gene Kelly and Debbie Reynolds from Singin’ In the Rain.
Like the congregation in “He Is”, Ghost continues to play on the symbiotic relationship of metal band and audience, the way the band imbues the crowd with energy, which is fed back to the band. This speaks also to Ghost’s rising fame, popularity, and prominent billing in recent years. Ghost has come a long way since 2010, and “Rats” is proof of that ambition.
According to a Nameless Ghoul, Ghost’s fourth album, Prequelle, will be a return to a darker theme, and Forge mentioned in his interview with Loudwire that the coming album and “Rats” will add sincerity to the spectacle. I think it’s safe to say that “Rats” is sincere in its respect to Ghost’s previous works as well as sincere in its motives. Ghost seems to have taken a step back (and that’s probably true in a lot of respects), but have also plunged forward.
If there was any doubt in your mind of Ghost’s continuing genius, dispel it now. “Rats” is an 80s throwback done so well that I can’t even criticize it for that. “Rats” does everything correctly, and even those who are displeased with the new direction can appreciate how important this video is to the evolution of the band, and after all that’s happened, evolution is exactly what this band needs. This band needed an arena opener, a fresh start, something to bring newness to the band that is sure to also delight veteran fans, something to announce that Ghost is always going to be rising, taking over, spreading it’s contagion of thought and spectacle. After Meliora, “Rats” is a celebration of a return to Ghost’s original purpose, a celebration of the changes they have wrought and the changes they will continue to affect.
Watch the Video!
There is so much to look forward to from Ghost! Prequelle is set to drop June 1 of 2018, and Rats on the Road tour has already begun! If you have not yet, make sure you watch the video for “Rats”, and judge for yourself whether or not Ghost is as Ghost has always been, or if the changes we’ve seen in the last few months are irreversible.
Ladies and Gentlemen, Constant Followers, and fellow Metal Heads, I come before you humbly today not as your usual purveyor of nerd news, but to bring you the word of the King Himself! That’s right, I am no mere hawker of wares on the Twitter street corner today! Today I come to you as herald of He is Who More Than Myself to inform you that we are at war!
“The best of the greatest,
The greatest but few,
The soon to be heroes,
the King wants you!
The King wants you!”
A Review of Avatar’s New World Premier: “The King Wants You”
The founding of Avatar Country is upon us. On the heels of Feathers and Flesh, Avatar wasted no time solidifying their next claim to metal fame, Avatar Country, the band’s seventh studio album. So far, this album, like Hail the Apocalypse, recalls the bands roots in Vaudevillian animated humor of the early Twentieth Century (you can see where I’m coming from if you go watch “The Statue of the King” here). Avatar Country also pays homage to the greatest metal bands of the 80s, drawing on everything from Iron Maiden to The Scorpions as inspiration for their latest video, “The King Wants You”, released yesterday December 19, 2017 ahead of their album release January 18, 2018.
Seriously. If you can’t see Judas Priest and White Zombie in this video, then I don’t know why we’re here.
Johannes Eckerström proves himself to be as capable an actor in front of the camera as his vocal range is on stage. Eckerström reprises his role of The Clown, though this time he comes to us as the official herald of the “Ruler of All Things Worthy of Being Ruled”. His signature black and red iconography greets us again as he not only addresses the assembled Citizens at the rally at the gates to Avatar Country, but appears in a laser-haze in the palm of a giant robot like freakin’ Bruce Dickinson in the red coat of the Trooper meets Ozzy Osbourne’s Iron Man.
Like, some troll on Facebook literally said, “I’ve only got one King, and it’s King Diamond!” Well, I have news for you, man. Many bands take their ques from King Diamond, and I haven’t seen anything quite like King Diamond that wasn’t Mercyful Fate in a long time. It was like King Diamond had a baby with Rob Halford in a crazy love triangle with all of KISS.
In this episode of Avatar Country, the Kingdom is under attack by a vicious enemy that I imagine a young Adolf Hitler might have enjoyed in a post apocalyptic, thinly-veiled dystopian future. Our enemy hurls energy canon balls at us from outside the walls. Even as The Clown delivers his urgent, but not exactly inspiring, speech to rally the brave men and women to their King, the walls are bombarded with these energy mortars. The King moves to retaliate, though his alienation of a subject who doesn’t conform to his ideas of a Citizen may lead to his ruin.
There is a lot going on in just a few short minutes: The Clown rallies the forces; The King energizes the barriers protecting the City with his Axe; The King realizes a grievous error; a mother and father lead their son to safety; and a young couple head off to do battle for their King.
The video has a decidedly Dio-esque feel to it. Like the kings of Power Metal that came before, the video’s depiction of a dire situation for the country should inspire the masses to run forward and greet whatever fate will give them. However, the lyrics of the song leave one with a growing sense of unease and hesitation. Unlike Bruce Dickinson, who urges his soldiers onward to glory, Ronny James Dio warned of the dangers that lay ahead in the darkness. The powerful imagery of the king pacing the battlements recalls Iron Maiden while the lyrics carry the same warning from Dio wrapped in the ironic lyrics fans have come to expect from Avatar. Eckerström sings, “A chip on my shoulder, Everyone’s getting older. Heroes die young, that’s fine. I’m still a child inside,” while our young couple makes up their minds that though they have no idea what to expect, their future is intertwined with the King’s, and go to battle they must. Eckerström alternates between his place on the stage and a television screen, screeching his urgent message under the banner of the ruler while undermining his own propaganda with lyrics that recall “Get In Line” and “Vultures Fly”, songs that criticize those who aggrandize fighting and dying to make their king (or their daddies) proud, ironized in sardonic anger and flayed alive on the fields of Wacken Open Air 2015.
Those looking for Eckerström’s signature screaming will be sadly left out on this video. However, much like “Paint Me Red”, “Let It Burn”, and “Smells Like A Freak Show” showcase Eckerström vocal talent, “The King Wants You” is a less playful, though certainly less angry, side of The Clown. Eckerström has already proven that he can scream with the best of death metal, channel Brian Johnson, and probably out-Phantom the Phantom of the Opera in a single song. “The King Wants You” merely reminds long-time fans that the front-man of Avatar refuses to be typecast. The rest of the band, especially drums and guitar–and whatever Henrik Sandelin is doing on that big bass–remains technically solid, versatile, and surpasses anything being passed off in the mainstream American metal market as true musical talent, where just about everything can be performed by one person in a studio and scab band members could back up vocals on tour and hardly anyone would bat an eye as long as the fangirls have something to look at. Avatar’s lyrics and subject matter tackle worldly issues. Dictatorships, martial law, mental illness, and societal breakdown continue to dominate Avatar’s material, providing loyal fans with the traditional anger and sense of rebellion. Metal Evolution host Sam Dunn asserted that dissatisfaction with the world we inherited from a previous generation characterized the exemplary bands of early heavy metal. However, I myself assert that this anger has since degenerated into oversimplified, sweeping generalizations that amount to “I’m 20. You don’t know me. You don’t know what I’ve been through.” Note that I’m not directing that at any band in particular.
The video proceeds like Mad Max meets The Five Armies with a barbaric, almost Viking-looking army (Avatar is Swedish after all) meeting a more advanced, organized battalion of armored troops, and the outcome is sadly predictable. Instead of the rebellious anger of “Get In Line” and the irony of “Vultures Fly”, “The King Wants You” is a cautionary tale. Avatar explores the ramifications of a leader who does not tolerate diversity among his subjects, and the folly of doing battle against a foe with a technological advantage. “The King Wants You” does not just criticize the mentality of those who choose to follow their leaders blindly to fight and die in wars they know little about, but also examines the heartbreaking reality of war on civilians and the ease with which colorful, targeted marketing from mainstream media can convince average citizens to give up their lives for the State.
Though Avatar has a long history of iron grit and cold, gray imagery, that cloud has broken to reveal a kaleidoscopic range of emotions, following a natural progression for the band’s concept, all while maintaining a core rhetoric that explores themes of exploitation and tyranny through Vaudevillian comedy and the animation styles of the early Twentieth Century. The effect is the manufacture of the most downright disturbing visuals. Avatar Country has evolved into the band’s current state. Even if the concept has changed visually, the band has remained true to its form. Eckerström is not destroying the world with a music box as he does in “Hail the Apocalypse”. However, “The King Wants You” carries the same emotional weight, perhaps more so, of previous videos.
Fans are looking forward to the release of Avatar Country along with the tour to follow. You can find out more about that tour on the band’s official website, and don’t forget to purchase band merchandise.
And if someone wants to get me an Avatar Country Coat of Arms Hoodie, I will not look a gift horse in the mouth.
Ghost is back to show their friends, fans, and enemies that there is no drama that can stop this dynamic band from doing what they do best: attempt to topple the establishment and open the eyes of the blind sheep that follow that established order. Ghost reveals that they are as steadfast and irreverent as ever with this one! At last, a long-awaited music video has arrived to accompany the song featured on Ghost’s third full-length studio album, Meliora, the controversial song that Ghost performed at the Grammis to the chagrine of everyone in attendance, “He Is”.
“He Is” has a turbulent existence. It was languishing in demo for a while, but was finally written for Meliora in tribute to the lead singer of The Devil’s Blood, Selim Lemouchi, a close friend of each member of Ghost, who sadly took his own life in March of 2014 at the age of 33. A Nameless Ghoul speaking on behalf of the band to Loudwire said that there were various personal meanings to the song, but ultimately it’s about “an expression of faith to “the great beyond””.
Though the song has a deep meaning that those outside of Ghost’s immediate circle may never understand, clearly “He Is” embraces some kind of faith. Papa Emeritus III returns in all of his romantic glory, a glory he has spent the last three years cultivating in everything from the way he makes enigmatic eye contact with those in the front row (I was so lucky to be drawn into those mismatched eyes myself), his more than sexual gestures, the way he will take a random girl fan’s hand and holds it (why not me, Papa!), and the rekindled inclusion of “Monstrance Clock” at the end of every set.
Though Ghost and Papa Emeritus have always been seductive, Meliora took that concept to the next level. Meliora was meant to be listened to as a full service, with each song representing a section of a mass or church service itself. There are processionals, recessionals, hymns, and worship songs. “He Is” on the outside, is a worship song. It moves slowly, seductively, inclusive of all, and offering comfort and salvation inside a dark faith that is both ironic and twisted. The video, released Thursday morning at 11:59 PM, illustrates it far more clearly. Though Ghost’s performance of the song at the Grammis presented him in papal regalia, Papa’s role in “He Is” is far different than even his stage performances.
Join Him: Ghost and Satire
Like Ghost’s previous single, “Cirice”, heralding the album’s debut in 2015, “He Is” is set in yet another worship scenario. In one of the most hilarious scenes I’ve ever seen from this band, Papa first embraces the small children, hinting at what is to come. The children run to embrace him in what can only be described as cherubim baptism robes. They know him. They trust him. They love him unconditionally. Zev Deans, the director for “He Is”, drew on a statue of Michael Jackson as inspiration for Papa’s outfit for this video.
This is also what makes my following remarks so disturbing.
Papa greets his congregation in a white suit emblazoned with gold buttons and aviator sunglasses in a blindingly bright church under stained glass. I’m not kidding about the blinding. Bright lights from behind make it almost impossible to look directly at him. Notice Papa’s outstretched arms, his palms turned up in the photo above. Papa is well-known (in all of his incarnations) for grandiose gestures both on stage and in videos. Though his gestures tend to make great theater, this one is clearly meant to be an imitation of Christ on the cross, as Christ has his hands turned out to be nailed to the wooden rails through his palms. Despite the obvious jab, I have never laughed harder at a Ghost video.
Hilarity aside, though (who doesn’t look at all of this and laugh?) perhaps what is most disturbing about this display is Papa is specifically portraying evangelical ministers. The evangelical leader Jim Jones comes quickest to mind. He was the leader of the People’s Temple and later responsible for the mass suicide of 918 of his followers, 300 of which were children, in his self-titled city state of Jonestown in Guyana in South America, removed from American intervention and cut off from the outside to prevent Jones’ hold on his followers from slipping. Papa’s embrace of the children, then, is frightening as hell when you consider the magnitude of Jim Jones’ influence over his people, who were able to not only convince themselves to join God alongside Jones, but to believe in Jones so much, that they, to a man, decided to bring their children to meet God too. It is no surprise either, that Jones’ idea to take his congregation directly to God came as the United States government closed in on him to liberate his followers.
With this imagery, Ghost plays with both the seductive nature of Jones’ charisma, the seductive power Ghost, and Papa Emeritus (and arguably all celebrities, but especially evangelical ministers), have over their fans during a “ritual”. As the video progresses, Papa speaks to his congregation in escalating fervor and violence. His faithful beg to be presented to him. They fall on their knees before him and rejoice that he bestows his grace on them. He incites them to speaking in tongues, clearly a representation of of an evangelical Christian pastor.
Fan interaction at a Ghost concert is paramount to their success, and Ghost is so far the only band to successfully make their fans a part of the overall performance. They openly take advantage of the seductive power of the performance and their fans’ willingness to partake in the act. As I mentioned earlier, Papa III has been known to wade out into his fans and grasp the hand of a lady of his choice, much the way Papa Jim Jones does in the video. In the video, a select few of the congregation are presented to Papa, whom he incites to some sort of violent reaction, though it’s open to speculation about what that reaction is to. At a Ghost ritual, or any metal concert, violent, sympathetic reaction is common. The crowd bangs heads, forms a circle pit, and depending on the show, otherwise descends into chaos. A Ghost ritual finds mostly devoted females (myself among them) clamoring to get closer to Papa. Notice Papa has a much more gentle touch with the women than he does with the men of this video. I’ll get to the significance of that in the next section.
The Sisters of Sin are another example of fan interaction, where two “nuns” with Ghost emblems wander down the front row and hand out the unholy sacrament and blood of Satan. I actually got to partake at their show in Austin in April of 2016. It’s wine and communion wafer, but the fact that Ghost as a concept espouses anti-Christian rhetoric through pro-Satanic “rituals” turns the entire idea of the Eucharist on its head, especially when accompanied with the song, “Body and Blood”, which, when performed is nothing short of irreverent. This draws a lot of criticism, as you can well imagine. Ghost’s purpose, though, is not to turn people into God-haters, but to point out how ridiculous the idea of the Eucharist is, how it operates only as a form of mass hysteria: it only works if everyone believes in it, ironizing the mob mentality it requires to be an active member of an organized religion. Unlike most Christian rhetoric that relies on the belief of the flock, Satanism emphasizes the development of the self, the individual, and Ghost has taken it upon themselves since their inception to open the eyes of their followers.
For a more in-depth look at the tradition of satire in Satanism, director Zev Deans has the director’s cut of the video and behind-the-scenes footage here.
Ghost As Sexual Awakening
I mentioned earlier that Papa Emeritus III pays particular attention to the ladies. Not that Papa has not always paid attention to the ladies. However, Papa III does not merely invite the sexually awakened to follow in his wake like Papa II:
Papa III is by all accounts, “the one lascivious”. In “He Is” Papa III is responsible for the sexual awakening of his female followers. By the end of the video, he performs a strange baptism on all the girls who are sexually of age.
Each of the girls is dunked into the bright baptism pool, fully submerged. They go in dry and smiling, and they come up visibly shaken, shocked even, changed. Their breasts are clearly visible under their shifts. They stare at him in utter disbelief. Before they were too awe-struck to touch him. Notice the girl’s hand on Papa’s shoulder after her dunking, a lover’s touch.
This does a couple of things: it is yet another example of Ghost’s rhetoric of freedom through individuality and shared sexual experience. Since Ghost is the antithesis of a religion that enslaves women through sexual suppression and repression, then Ghost is the religion that frees them. Sexual awakening and sexual power have always had a major role to play for Ghost. Another thing this does is reinforce the previous dangerous imagery of the evangelical minister. Jim Jones and other cult leaders, including Charles Manson, often separated the females from the males, ostensibly to protect their sacred bodies, but more often than not so as to keep the women and sexually mature girls for themselves, with always their choice of virgins to “liberate”. Notice Papa does not baptize any men in this scene.
First, this is the only music video of Ghost’s that I have ever seen in which the entire band is not present. Ghost is a packaged deal. You do not usually see Papa Emeritus unaccompanied by the Nameless Ghouls. There has been some drama with the band behind the scenes. I do not spread or perpetuate rumors, and I do not speculate about the absence of the band. There are those better qualified than I to write on the subject of the band’s absence from this video.
Second, Ghost has come a long way from the low-budget stage productions and music videos of past Ghost albums, namely Opus Eponymous and Infestissumam. Though always in keeping with the band’s theme and concept, music videos have always been straight forward and conceptual. For example, “Secular Haze” has the feel of being broadcast from a local access evangelical television station.
And then of course there are videos like “Cirice” and “He Is” in which there is a clear story and what Zev Deans, director of “He Is”, refers to as a “punch line” which is meant to convey criticism as opposed to simply offending anyone (though that does not really matter).
Third, Papa retains the black and white skull makeup marking him as the third incarnation of Papa Emeritus for the video. Papa always has a place in Ghost videos. Notice in “Cirice” that Papa III is played by a small child in the talent show. Papa usually always plays himself in one form or another, and in this, “He Is” is no different. However, it gives the video’s message an edge of irony. You do not serve just any evangelical prophet, you serve Papa Emeritus III. Ultimately the bright pastels and lighting is a lie, a criticism of the highest order of the ridiculousness of evangelical liturgy.
Fourth (I’m sorry!), but the idea of the sexual awakening is not sexually liberating. I feel that the unfortunate result of Ghost’s message is that sexual awakening and sexual growth does not serve the women of Papa’s following, but it serves Papa in much the same way as the evangelical cult leaders that Papa imitates in the video monopolized the female bodies of their followers. In every instance of female sexual awakening, Papa is at the center of it, even with the music video for “Monstrance Clock” in which a young, sexy woman can be seen towards the video, meant to embody the spirit of “Coming together”. Papa and Ghost is the center of this awakening, and it exists only to further romanticize the band. Ghost enjoys a singular coed fan base that is largely due to the power and seduction exuded by Papa in all of his incarnations, even his nasty first incarnation. In my opinion, I feel that to call Ghost “woke” to any feminist idea of sexual liberation grossly misses the point of feminism in which females own their own sexuality as opposed to only being sexualized for a male agenda. If anything, Ghost undermines this and has done so ever since it’s inception. If Ghost were to reverse this, it could be classified as yet another part of their rhetoric, but since they don’t reverse the undermining of female sexual power through individual ownership (which is clear from their depictions of women in their videos), no assertion can be made to me that Papa’s vow to invite sexual freedom to his female followers and promote the enjoyment of sex for all of Ghost’s followers is anything more than sensationalism. Know it, see it, own it, recognize it, and take it for what it is. I do not enjoy Ghost less for this. It’s part of the romance of the band, and part of its allure.
Ghost is one of my favorite bands. While it’s saddening to see that the full band was not part of the video for “He Is”, it is heartening to see that Ghost is still committed to criticizing organized, evangelical religion that preys on the faith of it’s followers for the sake of a privileged few instead of bringing a community closer together for the sake of the many. Ghost embodies the spirit of individualism, pushes boundaries, encourages conversation, and above all, preaches tolerance through a rhetoric of allegory and satire with decadent spectacle that goes back to the days of Faust. There is Satanism and theater at work in Ghost. Those who tell you otherwise do not understand Ghost.
Though Ghost offers a clear ironic message in “He Is”, it cannot be mistaken for anything but the satire and theatrics the band presents and, unfortunately, continues to undermine feminist individualism (though it is not weaponized and certainly is not meant to be undermining in a way that subjugates. It just doesn’t do its job that well).
The music video for “He Is” is available to watch on YouTube. Spread the Word!
For the select few cities lucky enough to receive this gem from San Diego Comic Con, slip into your big girl panties and don’t chicken out on the ultimate introduction to the new IT film, set for release September 8, 2017! The exhibit is free and open to the public, but for us Austin-ites, it was only here for two days! I had heard about it by mid-week but couldn’t land where it was actually taking place until 5 o’clock yesterday. If you missed it, Austin-ites, I’m dreadfully sorry. IT has since moved on.
I would like to preface this write-up by saying I am the least qualified to bring you a run-down of this virtual reality sensory overload. I have a history of reacting badly to horror related events, like haunted houses, haunted hayrides, the Halloween aisle at Party City–all of the Spirit Store…
You get the idea. From almost my earliest memories, I have been absolutely afraid of horror in person. So it was with some trepidation that I talked myself into making the hour long drive up from South Austin to the Alamo Drafthouse at Lakeline Mall to stand before the mere 45 foot long tube of nightmares.
I almost got back in my car and left.
Outside, a line formed, mostly of people leaving the theater. The experience didn’t open it’s doors until 7, which meant those leaving the new Annabelle: Creation showing were able to catch it on their way out. The folks in line ahead of me spoke in animated tones, having seen the four-minute clip of Georgie’s final moments before Annabelle. Some are calling that clip the best part of going to see the latest installation of the Annabelle franchise, but that’s neither here nor there.
I signed the waiver saying I don’t have any medical conditions and took my place in line. This was to be me no real film footage, but rather a cinematic adventure that lasted only about 12 minutes at the most. An excellent aperitif to anyone going into the theater and a night cap for those leaving–if one dared.
Upon entering, you are bathed in strobing light pulsing over a pair of sliding double doors at the end of the space (roughly half the size of the bus). Normally I would have been nauseously afraid, being at the end of the line, a prime target for any other haunted house exhibit. But this was nor ordinary haunted house. The strobing light gave the cramped space the impression of being bigger than it was. Fog–dare I say it–floated from nozzles at our feet. All around us were the haunting, anxious sounds of the sewer we “Losers” found ourselves standing in.
In the same room as the sliding double doors, a backlit floor representing the floor of the “pipe” we were standing in. In the streaming “water” lay the scattered “remains” of the children lured into Pennywise’s lair. George’s boat was easily recognizable, along with a shoe and a Frisbee.
As we stood in the “pipe” listening to Pennywise “approach” and laughing in a strained manner, a cold rush of air blasted us out of nowhere. We all got quiet, then laughed it off nervously, anticipating the sliding doors, which did eventually slide open after the last of the exhibit group before us exited the bus. Our “tour guide” surprised us with a good-natured “Boo!”
Stepping inside the back half of the bus was an altogether different experience than the “tube”. Red light flooded the “cabin”, and two rows of high-quality cinematic motion chairs greeted us. We adjusted our headsets and headphones. Be wary. As soon as the headset goes on, the event starts, so be quick, and don’t take it off. Remember to turn your chair, and look around. Some of the scenes have images that take place around and behind you. Don’t be afraid to move around. And don’t sit on your cords.
Obviously you can’t take pictures of the exhibit. I won’t reveal any scenes or events. None of it was “spoilery” in any case. Nothing you haven’t seen in the trailers. The motion of the VR environment and the movement of the chair make for an adventure rarely had even in the Capital of High Tech Entertainment. Prepare to have your spatial orientation tested, along with your mettle. From the fog floating around our feet, to the motion of the chairs, everything floated. VR is an excellent medium for voyeurism. You are not part of the reality so much as you are on a journey through it. You still live through the experience of someone or something that is not yourself. There you are in the chair, already suspended, and constantly in motion. Your lack of control over the situation is just one part of the cosmic fear you will experience on this exhibit. You are alone in the headset. You came with friends, but none of them can save you. This is the essence of IT. In the end, each of the Losers, though in company, journeys into the sewers alone to face their own particular fears. Pennywise just happens to be the face of them.
I will say this. Bill Skarsgard is the end-all-and-be-all of Pennywise. Tim Curry’s camp is a thing of the past, and in the past is where it shall stay. Bill Skarsgard frightens with his gravelly accent. He seduces with friendly tones. He invites you with open arms. You want to go play with him. What could possibly go wrong? Bill Skarsgard and Tim Curry both offered their victims the promise a good time; an empty promise, with a cold grave, but each went about it in their own way, and each were successful. If you look at it that way, you won’t be disappointed with Skarsgard as the new Pennywise. Like Jack Nicholson’s Joker, Tim Curry will go down as much-beloved and fondly-remembered as Pennywise (and still a favorite!), but no longer King Clown.
They assured us we were being recorded. I’m waiting for video to surface of me talking to Pennywise like an old friend before gradually changing my tune.
I should have gone back through a second time. The event was free, so there is no cost prohibition. I did not ask if I could go back through. At the time, once was enough for me. But I had one eye open through all of it, and kept my back purposefully to Pennywise for a lot of it. His voice followed me. The balloons…
The exhibit’s next stop is Miami. If you are in any of the upcoming towns, I strongly urge you to go step inside and let Pennywise take you for a literal spin.