Hell has come home as Clive Barker returns to writing his signature creation!Clive Barker has “touched” Hellraiser only twice before: once to write The Hellbound Heart, and once more to write and direct the original Hellraiser film. With the HELLRAISER ongoing series, witness Barker’s long-awaited return to tell a new chapter in the official continuity — a trajectory that will forever change the Cenobites…and Pinhead! So prepare your soul for an epic journey into horror from one of the medium’s greatest voices, and starring one of the medium’s greatest characters, in an unforgettable new chapter of Hellraiser. Story by Clive Barker, Mark Miller, & Brandon Seifert Art by Janusz Ordon, Stephen Thompson, Jesus Hervas, and Michael Montenat.
Clive Barker was born in Liverpool, England, the son of Joan Rubie (née Revill), a painter and school welfare officer, and Leonard Barker, a personnel director for an industrial relations firm. Educated at Dovedale Primary School and Quarry Bank High School, he studied English and Philosophy at Liverpool University and his picture now hangs in the entrance hallway to the Philosophy Department. It was in Liverpool in 1975 that he met his first partner, John Gregson, with whom he lived until 1986. Barker's second long-term relationship, with photographer David Armstrong, ended in 2009.
In 2003, Clive Barker received The Davidson/Valentini Award at the 15th GLAAD Media Awards. This award is presented "to an openly lesbian, gay, bisexual or transgender individual who has made a significant difference in promoting equal rights for any of those communities". While Barker is critical of organized religion, he has stated that he is a believer in both God and the afterlife, and that the Bible influences his work.
Fans have noticed of late that Barker's voice has become gravelly and coarse. He says in a December 2008 online interview that this is due to polyps in his throat which were so severe that a doctor told him he was taking in ten percent of the air he was supposed to have been getting. He has had two surgeries to remove them and believes his resultant voice is an improvement over how it was prior to the surgeries. He said he did not have cancer and has given up cigars. On August 27, 2010, Barker underwent surgery yet again to remove new polyp growths from his throat. In early February 2012 Barker fell into a coma after a dentist visit led to blood poisoning. Barker remained in a coma for eleven days but eventually came out of it. Fans were notified on his Twitter page about some of the experience and that Barker was recovering after the ordeal, but left with many strange visions.
Barker is one of the leading authors of contemporary horror/fantasy, writing in the horror genre early in his career, mostly in the form of short stories (collected in Books of Blood 1 – 6), and the Faustian novel The Damnation Game (1985). Later he moved towards modern-day fantasy and urban fantasy with horror elements in Weaveworld (1987), The Great and Secret Show (1989), the world-spanning Imajica (1991) and Sacrament (1996), bringing in the deeper, richer concepts of reality, the nature of the mind and dreams, and the power of words and memories.
Barker has a keen interest in movie production, although his films have received mixed receptions. He wrote the screenplays for Underworld (aka Transmutations – 1985) and Rawhead Rex (1986), both directed by George Pavlou. Displeased by how his material was handled, he moved to directing with Hellraiser (1987), based on his novella The Hellbound Heart. His early movies, the shorts The Forbidden and Salome, are experimental art movies with surrealist elements, which have been re-released together to moderate critical acclaim. After his film Nightbreed (Cabal), which was widely considered to be a flop, Barker returned to write and direct Lord of Illusions. Barker was an executive producer of the film Gods and Monsters, which received major critical acclaim.
Barker is a prolific visual artist working in a variety of media, often illustrating his own books. His paintings have been seen first on the covers of his official fan club magazine, Dread, published by Fantaco in the early Nineties, as well on the covers of the collections of his plays, Incarnations (1995) and Forms of Heaven (1996), as well as on the second printing of the original UK publications of his Books of Blood series.
A longtime comics fan, Barker achieved his dream of publishing his own superhero books when Marvel Comics launched the Razorline imprint in 1993. Based on detailed premises, titles and lead characters he created specifically for this, the four interrelated titles — set outside the Marvel universe — were Ectokid,
I enjoyed this, but not as much as the first three volumes. This felt more choppy, so I didn't sink into the story as well. Looking forward to reading the next one though.
The story itself gets more insane by each volume and just when you think Clive can't go any further, he takes it up a notch. It's more in the line of movies, not the novella as it really differs from latter. Art was subpar, unfortunately. Too messy. Lazy drawn. Five different artists were working on this volume, some from before, some new and it took it's toll. Can't take Pinhead seriously even when he tries to take Leviathan himself, when he looks like a evil version of Elmer Fudd.
This was interesting but not brilliant. The story needs to be smaller in scale as it got lost in its own plot and unfortunately the art style is very uneven in this volume.
Well, the one thing you can't say about this story is that it doesn't have stakes. It might even have too high of stakes. For a franchise that is typically marked by intimate, personal stories of sin and debauchery, it is very odd to suddenly find it taking place half in war rooms and on military posts. Kirsty undergoes some deep personal analysis that holds a lot of potential, but the rest of it feels like someone changed the channel. Given the build-up leading up to this point, the story is definitely delivering on the menace it threatened in a world where heaven and hell are the board the pieces are moving through, but the feel of it is very different from past stories. A bit of multiple personality disorder, tonally, though your mileage may vary with how well it works for you.
An average addition to what promised to be an epic story
I know that the Hellraiser universe is, by nature, totally far-fetched; however, the ending of this addition to the series was too far for me. Without offering too many spoilers, my main issues were 1. The military / government is now involved and 2. The story seems to be getting bigger, but with not enough attention to detail, so it seems stretched thin. At this point, I’m only reading it to get to the end of the series and say I’ve finished it. My heart isn’t in it anymore, though.
Unfortunately, I feel like this is the weakest volume so far. Some parts of the story have gotten a tad silly; certain aspects are so over the top that they are almost comical. It was still a lot of fun, the art style is still solid, and I'm still dying to know what ultimately happens to these characters.
Also, some of the scenes between the government officials slowed down the pace quite a bit. There were a few exchanges of dialogue that I felt dragged on; was just ready to get through them. Overall, I'd still give this a solid 3.75/5.
Whilst I somewhat enjoyed this - and the artwork is as fabulous as ever, it’s the weakest in the series so far. A lot of the plot is just plain messy, and a lot of things happen for no particular reason, and the reader is simply expected to say "oh, ok." I’m hoping the final part of the series provides better than the buckshot writing in this effort, as it really deserves it.
This story is getting a bit wild and not in a good way. As soon as Elliot turned into Captain Planet, I lost a bit of interest in what started off as a good horror. The whole taking over the world thing and Kirsty as a good pinhead just seems weird and wack tbh. But, I’ll just have to continue reading to see where this ridiculousness goes.
A big let down after the third volume, Hellraiser Vol. 4 progresses the storyline but not sure I'm on board with where it's going. The artwork is also a massive disappointment. It looks sloppy and extremely rushed. I've got the fifth volume up next but expectations have been lowered.
Not as good as the three last volumes in the series, the story takes a weird turn here and goes all the way down the hall with a grand scale eco, religious, BS. Almost superheroes flick. Please return to Barker's original world and ideas for the last volume...
Was this some kind of a dadaist experiment in which various unrelated messy drawings were combined into a collage, after which text bubbles containing random quotes were placed in equally random places on top of this incomprehensible collage?
This series is what should have been filmed for the later Hellraiser films. It’s a bit grandiose at times, but that’s also exactly why it’s successful.
As the climax ramps up I do think it bites off a little more than it can chew and the art is admittedly not as strong as it was in the earlier volumes, but it's not a dramatic fall.
I have to say I think the direction of these took a rather disappointing turn in the last two volumes. I think Hellraiser works when it's individual horror. When suddenly Armageddon happens, and the US military becomes involved, it doesn't feel as much like a horror story. I was quite disappointed in how the hordes of damned souls came, but did virtually nothing and were hardly pictured. I did like the bits with Kristy and the lady cenobite. But overall I didn't enjoy this as much. I had hoped Elliot would have a better plan!
Hmm... Elliot Spencer (Pinhead) starts to bring about Armageddon but Leviathan has other ideas for him. Once again, though, I think I've been shown that I need to read these in order! oh where is volume 1?