"Do you read Sutter Cane?"

Turns out reading in the dark isn't good for your eyes after all – that, or mind-warping horror novels inspired by the Old Ones, either. (Note to self: remove Sutter Cane from summer reading list.)

hiatus happenings

Ouch. *cringes* It's been just shy of a year since our last post, here on the Darkley Niche. Been kept busy dredging away at work like a blue collar zombie. Apologies all around, readers. Without further ado let's get the reagent, because we're about to bring this blog back to life!

Although we've been absent for a considerable length of time from the blog scene, we've been keeping at it with watching and reading horror in both film and literature, respectively. And of course there's still oh so plenty on our to-do list. Here's an abridged rundown of what we've viewed in the more recent months during our hiatus. – We'll try to come back to these later on and write more in-depth reviews or commentaries. Consider this the first entree, so dig in.

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MOVIES

 'The Cabin in the Woods' (2012)

When you think you've seen all that horror has to offer, 'The Cabin in the Woods' takes many of the tried and tired subgenres and then turns them on their ear, like your ol' Nanna did when she caught you swearing. I had some inkling of what the premise was, but had only guessed at the tip of the iceberg. This is one film that we can confidently feel safe to say you won't be able to predict. Also, kudos to the filmmaker's nods to 'The Evil Dead' movies and guest cameo, albeit brief, with Sigourney Weaver. This was a fun ride, and it was apparently so for those making it.

'Creature from the Black Lagoon' (1954)

We've been meaning to see this Universal Studios classic for some time, but it wasn't until reading Gary Myers' "Understudy" in the 'Shadows Over Innsmouth' anthology that gave us just the right push. The creature itself, that is, the Gill-man, was an impressive costume, both in its appearance and functionality underwater. Not too many made during the fifties can make that claim. And we've been on a serious H.P. Lovecraft kick with all things Innsmouth, so this really hit the sweet spot. In certain respects, we would even favor this film over 'Dagon' (2001).

'Mary Shelley's Frankenstein' (1994)

Speaking of creatures, here is another movie that features one of its own. This little gem took us by surprise, as we had heard very little about it. And while the names Kenneth Branagh ('Hamlet') and Robert De Niro ('Taxi Driver') don't instantly bring "horror" to mind, it was all pulled off rather well. And there was a rather impressive line-up of actors, ranging from Tom Hulce ('Amadeus') to Ian Holm ('From Hell'). Our only real complaint is that Helena Bonham Carter's ('Sweeney Todd' and 'The Corpse Bride') physical appearance as the Bride was rather disappointing.

'The Thing' (2011)

Having been fans of John Carpenter's 'The Thing', we awaited this prequel with an equal measure of anticipation and trepidation. Admittedly, animatronics and movie make-up will almost always trump CGI in our book. But it wasn't too cumbersome with the latter, which was a relief. And speaking personally, I had to smile when seeing the inclusion of the alien spaceship deep in the Antarctic ice. That hails back to 'The Thing from Another World' (1952) and actually included a number of other bits that I recognized, which were also carried over. It adapted much of what made its two predecessors good movies.

'The Woman in Black' (2012)

When we come back to this film, we'll have to make an attempt at watching the 1989 adaptation, albeit both are based on Susan Hill's novel, much in the same way that both 'The Thing's and likewise 'The Thing from Another World' are with John W. Campbell's novella, "Who Goes There?" Surprisingly, it wasn't hard to watch Daniel Radcliffe without thinking Harry Potter. (If anything, Elijah Woods kept coming to mind.) While his performance was certainly noteworthy, hands down the best part of the film had to be the Eel Marsh House itself. If you've seen it yourself, you'll understand why.

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TELEVISION

AMC's 'The Walking Dead' (2010-present)

'The Walking Dead' has been a mixed bag for most, and while friends of ours have found plenty at fault with it, we still enjoy the series. Could certain changes have been made for the better? Sure. But as far as comic book adaptations goes, this sure beats the hell out of a lot of them. (Seriously. Look at 'Spider-Man's Green Goblin and ask how they go from the illustrated designs to a sorry, Power Ranger knock-off. With a little make up, Willem Dafoe's face would've been fine.) We're still working our way through season two, so it's always possible our opinion might change. We'll see.

John Carpenter's "Cigarette Burns" (2005)

Eighth episode of 'Masters of Horror's second season, "Cigarette Burns" made us think of Robert W. Chambers' 'The King in Yellow' stories, in certain respects. Instead of a play, however, we have a rare film that drives its audience mad. It could also be said that "Cigarette Burns" resembles Carpenter's 'In The Mouth of Madness' (1995), which we loved due to its obvious Lovecraft overtones. Lastly, while Udo Kier makes an appearance his screen time is regrettably kept short. (Coincidentally, this episode happens to star Norman Reedus, who plays a regular on AMC's 'The Walking Dead'.)

'Psych'  (2006-present)

Season six of USA's 'Psych' has included some comical homages to horror films, specifically episodes "This Episode Sucks" and "Hereeeee's Lassie". If James Roday and Dule Hill in full costume as 'Interview with the Vampire's Lestat and Blacula isn't enough for fang fans, it also guest stars Corey Feldman ('The Lost Boys'). And while "Hereeeee's Lassie" is essentially a parody of Stanley Kubrick's 'The Shining', there are additional little Easter eggs slipped into the episode, like pregnant neighbor Rosemary ('Rosemary's Baby').

Stephen King's 'Bag of Bones' (2011)

Ugh... Firstly, we're definite fans of Stephen King stories, so make no mistake. 'IT' (1990) the mini-series still ranks among our top horror favorites. But 'Bag of Bones' was nothing if not predictable, as much as we wanted to like it. (SPOILER ALERT) It didn't take much foresight to predict Pierce Brosnan's character was related to the cursed men, for starters. And let's be honest folks, having an author protagonist is a tiresome trend that occurs pretty regularly in King's work. Yes, it was integral to the plot, but come on. Enough with the writer characters, King.

'Adventure Time' (2010-present)

Cartoon Network's series 'Adventure Time' started with an outbreak of candy people zombies, so it was fun to see this idea brought back to life in 3x07a, "From Bad to Worse." Together with the murder mystery in 3x06b, "The Creeps," these two episodes comprised part of Cartoon Network's 2011 Halloween specials. – Speaking for myself, I particularly enjoyed these episodes as they're the closest I can get to watching horror films with my girlfriend.

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READING

 'Shadows Over Innsmouth'

Published by Del Rey Books and editted by Stephen Jones, this anthology includes seventeen stories all inspired by H.P. Lovecraft's "The Shadow Over Innsmouth," along with that as well. Some are hits, others are misses. But that's to be expected, really, and the hits really make this book worthwhile. "The Big Fish," "Daoine Domhain," and "The Innsmouth Heritage," were among my personal favorites. Be assured that a detailed Darkley Niche review will be in the works.

'Tales Out of Innsmouth'

As mentioned earlier in our two cents on 'Creature from the Black Lagoon', we've been indulging in Innsmouth-inspired stories. And while we haven't yet finished this anthology, shorts such as Gary Myers' "Understudy" have already made this read a worthwhile venture. Additionally, "The Weird Shadow over Innsmouth," which begins the book, was made from fragments of early drafts and reworked into a cohesive narrative by John Glasby. It's offers an interesting insight, although the story itself is a little repetitive, as is to be expected.

'The Whisperer and Other Stories' by Brian Lumley

Referring back to the previous book, this particular anthology is the reason why we put a pause on 'Tales Out of Innsmouth'. If it was to take a vacation from Innsmouth, guess again. "The Return of the Deep Ones," similar to most of those told in 'Shadows Over Innsmouth', spreads their tainted influence over to the shores of Britain. So far, so good. However, we may soon be swapping this for another of Lumley's anthologies, 'Return of the Deep Ones and Other Mythos Tales', and resume reading from there.

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That's all for now, our Darkley Niche faithful, but we hope it is enough to rekindle the embers of those followers who have been patiently awaiting this long-overdue post – like Cthulhu in his deathless sleep. We'll aim to keep this weekly to biweekly, if able. A film or book review may well be in order, come next time we write again. Until then, dream darkly readers.

Late Bloomer

"We all saw it sprawled across the blackboard the second we stepped into Ms. Lovecraft's class... It's wingspan reached from one end of the room to the other, hovering above our heads as if it were about to pounce. It's.. chalk scrawled claws looking ready to grab up an unsuspecting student and fly away..."

Written and directed, respectively, by Clay McLeod Chapman and Craig Macneill
, 'Late Bloomer' was among the short films selected in the 2005 Sundance Film Festival, and with good reason. The success of the short is in its ability to personify the progression of confusion, repulsion, anxiety, then obsession of a seventh-grader boy on the precipice of puberty as through the perspective of H.P. Lovecraft, were he perhaps the student during Sex Ed. However, since the schoolteacher is already named after the author, we'll just refer to this nameless student as Randolph Carter. If you got that reference, you likely will catch the allusions made in those classmates that are named. (WARNING: spoilers ahead and sexual content)

Jimmy Pickman, "Pickman's Model"

Norween Dunwich, "The Dunwich Horror"

Larissa Innsmouth, "The Shadow Over Innsmouth"

'Late Bloomer' opens with the echoing twang of guitar strings, accompanied by the reflecting, nervous narration of an apparently adult version of our adolescent protagonist. You can't help but sympathize at least slightly for the perplexed students, as Jimmy Pickman voices aloud their collective confusion, asking, "What is that ungodly thing?" to which our lead replies, "It looks like an octopus." In response, their instructor authoritatively etches the name above its "dome-shaped head" in bold, chalk letters: VAGINA. As is often the case in classrooms, Ms. Lovecraft tells her pupils to repeat this foreign word.

"I shuddered at the sound it's name made in my mouth, whispering it with the rest of the students. It seemed to seep out from over my tongue, the syllables all soft and moist as if it had just drudged itself up from some sordid portion of my stomach, buried for centuries under the muck of my meals, rising up towards my teeth on a tide of bile."

As Randolph is made aware that all women are born with the namesake of that which they were "invoking" in unison, the more he notices that the girls of his class have begun to slink in their seats. Norween Dunwich in particular feverishly writes every "pagan name her high priestess called out" whilst fervently fanning her knees together. Only he seems to see that this was not some ordinary, textbook curriculum. Oh, no. This was in fact a ritual of an eldritch evil that lurked within the very female form, living amongst him and his fellows all along. As if this dawning dread-fright wasn't enough to test the sanity of a seventh grade boy, Ms. Lovecraft unveils from behind a geographical map another ancient blasphemy: "This is... THE PENIS!"

"Maybe a madhouse would be as good of any a place to save me, now. No doctor could erase this profane image from my brain forever... For I found myself staring at Him Who is Not To Be Named... the Mighty, One-Eyed Messenger! THE GOAT WITH A THOUSAND YOUNG!"

All suddenly goes black as Randolph appears in the school office of Principal Peters, the narrator pleading with the flush man in his robin egg blue suit of a foreboding metamorphosis. But the boy's words seem to fall on deaf ears as the scene transitions back to Ms. Lovecraft's classroom, his own horror now likewise engraved on every youthful face therein. It is only then that he is disjointedly aware of another set of eyes, locking onto those of Larissa Innsmouth.

"The creature hidden within her was attempting to communicate with me! It's sole mode of speech were a series of thought waves, transmitted through its clitoral antenna. Even now these beasts talked within their tombs, sending their telepathy out from beyond the cotton lining of all the girl's underwear... MmhmmMaHaHA!"

Losing his much-weakened grasp on known reality, Randolph at last descends into the dark abyss that is the reproductive system, Ms. Lovecraft's idolatry.


Visions of chaotic ecstasy ensue with instructor and fledgling adepts alike immersed in profane rites. Randolph's insane laughter aggressively gives way to guttural growls and all goes black as earlier. Consciousness slips again, bringing him once more before the desk of Principal Peters, whose bloodshot eyes only stare out from behind the sweating, fleshly mask that is his face. Looking back into that face is the calm countenance of Randolph, self-assured that his peers will eventually come to see the same revelations as he had in themselves. Not solely in conscious realization, but in physical actualization. Memory moves us one last time to Ms. Lovecraft's class to bear witness to the final horror, the reason for his presence in the principal's office.

"My pants were now crumpled up at my ankles, my hands hidden below the desktop... Strips of mother of pearl stretched along the floor, as if some slimy beast had been released from within me! The residue of its escape... shining over the linoleuuuuuummm...!"

To paraphrase The Lonely Island: "And now I'm posed in an awkward stance, 'cause I jizzed in my class!"

Here I thought that vomiting over my desk in elementary school was the worst humiliation to have happen in a classroom. That seems much more tame in comparison to this embarrassing incident in the end, but I digress. 'Late Bloomer' seamlessly blends Lovecraftian themes with those closely associated to the awkward transition into puberty, which is what makes the short so ingenious. Furthermore, the students are so thoroughly compelling in their roles that I found myself surprised with exactly how impressive their performance was. Especially when you consider my general disposition towards child actors, which is often one of dissatisfaction. I give it five out of five Ms. Lovecrafts.

On a side note, doesn't this particular scene in 'Late Bloomer' seem reminiscent of Alfred Hitchcock's ending to 'Psycho'? If that was intentional, it's a stroke of sheer brilliance.

Scary Christmas and Happy Anniversary!

Firstly, for us here at the Darkley Niche, this December is a memorable month. It was one year ago around mid-December that we, pardoning the pun, made our own niche on the internet. Perhaps we haven't contributed as much as we would've liked: occasionally missing certain dates or events, wanting that we had written more movie reviews, et cetera. But we've been learning an exceptional amount, especially from the various blogs that we ourselves watch. That will all prove invaluable when the actual Darkley comic starts to roll towards further development and production. Maybe within the next few months, if things fall into place the way that we hope. Keep your fingers crossed.

Moving on, today is Christmas Eve, so with that in mind we want to wish all of our viewers a very scary Christmas. May Cthulhu Claus bring you tidings of madness and woe!

illustration by Scott Brundage

composed by the H.P. Lovecraft Historical Society
for their album 'A Very Scary Solstice'

And if you're in the spirit for some holiday horror films befitting of this yuletide time, be sure to head on over to the Niche's Seasonal Horror Calendar. We've even added Hanukkah to the calendar recently, due to talk of a black comedy, slasher movie in the works. So soon there should be something for horrifying Hebrew and ghoulish goyim alike.

tardy, yet again

It seems that we've missed two fairly significant dates that came and went, recently: an actual Friday the 13th and the birthday of cosmic horror author H.P. Lovecraft. The former isn't that excusable, since we've listed each month in which the thirteenth falls on a Friday up until July 13th, 2012 in our Seasonal Horror Calendar. However, dropping the ball on the latter wasn't as bad, at least in our opinion, because we hadn't thought to look into it before.

Well, we here at the Darkley Niche are rectifying that last mistake by making H.P. Lovecraft's birthday our latest addition to the Seasonal Horror Calendar. Normally we wouldn't include birthdays in the calendar. In the case of such an influential horror writer, however, we will make an exception.

August 20th - H.P. LOVECRAFT'S BIRTHDAY

'Dagon' (2002)

While inspired only in name by H.P. Lovecraft's earlier short story "Dagon", it is, however, an adaptation of our personal favorite, "The Shadow Over Innsmouth". The film's greatest deviation from the written work is its change in setting, moving it from the New English town of Innsmouth to that of Imboca, Spain. Francisco Rabal's superb performance of the tragic town drunkard is not to be missed.

Additional H.P.L. suggestions:
- 'The Call of Cthulhu' (2005; silent film created by the H.P. Lovecraft Historical Society)
- 'H.P. Lovecraft's Necronomicon' (1994; anthology of three H.P.L. stories)
- 'Re-Animator' (1985; eighties adaptation of the same-name story)
- 'Masters of Horror' season one, episode two, "Dreams in the Witch-House" (2005; modern adaptation of the same-name story)
- 'Evil Dead' trilogy (1981-1993; incorporates H.P.L.'s Necronomicon)

Cthulhu Tales vol. 1: "Quality Time"

Recently I came across Cthulhu Tales vol. 1, a graphic novel published by BOOM! Studios containing an anthology of short, Lovecraft-inspired stories. There were three in particular that I liked, specifically "Quality Time", "The Art of Noises", and "Witch Hunter", which isn't to say that the others weren't interesting. Visit BOOM! Studios' site to read the collection in its entirety for free. To give you a taste, the Niche presents "Quality Time". Just the concept alone of a children's play performing "The King in Yellow" makes it deserving. (WARNING: some of the following imagery is slightly graphic)

randomness: "I can see forever" cat

it makes me laugh

Night Gallery: Pickman's Model

It wasn't until recently that I had heard of the NBC '70-'73 television series 'Night Gallery', hosted by 'The Twilight Zone's own Rob Sterling, and even more recently that I watched an episode. Actually, it was during a search for artwork inspired by H.P. Lovecraft's "Pickman's Model" that I accidentally learned of the dark fantasy anthology serial. Episode eleven of the second season adapts this particular Lovecraft story, including two other stories, though not H.P.L.'s. And as fortune would have it, a limited selection of 'Night Gallery' episodes from its three seasons are available at Hulu for your viewing pleasure. Moving along, since "Pickman's Model" was what drew me to the series, this is the episode that I began with.

Night Gallery host Rob Sterling beside "Ghoul Preparing to Dine", a Pickman painting

After Sterling's introduction into the episode, it begins with Bostonians Eliot Blackman (Joshua Bryant, 'Salem's Lot' 1979) and Larry Rand (Jock Livingston, 'The Devil's Daughter' 1973) discussing the possible authenticity of a painting (above) discovered by Eliot in the cheap, North End studio that he had started rented. As the men speculate, they start to suspect that this may also be the very apartment that was used by the painter in question, Richard Upton Pickman (Bradford Dillman, 'Piranha' 1978). Cue the flashback, we're taken to a classroom where Pickman teaches a still life session to his current pupils, daughters from well-to-do families. One young lady in particular has her eye on the professor, charmed by a combination of Pickman's dark mood and handsome looks. Yes, unfortunately, this adaptation adds a romantic air where none should be found. Still, this is the only particular point that dramatically diverges from the original.

an early form of what we commonly call the "obsessive fan girl"

During the lecture, Pickman not only catches Miss Goldsmith (Louise Sorel, 'The Curse of Dracula' 1979) sketching the artificial flowers in their still life as wilted, but also himself. It's quite obvious that she is infatuated with him, though his half of the conversation is cold as he draws over the partial portrait, changing it into a bestial face. "Beware of self-portraits, ladies. At the least you may lose an ear [like Van Gogh], while at the worst you run the danger of revealing... your soul," warns Pickman as he finishes discussing his own self-discovery, which drastically changed the subject matter of his artwork and ultimately resulted in his expulsion from the Boston Art Institute. To keep afloat Pickman had taken on pupils. But a lady from the Institute, which funds these lessons and supplies the students, arrives after the session to inform him that his services are no longer required due to parental disapproval.

Pickman's improvisation on Miss Goldsmith's portrait of himself

Miss Goldsmith overhears the conversation and follows Pickman to a pub in Canbury Lane, a less than genteel part of Boston, and confronts him again. Brashly she sits down at the table with Pickman, despite his disapproval, and gleans that the rumors are true, that he is infact working on a sequence of horrifying paintings. Eagerly she presses him for more about it. Defeated by Miss Goldsmith's enthusiasm, he describes the inspiration, a legend "that tells of an eldritch race more foul and loathsome than the putrid slime that clings to the walls of Hell. Twisted creatures... half men, half beast. They move with the rostering sound of predatory rats, carrying with them the stench of the charnel house. Wretched mutations that live deep beneath the earth in dark tunnels, surfacing in the dead of night and returning before dawn. Practice their unspeakable acts... breed their filthy spawn... until the day arrives when their swollen numbers will finally emerge and ravish the earth like a noxious plague."

After this haunting telling, which has chilled even her normally sunny demeanor, Miss Goldsmith insists on accompanying Pickman to his studio and seeing his work. Even a confession of love, which does take him somewhat off guard, is not enough to to sway Pickman and promptly leaves the pub. However, in his haste Pickman accidentally leaves behind his painting "Ghoul Preparing to Dine". Back home, Miss Goldsmith talks with her Uncle George (Donald Moffat, 'The Thing' 1982), who relates a near century old myth circulating around about North End, about an alleged breed of creatures that had tunneled beneath that part of Boston, linking them with the burial grounds and the sea from whence they came. "To some," Uncle George adds, "it became a fanatical obsession [to prove that these creatures existed], particularly to those whose womenfolk had disappeared in the dead of night. It was believed that these creatures had carried them off to their subterranean dwellings for purposes of... erm, procreation." Traps failed as did attempts to smoke them out. In desperation, they sealed off every underground opening that they could find.

Using the painting depicting North End that Miss Goldsmith had purchased, she deduces that it is from the vantage point of Pickman's studio and tracks it down. Meaning to return his other painting, she calls and knocks at the dilapidated building's door only to receive no answer. Inside though, a clawed hand gently pulls a curtain aside to view Miss Goldsmith, unnoticed. Something in the shadows quickly scurries up the stairs when Miss Goldsmith enters, again eluding her detection. A little frightened when the gas lights inside snuff out, she hastens herself upstairs, still calling for Richard to no avail as a pair of red eyes watch from the dark. Miss Goldsmith rushes into a room and closes the door behind. There she finds Pickman's ghastly drawings with both incomplete and completed paintings of these "ghouls".


In timely fashion, Pickman arrives at his studio apartment and is surprised to find Miss Goldsmith in it. Despite her protests, Richard pleads with her to leave immediately and never to return. However their argument is interrupted when a scratching sound is heard coming from outside. "Oh my God, it's too late..." Richard gasps breathlessly, then retreats to the back of his studio to fetch an iron poker. "Wait here. Do not leave this room..." he instructs, then adds when Miss Goldsmith persists, "Did you not hear me when I said I had no need of human company?! And could you not understand why?!" Shut in the room, Miss Goldsmith glances down at the painting (above) in her hand, the truth finally dawning on her as a guttural growl is heard beyond the door. She finds another painting (below) and props it up on an easel, the words her uncle spoke about these beasts breeding with human women echoing in her head as she looks in horror.

Pickman's painting, likely of a mother and her son

behind the boy, whose facial features are slightly feral, is a ghoul -- this implies
that the boy is their combined offspring, and possibly a portrait of Pickman himself

Only Richard's cry draws her from the terrible reverie, his voice commanding some unseen thing back down to the cellar. A crash from the hallway, the studio gas light goes out, then the door slowly creaks open, revealing a clawed hand. Miss Goldsmith runs in terror from the ghoul that chases her through the small studio, faints, and is carried out. Richard, though wounded, leaps to her rescue and struggles with the ghoul as a revived Miss Goldsmith watches, frozen in fear. Amidst the fight, Richard's glove is removed, exposing a clawed, grayed hand similar to the ghoul's. Pickman is revealed to be an offspring of human and ghoul breeding.

The fight grows so violent that Richard and the ghoul both fall over the railing along the second floor, landing hard on the first. Knocked unconscious, Richard is carried down into the cellar as Miss Goldsmith flees North End. Later, dressed in mourning, Miss Goldsmith returns to the studio with her uncle to collect Richard's work. Remarking that Pickman must have been mad as they leave, she corrects her uncle, saying, "No... He painted what he saw... and what he was."

the ghoul

Fading back to the present time, Larry asks if they might look around, hoping to unearth another lost Pickman painting. Their search leads Eliot and Larry down into the cellar where they find a large, cylindrical object protruding from the floor. Possibly a large sewer pipe from their guess with a brick covering. Eliot expresses a lighthearted concern that something might be down there, but Larry encourages him. After all, there might be more paintings sealed away. Using a nearby pickax, Eliot chips away at the brickwork. As the sound of the pickax reverberates, a pair of red eyes glimmer in the gloom beneath.

Maybe it's just my own affinity for art, but I found this to be a remarkable episode. You can rest assured that I will watch more of the 'Night Gallery' series. Even the romantic spiel, which I am generally disdainful of, was done well and did not conflict with the overall macabre theme. As I understand it, there are a handful of other "Pickman's Model" film adaptations. But I will be surprised if any of these are executed nearly as well as this one was. I give it four-and-a-half out of five painted ghouls.
On a side note, if anyone can tell me the name of the artist who painted these, I would be grateful. Most likely these were done by Tom Wright, the series artist, but I'm not certain. But more than that, I would be very, very grateful if someone was able to help me ascertain either information about the original's owner, acquiring a physical print, or at the very least a high-resolution digital image of the last painting (mother, son, and ghoul portrait). I would love to feature it in the Darkley comic as part of storyteller Damien's collection.