"The Vault"
Marc McLaurin, Jorge Zaffino, Phil Felix, Julie Michel
"The Vault" concerns a violent prison in an unnamed South American country where a revolution is currently sputtering to its end. A prisoner within the facility sold out his comrades to get possession of a Lament Configuration, which he inexplicably still has in prison. Opening the box removes him from incarceration, but that poses a problem for the facility's commandant, who sees the unexplained escape as a blotch on his record of keeping law and order. And he is a big believer in law and order; he believes in structure and imposing structure from top to bottom, bottom to top, and from the middle outward.
To rectify what he sees as a lapse in order in the prison, the commandant tortures various prisoners into solving the left-behind puzzle box to figure out how the escapee fled his domain. The puzzle doesn't open until he beats a prisoner while holding it. The Cenobite who arrives is very disappointed in the commandant's lack of self-control. The story ends with the commandant being told that this fault can be corrected--from top to bottom, bottom to top, and from the middle outward.
This is an interesting story. I think the way it focus on chaos (symbolized here by the failed revolution) versus order (here played by the carceral state) is a nice thematic contrast. The art style, with is deep, shadowy blacks and muted orange and yellow palette, also really works well with the subject matter.
"Divers Hands"
James Robert Smith and Mike Hoffman
A patient named Vincent in the last leper colony in the continental United States has got his hands--or, rather, what's left of his hands--on a Lament Configuration. Vincent believes that successful manipulation of the puzzle box will grant him a cure for his ravaged body or perhaps give him a new body entirely.
Enter a new nurse named Mary at the treatment center. Vincent quickly seduces her; not romantically, of course, but he coaxes her into solving the puzzle for him since his hands are no longer up to the task. Although, it must be noted, that there is a sexual component to the attraction between them that rings true to Hellraiser's mixture of desperation and desire. While having sex with her boyfriend, Mary imagines the leper atop her in his place.
The Cenobites arrive when Mary solves the puzzle as Vincent's proxy. We now learn that this isn't the first time has had another solve the Lament Figuration on his behalf. Vincent's goal isn't to have the Cenobites cure his affliction per se; he believes that if he leads enough souls to Hell they will remake him as a Cenobite.
Mary is taken by the Cenobites, but before she enters Hell she flings the Lament Configuration away. Believing that it must have reappeared somewhere else in the institute, Vincent begins scouring the hallways until he finds it. When he does, the Cenobites reappear, apparently re-summoned to their infernal work. The institute, it turns out, is also a puzzle created by LeMarchand, and traversing its corridors has "solved" it. With no proxy to offer them, Vincent is taken as their victim--but not before he sees Mary again, refashioned into a tangle of whole, healthy limbs.
The pastel colors and the unwaveringly bland expressions given to the characters in "Divers Hands" really sells the "clinical" horror of the piece. Everything, from the progress of Vincent's disease to the sterile Hell of the facility, underlines the cold, unfeeling betrayals that Vincent engages in and adds to the horror of the red-hot desires lurking under the surface. This is one of the all-time classics to emerge from the Epic run, in my opinion.
"Writer's Lament"
Dwayne McDuffie, Kevin O'Neil, and Jim Novak
I'd later come to know Kevin O'Neil for his work on The League of Extraordinary Gentleman, of my favorite comics of all time, so you'd think this one would appeal to me. And yet...I really don't.
"Writer's Lament" follows the travails of a freelance writer named Dave who is already in Hell. Used to writing scripts to fit a client's specifications, Dave is surprised one day to find that he's created something actually artistic for once, something that is undeniably his own. Because the use of metaphor in this story is blatantly obvious, the piece is symbolized by a baby because the project is "his baby."
Dave rushes his baby to his editor and is shocked to learn that other people have brought their babies in for consideration as well. The editor likes what he sees, but begins to make changes--you have to think of the audience, the sponsors, the pressure groups, you see. He pulls out one of the baby's eyes, yanks an arm off, and rips off its genitals. (Yes, really.) When Dave balks that the editor is destroying his concept of what the baby should look like, he reassembles it--but then rips the "heart" out of the project.
Dave is ushered out, the creative spark behind the baby now dead, but he's placated by the promise of work to come in the future.
The underlying idea is interesting here, but the execution is so on-the-nose that it feels more like a creative's gripe session than a real examination of the commercialization of art. The casual gruesomeness of the baby's dismemberment has some shock and heft to it, but the artwork on this one just doesn't feel particularly inspired.
"The Threshold"
Scott Hampton, Mark Neece, and Phil Felix
Oh hey, a virtual reality story! Look, it was the late 80s; "The Threshold" even pre-empts that god-awful Lawnmower Man movie.
A scientist named Leo Marks perfects the virtual reality experience, and then promptly disappears after granting the patent to an amoral tech company. The virtual reality technology is mostly used by people who want to fuck celebrities, but a scientist at the company named Tom is up to some darker stuff. You see, Tom has been experimenting on a man's whose mind was "blown out" in the technology's trial phase; now Tom subjects him to ever-increasing experiences of pain to discover what lies beyond the threshold of maximum agony.
Since this is a Hellraiser story, you can guess what lies beyond pain, actually. A Cenobite arrives after Tom cranks the dial on his experiment--and the Cenobite is none other than Leo Marks! Marks then ushers Tom into the fold, where it seems he may be destined to become a Cenobite himself.
This is a fairly slight story, but it sticks to the themes and the virtual reality gag still has some novelty to it. Loved the scene of the guinea pig having to surf a lava flow in Hawaii.
Philip Nutman, Bill Koeb, Gaspar Saladino
Now this art style is so of the era it gives me an ache in my chest! Dark, murky paints; inexplicable squares drawn around focal points; scratchy textures hinting at human blight--this is the stuff I'm craving.
"The Pleasures of Deception" is pure strain Hellraiser. When an artist named Davis tries to sell his latest macabre piece to a gallery, his work is rejected. His art has grown stale. What he needs is new inspiration, a new window into the complexities of desire and the flesh, so he gets his hand on a Lament Configuration.
Solving the puzzle summons Pinhead and the High Priestess. (I believe this is the first time the movie Cenobites show up in the comic as characters.) They guide him through a series of disturbing, blood soaked lessons in how the flesh can be reshaped, taming the chaos of life and turning it into static art. Of course, like many Faustian bargains, this one comes with an unforeseen price: the artist is now cursed with seeing more of the world that he can really handle.
This is a perfect piece to close the issue. Overall, this is another strong entry in the run. You get a sense that they're still figuring out what a Hellraiser comic entails, but it does feel more unified than the first issue.
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