Clive Barker's Hellraiser: Because Of The Sensational
Clive Barker's Hellraiser is a case of retroactive sequels with potential. So what happens when something going so well takes a nosedive! Barker himself is one of this comic series' co-writers and has support from his usual editor. The first three-fifths of the series do so well because they know the spirit of the Hellraiser franchise. As for the other two-fifths, it goes from being a horror-thriller to an apocalyptic story. All of it surrounds the dynamic between two of the franchises' main characters Kirsty Cotton and Elliot Spencer. Was this change inevitable, or is this a case of corporate greed and burnout?
Introduction to Clive Barker's Hellraiser
Clive Barker's Hellraiser is a sequel to the first three films of the Hellraiser franchise. What makes this franchise special is how it dives into the psychological nature of obsessions; anything from love, sex, pain, and purpose are drivers that can lead to salvation or damnation. Because the lines between them are practically nonexistent. Hence the existence of the cenobites, formerly human demonic entities who in their quest for gratification turn to sadomasochism. The cenobites in this case represent the highest forms of schizophrenia, depression, addiction, and chronic pain. Hellraiser's struggles against the cenobites are practically metaphors for dealing with mental illness.
Barker Goes Boom!
This brings us to Boom! Studios. Twenty years after being a consultant to the movies, comics, and novels, Barker comes back into the fold. Working with two consultants of his works Christopher Monfette and Mark L. Miller, Barker decides to redirect Hellraiser away from studio interference. Clive Barker's Hellraiser follows the dynamic of the Pope of Hell and Kirsty Cotton. "Pinhead" per his popular epithet seeks to regain his original form of Elliot Spencer. This is actually a clever way of looking at burnout where the mind rewires itself to back to basics. In a way it's a meta-textual commentary on Barker's part of fixing the franchise.
As for Kirsty, while she has a life with a loving fiance, she works with some people to destroy the cenobite's gateways. The Harrowers are all people who after being at the mercy of these Lament Configurations seek both redemption and retribution. One such Harrower, Alex after preserving his brother's soul for so long wants to ensure no one goes through his mistakes. But this cabal's focus on the symptoms leave them vulnerable to the people obsessing over them. These cults systematically attack the Harrowers with Kirsty vulnerable. Thus getting her to the final deal with Pinhead... taking his place. Kirsty gets her Harrowers back, but as her Cenobium; kind of like Pinhead's entourage of Butterball and Chatterer.
Would've Been A Good Ending
The above is where things probably should've ended. It's a fitting tale of the nature of obsessions where Elliot finds himself without direction. What's the point of having all of your desires that life could normally not grant you once you get tired of it? Unlike Kirsty whose obsession with ending the cenobite threat takes everyone she loves. With Kirsty at her lowest, her transformation into a Cenobite is depression and trauma at its highest. Her final goodbye to her daughter figure Tiffany is heart breaking as Kirsty cuts herself off from the world. As the new Pinhead, Kirsty has the authority to change how Cenobites run things with a greater understanding of them.
Only there's a bittersweetness to this ending. Elliot, despite regaining his mortal self is still damned. By the time he passes on or encounters a deal with Cenobites again, he'll be lower than before. As for Kirsty, despite her authority, she's still at the mercy of the Cenobite god Leviathan. This structural entity ensures that the pain-pleasure continuum continues with or without a Hell Priest. It's a good metaphor on those mental illnesses; despite a greater understanding and fighting the symptoms, the condition will never end.
Where Did Clive Barker's Hellraiser Go Wrong?
So what does Boom and Barker do after... they literally raise Hell. In the final two sagas of Clive Barker's Hellraiser, Elliot's character expands. Joining Tiff and Barker's occult detective Henry D'Amour, Elliot joins them in destroying the remaining Lament Configurations. After he goes through different steps of reclaiming his memories as Pinhead. Also, it goes into the uneasy relationship between him and Tiff; it involves their interaction in Hellraiser II. Only, a few issues in and Elliot reveals his sinister nature; even before becoming a cenobite, he was demented. I don't even wanna provide context because I need a shower after reading it.
In any case, that's not even what really gets under reader's skins the most. What this saga does to alienate readers young and old is take away the spirit. While Elliot Spencer remains in character as some dark cult figure; trying to bring the apocalypse takes away thrills. Hellraiser at its best confronts the boundaries of pain and pleasure, both of which are psychological. But apocalyptic and its post variant stories are about the world(s) and how characters reflect it. In this case, Barker and his cohorts try to make Hellraiser bigger than it actually is.
Why Is That Bad?
Again, Elliot relapsing into his desires as Pinhead is fine, it says a lot about the themes of addiction and schizophrenia. But in trying to force the world to be like the Hell he thrived in, the narrative changes into an invasion. There're no psychological thrills anymore, just increasing the spectacle.
But why did Barker and Mark Alan Miller go in this direction? The followup Hellraiser series practically implies that this chapter can be entirely skipped. Okay maybe not, Henry D'Amour plays a crucial role in those. To be honest there are a number of reasons. Maybe Barker and co. had to do like 20 issues and the sagas came up short; maybe Boom extended the contract/license. Or maybe Barker and Miller like any other writer, was experiencing burnout and trying to end on a high note. Even the original creators don't always know their franchises best. Take for example George Lucas or Ridley Scott who both took nosedives upon returning to their franchises. Maybe that's why Barker just provides the outlines from then on.
Remember Clive Barker's Hellraiser
In any case Clive Barker's Hellraiser isn't just a return-to-form after some disappointing sequels; it's a metaphor of trying to reach new highs. Just because the original creators can get their IPs on the right track, that doesn't mean they know where to go from there. It's one of the reason Barker keeps himself open to help from outsiders. Because sometimes fans know a franchise better than they do. Just look at Dark Watch to see what I mean. In my opinion it touches upon how finding higher forms of physical pleasure and pain are found in clinical trials.
Thanks for coming to the end and as always remember to look between the panels.