Looking forward to getting back into Alien: Isolation on the PS4 tonight. I tried playing it about a year ago but I got about an hour or so into it and stopped playing. Dunno why I never went back to it.
However, I have been advised by a couple of mates through PSN that I need to give it another go. So I shall give it a good run this time.
You seek for knowledge and wisdom as I once did… it is only natural for a man to pursue knowledge. Until a few years ago, I burned with the same ambition as you.
Victor Frankenstein begins to tell his story — Frankenstein
Mary Shelley’s Frankenstein is perhaps one of the most well-known horror novels ever written, if only by name. In his horror manga of the same name, Junji Ito tackles the mammoth task of bringing this novel into his disturbingly visual world.
Frankenstein is such a huge part of popular culture, however, I have to be honest and say that I have never read Frankenstein the novel; Ito’s version is my first time experiencing the story itself. I knew the rough story – the Doctor creating the monster, but I needed to check the major plot points on the novel’s Wikipedia page after reading this manga, just to see how close it was.
I am happy to report that Junji Ito’s version of Frankenstein stays very true to Mary Shelley’s novel. Even the narrative structure of telling the story from the perspective of the ship’s captain is maintained. But I can’t give a full comparison as I am not familiar with the source material.
During an expedition to the North Pole, in the pursuit of fame, the captain and his crew see the towering figure of a stranger in the distance. This is followed by them finding a man out in the freezing cold all alone and in need of shelter — a man by the name of Victor Frankenstein. Victor is in pursuit also, only his pursuit is of something far more tangiable than fame. His pursuit is of a creature he decsribes — the figure that the crew saw previously.
Suffering from exhaustion and cold, Victor tells the captain his story and how he came to be out here in the wilds of the North Pole. We learn of Victor’s childhood and family, and his growth into the scientist he became. He also recounts the terrible deeds he performed in the pursuit of greatness in his unique field of study.
He goes on to tell the Captain of his creation, the Frankenstein’s Monster, and how it came to escape and ultimately wreak havoc on his family. We bear witness to the awful deeds that the monster does, and Victor’s seemingly never-ending pursuit of it. Victor’s story ultimately brings us back to the current time on board the trapped ship and to the final moments of realisation of both the monster and the creator alike.
As I said before, this was the first time experiencing the full story of Frankenstein. I mean, I’ve always known about the characters and the creation of the monster through parodies and tv series tie-ins like Penny Dreadful and Carry On Screaming, but never the original story.
I am glad, in a way, that reading Junji Ito’s interpretation of it was my first taste. It meant that I got to experience all of the story’s twists, turns and moments of horror, only via the expert artistry of the horror mangaka himself. That’s not to discount Mary Shelley’s talents; I’m just saying that this was a very different way to be subjected to it for the first time.
I thought that the intricacies of the monster himself were put across very well too. It’s moments of horrific brutality; it’s moments of love towards the family whose home he hides in; and the moments of vulnerability where he pleads for his creator to build him a mate – a mate who won’t cower and scream at the mere sight of his face. Someone he can love — and receive love in return.
I can’t say that this is my favourite Junji Ito story, but nonetheless I thought he did a great job working within another writer’s world and the limitations that it can bring. His artwork is on point as always, with the depiction of both innocence and horror so expertly portayed, sometimes through the same character.
I’ve heard said before that if you are going to remake or cover someone else’s creation, whether a film, song or whatever, you should either strive to improve on the original or at least make it different. Whilst I can’t say whether or not he improved it, I do think he brought something completely different. Perhaps even bringing this classic horror story to the eyes of people who may never have ended up reading it — like me.
Whilst I can’t recommend reading this version of Frankenstein before the original, nor should I, I do feel that it is definitely a Manga worth reading at some point. I’m not sure about any different experiences I may have had, had I have read the novel first. The big difference that does spring to mind is that all of the visuals would have been created in my imagination – making it even more scary perhaps?
But as a standalone horror manga, regardless of the source material, Junji Ito’s Frankenstein is a great read in my opinion and worthy of your time.
Lay the right bait, and almost any creature will walk in of its own accord.
Martin Blueck to Chuck Spillers
The Silent Scream may be one of my favourite episodes from the Hammer House of Horror series. It doesn’t contain any deaths – not of people anyway – and doesn’t really have much in the way of gore. But where this episode excelled for me was on the psychological level.
Plus, escaped nazi war scientists always bring with them a particular brand of horror for me. Memories of American Horror Story‘s Dr. Hans Grüper.
Chuck Spillers, played by the excellent Brian Cox, is fresh out of jail and back into the loving arms of his wife, Annie – played by TV actress Elaine Donnelly. Whilst in prison he was visited regularly by an older man, Martin Blueck – played by the ever-charming Peter Cushing. Blueck would talk with him and give him money for his time. Although this initially seemed very generous, it is soon apparent that this was just bait; grooming him for what was to come later.
True to his word, the day after his release Chuck goes to visit Blueck at his place of work – a pet shop in the centre of town. He goes to say thank you to this old man whom he now considers a friend. Blueck then offers Chuck a job, only in a secret back area of the shop.
In the back is a large warehouse where Blueck keeps all manner of dangerous and exotic animals in cages. These include Lions, Tigers, Panthers and Baboons. What is perhaps more surprising for Chuck, is the fact that the cages all have their doors open.
Blueck explains his ambitions to create zoos without bars, where animals can walk freely and still be of no danger – something that Chuck sees the benefit in having just been released from jail. These animals have been conditioned to know that the open doors do in fact contain an electrical field that will instantly kill any who attempt to pass through. Only after the power is turned off, and the loud buzzer is rang, is it safe to briefly step out to get their prepared food.
Chuck dutifully tends to the animals each day whilst Blueck is away, as he is paid to do. However, Chuck’s attention is continually drawn to a safe housed in the wall on the second floor of the warehouse. He knows he has the skills necessary to open such a safe and obtain the potential fortune within. But his greed may well be his undoing.
Imprisonment is a big theme in this episode: Chuck has just been released from jail, where he found the confinement particularly hard to cope with; the animals being housed in their open cages with fear of death on exit in Blueck’s warehouse; and even the limitation of locations in the episode. For the most part we are either in the Spillers’ kitchen or Blueck’s shop.
On writing this it even occured to me that perhaps the prisons that these character’s carry within them are of importance too. The way that Chuck’s desire for more leads him to crack open the warehouse safe, causing his own imprisonment by Blueck.
Or even the way that Annie is still bound to Chuck with love, even after his greed and criminal actions lead directly to his being imprisoned. And her being bound to him, attempting his rescue, leads to her own capture by Blueck.
And finally Blueck himself. His desire to experiment on Chuck and Annie, to create a prison without bars, ultimately leads to the overlooking of his most dangerous captive animals – sealing his own fate
I found this episode to have a good amount of tension — the most poignant moment just has to be that scene with the puppy. Although not gory, it still manages to leave it’s trace across the rest of the episode. I didn’t find the lack of blood and conventional Hammer Horror deaths to be a thing I particularly missed either. I mean, a bit of gore can be fun alot of the time, but in this story the suspense and tension were balanced enough to carry it on their own.
The ending was suitably nightmarish for me, although I could see it coming a mile off. This was simply due to a previous scene with Blueck driving away from a location in his car. It was a shame, because had it have been edited in a slightly different way, I believe that the closing scene could have been much more of a surprise twist.
I loved this episode. The over-arching theme of imprisonment and being beholden to the desires we carry within us was an interesting one. Some of these episodes can be a bit hit and miss for me, but there are enough good quality episodes, like The Silent Scream, that really hit the mark.
I enjoyed seeing the legendary Peter Cushing in the role of Blueck. I was so used to him portraying the side of good, like as Van Hellsing in the Dracula films and Sherlock Holmes in The Hound of the Baskervilles. So it was a real treat to see him in such a dark role.
(I know he played Grand Moff Tarkin in Star Wars too, but I’m only thinking of the more horror-themed films here)
Also Brian Cox playing Chuck Spillers. He has one of those faces that I knew I recognised – I just couldn’t remember from where. Then I read his filmography and saw, amongst many other entries :
| 1995 | Braveheart | Argyle Wallace |
Instant recollections of the opening scenes from Braveheart hit me. That’s where I know him from!
This was the only way to keep Tomie from multiplying. Don’t worry. She won’t die in there.
Ryo traps Tomie somewhere he hopes she can’t escape from — Old and Ugly
In Old and Ugly, we not only close off a trilogy of stories, but the entire Tomie Collection too. We pick up where we left the story at the end of Passing Demon. The strange figure, who we now know as being the “Top Model” Ryo, has approached Ayaka’s sister – Yasuko. Oh, and the three Tomie girls are each still trying to kill one another by possessing local boys to carry out their attacks. Ryo is doing his best to protect them all, but that does prove to be quite difficult.
After Ryo and Yasuko have joined forces, they decide to take Ayaka away to safety. If he can’t save them all, at least he has a chance of saving one of the Tomie girls. And by “saving” I really mean preserving. For, as long as she doesn’t multiply she will retain her human characteristics and age as any normal person would. This is Ryo’s, and later also Yasuko’s, end goal – they wish to see their Tomie contend with the frailty of human life; to see herself as old and ugly before her life ends.
Ryo and Yasuko essentially give up their lives to focus solely on the preservation of Ayaka. Their revenge is so focused and so tunnel-visioned, that they literally want nothing else in the world but to see her suffer. As their own lives pass them by they let their thirst for revenge drain them of all that is good. But will Tomie be contained in her human shell? Will she succumb to weakness and old age? Or will she break free from her shackles and have the last laugh once and for all?
We have finally reached the end of our journey through the entire Tomie Collection. Through twenty stories we have followed the lady in many of her incarnations. With this final chapter, it really felt like the end of the line. And I don’t just say that because it’s the last chapter, but the theme of this one really felt like a close for me. Of course Tomie as a force of nature could literally go on forever.
Throughout these chapters we have only seen a small percentage of all of the Tomies that would now exist in the world. Remember all of those bodies that walked out of the “Waterfall Basin”? Or the five that walked out of the cave at the end of “Little Finger”? And what about that original first chapter where many parts were scattered all over the town?
I love how this is a world that would never be rid of Tomie. She truly is a force of nature that just can not be stopped. If there ever was a final chapter after this one it would have to be something like Tomie: World Order.
In “Old and Ugly”, Tomie is essentially kept prisoner, initially under a sort of mild house arrest, but soon in a very solid manner. This whole story is about Ayaka’s sister and, more crucially, Ryo’s revenge against her. Of course this isn’t the same Tomie as he had dealt with all those years before. But since all versions of her originate from the same dark place, I guess any suffering Tomie is better than none.
It was interesting to finally see somebody using Tomie’s powers against her. By harnessing her blood and injecting it into three (or possibly more?) innocent children, he was able to harvest his very own Tomie clones. Clones whose sole purpose was for him to have his revenge. I believe Ryo to be the real enemy here in this final story. Tomie is simply doing what it is in her nature to do – survive. However, by corrupting the futures of these innocent girls, Ryo firmly placed himself on the side of true evil.
As the pages of their lives move towards their conclusion, so too do we reach the final pages of this collection. And surprising to me, Ito didn’t decide to go out with a bang in a huge gory mess. He stayed true to the story at hand and followed it through to its natural, strange conclusion. I have grown to have a special fondness for this collection, through my exploration of its details, and am glad that Ito ended it in the way that he did.
An interesting closing chapter that truly did feel like a bookend to the whole collection for me. I often think about how it may have been good to bring back some past characters from other chapters for a huge finale. Like Tsukiko from “Photo” or Mitsuo from “Painter”. But perhaps that would have been just a little bit too cheesy.
You will need to have read at least the previous two chapters for this one to really make full sense. In fact, I feel that this whole closing trilogy of “Passing Demon”, “Top Model” and “Old and Ugly” are best experienced at the end of the collection as intended.
Ah ha ha ha. At least you’ve a sense of humor. But compared to my beauty, you’re not even on the scale.
Tomie laughs off the model’s advances — Top Model
Ryo is the titular “Top model”, who recounts his days as a successful catwalk model. Not only that, but he goes into the reason for his downfall – the young woman called Tomie.
During a photo shoot, Ryo asks his photographer if he knows any new girls on the scene. Apparently he is bored with his current partner. The photographer points him in the direction of a girl that he himself has been trying to get with. On meeting her, Ryo is immediately taken with Tomie. And going from his past romantic experiences, he expects her to fall for him straight away too. However, he gets a nasty surprise when she laughs in his face, telling him just how plain he is to her.
Ryo is at a loss as to why Tomie doesn’t like him, but he wont give up that easily. After another meeting, which falls flat on its face also, he manages to offend her during an outburst he ends up having. This is the moment where he seals his doom forever. Whilst walking down the street the next day or so, a stranger asks him if he is indeed the top model Ryo. He replies “yes”, and is immediately met with a deep slash across his face.
Tomie, in all of her most devious and vengeful, has arranged a guy to disfigure this cock-sure model. She essentially ends his modelling career right there on the spot. But the real horror comes when Ryo tries to enact the same revenge back at her. Ryo doesn’t have a clue as to who, or what, he is dealing with. His own vengeful actions may just overstep the line and manage to send him down a path from which he may truly never escape.
Ryo is a complete pompous idiot in this story. He is the kind of person you just love to hate. He is so arrogant and sure of his good looks and charms, that he believes all women he desires are for the taking. At least this is the impression that I got from him and his interactions with his photographer. So to have Tomie reject him and show him up did make me smile – he deserved it after all. But did he deserve to be disfigured for simply upsetting her? Proabably not, but a small part of me thinks that he deserved that too.
This whole story is escalated by the smug nature of both of these leading characters. Perhaps Tomie felt she’d met her match with just how full of himself Ryo was at the start. Or perhaps it was simply that Ryo had already fallen for her, which is simply no fun for her. One thing is definitely for sure though – that girl sure knows how to hold a grudge.
I absolutely loved the closing pages in this chapter and how it comes back to the previous chapter “Passing Demon”. We have gotten to learn how that demon came to be as such, and that snuffing out the futures of those poor babies wasn’t much of a change in character for him. He’s always been willing to get his own way at the expense of others after all.
The approach to the structure in this final trilogy that Junji Ito took, was a stroke of genius in my opinion. Without realising where we were towards the end of this chapter, the whole thing was revealed and it all just felt so right to me. Ito has developed so much in both his artwork and his storytelling since that first Tomie chapter.
Tomie is an absolute bitch in this story. Not that she is a golden girl at all other times, but here she really surpasses herself. Yes, Ryo had some kind of retribution owed to him from his attitude and life style, but I think she maybe just took it a little too far – even by her standards.
Although this is the second part in the Tomie Collection’s final story arc, I think that Top Model could still be enjoyed on its own. It has some interesting dialogue between the two leads and some suitably grotesque imagery. However, I would strongly recommend reading these final three stories in order, in order to get the full effect that Ito intended.
What an uppity fake you are. Mark my words, you’ll pay for it.
One of the girls warns the other — Passing Demon
Ayaka, the youngest of a couple’s two daughters, is the odd one out in her family. She is beautiful; she is confident; and she bares a striking resemblance to a certain lady we’ve all come to know and love – Tomie. But she is not Tomie – at least not yet. A shocking event that happened to the family when Ayaka was just a baby, put her on a completely new – and doomed – path. A shadowy figure had taken away her innocence in one fell swoop.
It seems that Ayaka wasn’t the only one either. There are other young girls of Ayaka’s age who are discovered living in the very same town. They each stand identical to the next, and bare that unbelievable resemblance to Tomie. And It isn’t long at all until they become aware of each other’s existence – triggering the desire in each of them to kill off the others.
This desire to each rid the world of the others’ existence leads to some very troubling and violent scenes. These mainly come from the poor people who are caught in the crossfire, however. Of course, these girls don’t lift a finger in their attacks; they get others to do their bidding instead. Namely young boys that are easily controlled with those classic Tomie charms.
But will any one of the girls end up on top? Could they even learn to accept each other? And what will happen once the shadowy figure, who started all of this off, steps out of the shadows?
This is the first time I can remember that an apparent force more foreboding than Tomie took a foothold in these stories. When she is walking alone, Ayaka (who is at least 80% Tomie by now) is aware of a presence watching her from the bushes and the shadows – at least she can sense it anyway. I almost felt as though she was scared – like genuinely scared. And I don’t think I can remember a time when I saw Tomie scared – except when she was faking it, of course.
I feel as though this shadowy figure, who is revealed in the closing panels of Passing Demon, is much more depraved than Tomie ever was. He has no problem whatsoever with corrupting these tiny babies with Tomie’s blood, simply to have a chance at revenge against her some years down the line. This man is a truly sick individual, no matter what his motivations are.
I loved the call back to a previous chapter “Assassins” in this story. The whole concept of having brainwashed young men made to kill off other copies of Tomie was explored there. And it is one of my favourite stories too. So to see that idea return truly was a big treat for me. I even like to imagine that the chapter Assassins is in fact this moment in time – when these identical girls are each trying to kill one another off.
I wonder if Junji Ito envisioned that himself, or whether it is simply a coincidence. Nonetheless, the reference back to it was great.
Passing Demon kicks off the final story arc of the entire Tomie Collection. It, along with “Top Model” and “Old and Ugly”, close off what has quickly become one of my favourite collections of all time. Although this chapter alone isn’t one of my favourites, I do really like the final trilogy’s overall story and how it all ties in together.
Passing Demon, and the two that follow, felt a lot more tied together than the Tsukiko trilogy did in the beginning of the collection. (the Tsukiko Trilogy being “Photo”, “Kiss” and “Mansion”) That’s not to say that those chapters were bad – quite the contrary. It’s just that I can really see how much Ito has progressed as a storyteller from those early days up to these final farewells.
