Dark Designs: Tales of Mad Science
Science without limits. Madness without end.
All proceeds from the purchase of this ebook will be donated to Doctors Without Borders / Medicins Sans Frontieres.
This is a warning. What you are about to read violates the boundaries of imagination, in a world where science breeds and breathes without restraint. A world very much like our own.
Within these shadowy corridors you will discover characters seeking retribution, understanding, power, a second chance at life—human stories of undiscovered species, government secrets, the horrors of parenthood, adolescence and bullying, envisioned through a warped lens of megalomania, suffering, and blind hubris. Curious inventors dabble with portals to alternate worlds, overzealous scientists and precocious children toy with living beings, offer medical marvels, and pick away at the thin veil of reality.
You can run. You can look away. But don’t say we didn’t warn you.
Witness our Dark Designs.
David Cronenberg, infamous director and storyteller of body-horror movies such as The Fly (1986), Shivers (1975), and Videodrome (1983), once said, “Everybody’s a mad scientist, and life is their lab. We’re all trying to experiment to find a way to live, to solve problems, to fend off madness and chaos.” This statement of Cronenberg’s is a rather optimistic one. And not altogether inaccurate, we are after all trying to find ways to live in harmony and in doing so we must solve problems that arise to get there. But that’s not really the genesis of the purpose of mad scientist stories. The notion of “mad science” is self-explanatory, that there is something strange or “mad” in the unknown realities that surround us. Even today, quantum theorists are often seen as “mad” scientists, practitioners of metaphysics more than actual provable science. And in some ways, there’s some truth in that metaphysics and quantum mechanics often overlap, which brings us to one of the most exhilarating and equally terrifying aspects about science, that is, it’s never ending, always searching, constantly discovering something new, something previously unknown, beyond us. In part, our understanding of science; or more to point, our misunderstanding of science has become the inspiration over centuries for what has been deemed the quintessential “mad scientist.” Not for reasons given by Cronenberg above, that we are all in the same pursuit, but out of fear, fear bred from the unknown, and fear of what all these discovers, these advances, will bring us. And even more alarming, how far are we willing to go to achieve the impossible?
My first impression while surveying the history of “mad science” was that Victor Frankenstein, created by the imagination of a twenty-one-year-old Mary Shelley, was the first of the mad scientists to be conjured into the literary world. I was wrong. It was actually Dr. Faustus, written in 1604 by Christopher Marlowe, that should be credited as the first “mad scientist.” Dr. Faustus was perhaps more alchemical in nature than traditional science, but still the story serves as asking the proverbial question all mad scientist stories ask, “How far are we willing to go…?” Some of the more popular “mad scientists” who defied boundaries and terrified audiences with their audacity against “nature” include, Dr. Moreau, an H.G. Wells story penned in 1896, and Danforth & Dyer in “At the Mountains of Madness” by H. P. Lovecraft, published in 1931. These stories are typically told from the perspective of a layman looking into nightmarish worlds, boiled in a cauldron of obsession and forbidden knowledge. H.P. Lovecraft would go on to create a few more characters in this realm of unrestrained science with Dr. Herbert West, one of my personal favorites, and Charles Dexter Ward.
Growing up, the one “mad scientist” story that ignited my imagination and kept me glued to the edge of my seat was Steven Spielberg’s science-fiction epic Jurassic Park (1993). Even in my pubescent years, the memory still rings clear today, the duel realities of science, that in the wonder of watching a baby dino hatch or Dr. Grant’s first realization of what was going on as the Jeep drove through the part to the Visitor’s Center, first realizing that those massive tree trucks were moving and were not in fact trees, being held prisoner in a sort of child-like spell, and then suddenly seeing it all go wrong, demonstrated the dangers of unrestrained science, that even now the question of trust must be asked. Ian Malcolm, played by a black leather clad Jeff Goldblum, has one of the more illuminating statements in the film, a statement that has rung in the minds of audiences for over four-hundred years, when he says, “Your scientists were so preoccupied with whether they could, they didn’t stop to think if they should.”
Today, “mad scientist” stories have for the most part found themselves kicked to the kid’s corner, in such books as Meet the Creeps or Franny K. Stein. Sadly, there isn’t much being offered in way of adult entertainment. This was the prime motivation for raising the question to my Shadow Work Publishing cohorts of collaborating on a mad scientist anthology. While science continues to evolve and new discoveries are being made every day, the question posed in 1604 still remains relevant today, “How far are we willing to go” in the pursuit of said discover what consequences, if any, will we face? We landed on the title, Dark Designs, more or less on the alluring sinister quality, but not just that, also, as our quote says, “Science without limits. Madness without end,” there is a certain amount of ambiguity regarding science, that without limits perhaps we could possibly go “too far,” and in reaching such limits, madness is sure to follow. Here, as you turn the page, you’ll find yourself in a world without limits, where science breeds and breathes without restraint. You’ll walk these corridors with characters seeking retribution, understanding, revenge, and perhaps for some a second chance on life. These are human stories through the spyglass of mad science, of undiscovered insects, government secrets, horrors of parenthood, adolescence, and bullying, about curious inventors dabbling in portals to alternate worlds, of ambitious biologists and overzealous children tinkering with things they probably shouldn’t, and stories that stretch our understanding of the boundaries of life.
From Shadow Work Publishing, and the sixteen authors of which contributed to this charity anthology for Doctors Without Borders, thank you and bid you welcome our Dark Designs: Tales of Mad Science.
You can get YOUR copy of Dark Designs: Tales of Mad Science for $0.99!!!
Creature Features in Review: The Fly (1986)
Welcome, my friends to the start of a brand new series here on Machine Mean. I’m more than ecstatic to present to you the first of many Creature Features that will be reviewed during this duration. And what better way to kick things off than with one of my favorite horror sub-subgenres, mad science. Looking over the landscape of Creature Feature movies, there seem to be plenty that fit the bill of mad science, including, I would argue, those radiated atomic age giant sized monsters. How could we not include those? Did Dr. Oppenheimer and the rest of the Manhattan Project not considered (if not to each other to be) mad scientists? Following a successful test of his bomb, Oppenheimer dedicated his life to restricting the use of such a device. His intellect pursued the impossible and when said impossible was achieved, he drew back in quiet revulsion. Mad science…and even creatures of the macabre have a tendency to show us the things we most fear. Considering the mad scientists of the atomic era, they created and let loose upon the world a weapon so powerful that it changed the global culture and set us into a new age. Most had their own motivations, no doubt about it, but I would be confident to assume a majority of those motivations were intellectually based. Pushing the boundaries, so to speak. Creature Feature movies come from a similar vein. Unresolved fears gleaming into a new dawn. Numerous what if scenarios. Of invaders. Of the future. Of what lurks in the basement or in the woods or under the bed or out in the swamps. And some relate to our unresolved fears within our own bodies…and our minds. David Cronenberg’s The Fly (1986) is a masterpiece of body horror, also known as venereal horror. Let’s take a closer look.
Here’s a synopsis of the film from the always wonderful IMDb:
“A brilliant but eccentric scientist begins to transform into a giant man/fly hybrid after one of his experiments goes horribly wrong.”
This IMDb synopsis isn’t wrong. It just feels horribly simplified, right? There’s so much more to say about The Fly. One could point out the romantic triangle between the “mad” scientist Seth Brundle (Jeff Goldblum) and his newly minted lover/journalist Veronica (Geena Davis) and her ex-lover/editor Stathis Borans (John Getz). One could also point out a possible allegory of puberty, as Seth undergoes “changes” in his body, pimples, and other oozing features while becoming obsessed with his physique and sexual intercourse. Or we could go with the basic plot of an eccentric scientist and his doomed experiment. But neither of those feels quite right, do they? No. Something deeper is going on.
Before we consider The Fly, we ought to consider the director. David Cronenberg, also known as the King of Venereal Horror, back in the 80s and late 70s, set in motion a series on what film nerds refer to now as organic-horror, biological horror, or simply body horror. Anything to do with the horror of the human anatomy. For Cronenberg, we can look to Dead Ringers, Videodrome, Scanners, Shivers, The Brood, eXistenZ, and Rabid that could arguably be counted toward his run on body horror themed films. Each one taking on a different aspect or story regarding our humanistic fears about our own bodies juxtaposed to our vulnerability to disease or technology or parasites. In The Fly, this fear seems to be centered around the fear of mind versus body. Fear of what our minds create, that is technology, doesn’t feel dominate, though it definitely plays a part in Cronenberg’s philosophy.
We cannot ignore it.
Seth Brundle admits during the first hour of the movie that he has extreme motion sickness and he feels that this is a crippling condition. He cannot travel very far without getting sick. So, motivated by this horror he feels handicaps him by isolating him, scientist Brundle sets out to create a teleportation device, so that he may beam from one point to another without ever getting sick. His endeavor works. He has invented and created a teleportation pod, or tele-pod. But there’s a catch. The machine cannot properly read or understand flesh. This failure is clearly and disgustingly seen in the teleportation of Baboon #1 as the poor monkey is turned inside out. The machine doesn’t understand flesh, just as the character Seth does not understand flesh. He works exclusively alone, isolated from even his peers until he can no longer tolerate being alone. As he says to Veronica, the reason why he sought her out in the first place was because he had been alone for too long, he desires, craves, lusts for human contact. In a way, this illustrates the drama taking place between mind and body. His mind wants to continue its intellectual pursuits, but the body demands human interaction and thus intervenes and creates obstacles in the path of his goals.
While the mind is presented as being purely objective, the body is thought of as being subjective. During the duration of the movie, these ideas of mind and body are turned inside out, just as the Baboon was, and exposed for the ugliness this philosophy can bring upon us. Ideas become twisted. Seth creates a machine to solve his motion sickness problem. Okay, but he’s alone and finds solace in journalist Veronica. His bodily craving is resolved, for now, until more fleshly desires present themselves when Veronica puts the moves on our bumbling scientist. Suddenly he understands the dilemma between mind and body due to his ignorance of body and correlates his discovery with the tele-pod machine. He then successfully transports Baboon #2. They celebrate. Unfortunately, Veronica has to, as she says, “scrape off the heel” of her shoe the problematic ex-lover/editor Borans. Unschooled in the ways of human interaction, let alone women, Seth believes his new girlfriend is cheating on him or whatever and gets drunk and decides to go through the pod himself. Abandoning mind for bodily created jealousy. Unknown to him, a fly joins him in the pod and away they go. The machine wasn’t programmed to account for two separate genetic codes and so decides on its own, or more likely a fallback program, to splice them together. Seth emerges from the other pod in a cloud of white smoke seemingly unharmed or changed, instead, he is glistening and muscular, perfection one might say of both mind and body…but as horror fans, we know all too well there are no such guarantees.
Something went wrong.
It is interesting how Cronenberg differed here from the original 1958 film. When scientist Andre Delambre (played by Al Hedison) emerges from his pod he is instantly changed. His head is that of a fly’s head and his once human hand is a mandible-like claw. Differing, in this 1986 adaptation, Seth Brundle emerges seemingly unchanged but then goes through a slow and grueling deformation of his flesh and eventually his mind too. At first, he denies what’s happening, as any good horror character will do. When Veronica realizes something is amiss and tries to make him realize he is different, Seth screams at her, “You’re afraid to dive into the plasma pool, aren’t you? You’re afraid to be destroyed and recreated, aren’t you? I’ll bet you think that you woke me up about the flesh, don’t you? But you only know society’s straight line about the flesh. You can’t penetrate beyond society’s sick, gray, fear of the flesh. Drink deep, or taste not the plasma spring! Y’see what I’m saying? And I’m not just talking about sex and penetration. I’m talking about penetration beyond the veil of the flesh! A deep penetrating dive into the plasma pool!”
The pacing of this film is magnificent. Shortly after the above scene, Seth witnesses the first of many parts of his body that begin to fall off. Slowly, with each stage of decomposition, which quickly is realized as a perverted form of evolution, his bodily-humanity is degraded, ruined, being transformed into something else. At first, Seth accepts this new discovery, jokingly referring to his medicine cabinet as a Brundle Museum of Natural History. But the more insect he becomes, the more he realizes his once beloved intellect will also slip away into the obscurity of a brutal body-dominate fly. This realization is made in one of the movies best lines when Seth asks Veronica is she “ever heard of insect politics? Neither have I. Insects… don’t have politics. They’re very… brutal. No compassion, no compromise. We can’t trust the insect. I’d like to become the first… insect politician. Y’see, I’d like to, but… I’m afraid, uh… I’m saying… I’m saying I – I’m an insect who dreamt he was a man and loved it. But now the dream is over… and the insect is awake. I’m saying… I’ll hurt you if you stay.”
Seth quickly goes to work to try and resolve this transformation before he loses his mind to the bug. The machine analysis in an algorithm that he would have to splice two or more pure humans to reverse the insectoid growth. Devastated over Veronica’s departure, Seth discovers she is pregnant and chases her down when she seeks an abortion. Ina dream, Cronenberg himself plays the gynecologist, which is stoically brilliant. Seth, of course, crashes into the changing room and takes her away, imploring that she does not kill what remains of his humanity. She cannot and so he goes about his last-ditch attempt to reverse the progression of the insect with one of the best transformation effects ever conceived on screen as Brundle becomes a fully matured Brundlefly. The attempted abortion and the splicing algorithm give clues to this “other” possibility of resolving the conflict between mind and body. The mind can take action to destroy physical progression. Consider how people are outside of the movies. Why do people pursue cosmetic surgery? Why do we have organ transplants?
The Fly calls to our extremes. The war between our minds and body’s. Seth ignored his body, pursuing only the mind, to end up pursuing his physical desires over the discovery his intellect had made, only to realize all too late the need for an equal relationship between both mind and body. The Fly is definitely one of my favorite 1980s horror flicks and one of my favorite Cronenberg films. Great composition. Amazing practical effects. Top notch character acting. And gratifying gross-out scenes. But not just that, The Fly also has a deeper meaning that I find equally satisfying to all the blood and guts and giant humanoid insects, what would I be without my mind? What would I be without my body?
My Rating: 5/5
Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel, Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Apocalypse Meow. His military/paranormal thriller series, The Subdue Series, both Dwelling and Emerging and Conceiving (coming soon), are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics. You can keep up with Thomas and all his strange books by joining his author newsletter, at http://goo.gl/2CozdE.
Universal Monsters in Review: The Ghost of Frankenstein (1942)
Just when you think you’ve seen all Universal has to offer in the monster department, when perhaps you believe all that remains are nothing but phoned-in poor imitations of the forebearers, there comes a movie that pleasantly surprises. Nothing brings me more joy than to admit how wrong I am…at least when it comes to movies. My disposition or assumption (I should say) is due to the lack luster attempt of the previous film, The Son of Frankenstein. I know. I know. How can I say such a thing? Well, its true. Despite the charismatic lead of Boris Karloff as the monster and one of the more tantalizing roles for Bela Lugosi as Igor, the story and direction seemed flat and untangle and the motivations felt totally absurd, especially for the creature and his resurrection. Karloff had evolved the monster in Bride of Frankenstein to a talking, understanding, wanting thing, only to be thrown back into the pit of mindless wanderer/murderer in the sequel. And you can tell on screen how much Karloff was done with the role. He’d taken it as far as he could. After that, what can you do but walk away? And so he did. Let me say, quickly, before I eat up more time here, that I adore Karloff. His signature role will always be the Creature/Monster, the unwanted child of Baron Frankenstein; however, with that said, I was equally impressed with Lon Chaney Jr.’s role as the Creature. Despite being tethered to the flat-lined story of Son of Frankenstein, you can feel his excitement in having the opportunity at playing the Monster. And Bela…oh my. It may be blasphemy to say this, but I think he makes a better Igor than he did as Dracula. Before you start igniting those torches and sharpening your pitchforks, let me say before I hand over this review to our esteemed and more talented guest author, I absolutely loved Ghost of Frankenstein. The acting was top notch. The story made tangible sense. And the plot had deeper meanings than just the typical phone-in message we’ve been getting with other Universal monster sequels. Okay…I’ve said far too much probably! Without further delay, let’s see what our guest has to say about The Ghost of Frankenstein.
THE GHOST OF FRANKENSTEIN
By: David Sgalambro
Just when you believed the “Frankenstein” Monster had truly perished in the boiling sulfur pit, at the end of the third film based on Mary Shelly’s beloved novel, he and his creators spirit both return in the fourth installment of the series titled The Ghost of Frankenstein.
The film was released in 1942 by the infamous monster makers, Universal Studios and directed by Erle C. Kenton. The movie has the signature black and white shadowy feel from start to finish, but the drastic change from its previous predecessors is that Lon Chaney Jr. (known the year prior as The Wolfman) replaces Boris Karloff as the horrifying monster. We once again see the return of the maniacal loner Ygor, played by Bela Lugosi who reprises one of his finest roles, and the incredible talent of Make-Up Artist Jack P. Pierce providing all the fun ghoulish disguises.
I personally am a big fan of all the Frankenstein movies (the first always being my favorite) so the chance for the monster’s story to continue is more than welcomed by me and especially coming from the masters, Universal Studios. Just like all their pictures, I can get visually lost in this one as well. All the scenes ranging from the old quaint village to the Frankenstein laboratory, the film holds you firmly with its intriguing backgrounds and its petrified motionless landscapes.
All these classic monster movies were a huge part of my childhood that I carried over into my adult life because in my eyes, they are always a wonderful reminiscing treat to watch. I would rank The Ghost of Frankenstein right in the order that the series was numerically released, placing it fourth, as my favorite Universal Studios Frankenstein movie (excluding the incredible & hilarious masterpiece Abbott & Costello Meets Frankenstein).
A group of angry villagers are once again complaining to the town’s mayor that the Frankenstein name has a curse upon them. With destructive intent, they return to the infamous castle only to find an unfriendly Ygor (played once again by Bela Lugosi). With deadly explosives, they think they killed two birds with one stone, but unknowingly they awoke and unleashed the murderous Monster from the castles’ now cracked and exposed dried sulfur pit. Igor is thrilled to be reunited with his old friend and swears to find the second son of his creator Dr. Ludwig Frankenstein (played by actor Cedric Hardwicke) who specializes in Diseases of the Mind, and convince him to bring back the strength to his father’s creation.
As the film progresses forward we are introduced to Dr. Frankenstein’s two laboratory assistants Dr. Kettering (played by Barton Yarborough) and Dr. Theodore Bohmer (played by Lionel Atwill) who along with the great doctor, have just successfully removed, repaired and replaced a damaged brain from a patient’s skull. Next we meet Dr. Frankenstein’s daughter Elsa (played by Evelyn Ankers who was also in The Wolfman) and her boyfriend prosecutor Erik Ernst (played by Ralph Bellamy) whose job is to basically keep the angry villagers at bay.
There are a few touching moments in this film (just like every Frankenstein film thus far) that deserves an honorable mention which included a child by the name of Cloestine Hussman (played by Janet Ann Gallow). We once again see a subtle side of the creature as he comes to her aid and rescues her ball, but unfortunately kills two villagers in the process (that’s just poor Frankie’s luck). The big guy is apprehended but of course breaks free and escapes with the help of his buddy Ygor. They show back up at the Frankenstein residence and of course chaos erupts with Dr. Kettering being the unfortunate victim.
The title and the premise of the movie happens midway through the film when a ghostly apparition of Dr. Frankenstein’s father (also played by Cedric Hardwicke, but in an elderly state).appears and gives him advice with regard to saving his creation by transplanting the deceased Dr. Kettering’s brain into the skull of the monster.
With beloved inspiration from the past, Dr. Frankenstein is set on a new path and calls in the aid from his last living assistant Dr. Bohmer. The sudden ruckus of the laboratory brings the attention of Ygor to the lab who suddenly joins in on the fun. Once he hears the details of the operation, he begs the Doctor to use his brain instead, but was quickly denied. A later secret conversation between Ygor and Dr, Bohmer leaves the films promising ending now horrifically speculative.
At one point the Monster gets a full explanation about his upcoming brain transplant operation and decides to leave the Frankenstein residence. He walks back to town and kidnaps little Cloestein with intentions of wanting the Doctor to use her brain in the transplant instead. With a little convincing, the child is returned into the arms of Elsa and the evening’s normal procedures will move forward as planned. Hours before Dr. Frankenstein’s operation, Dr. Bohmer upheld his end of the verbal contract he had made with Ygor and removed his brain. Working solely, he ultimately presents Ludwig with Igor’s contribution.
The operation was a success but left us with a comedic image of Lon Chaney Jr. lying down with a huge bandage upon his monstrous head. The new Lugosi/ Chaney twist to the story and the whole build up to the end is somewhat brilliant, with the results now pending by the assistant’s underhanded scheme. I personally thought the idea was perfect for the film, giving the audiences exactly what they wanted back then … a shock!
The film then plays out that two weeks have passed before the villagers once again storm the Frankenstein residence demanding answers about Cloestein Hussman and Dr. Kettering disappearances and their unbelievable alibis. They send in Erik Ernst first giving the good doctor a chance to explain his intentions for the operation on a more calm and intelligent level. He states that he finally made amends for his family’s dark past and that the monster now has the brain of Dr. Kettering instead, and that all the problems for the villagers were solved.
He brings the prosecutor into the room where the Monster had been hiding, and for the first time since the operation, he speaks to the Monster and after a long pause from the giant … The Doctor was shocked when he heard …??? … Igor’s voice behind his father’s infamous creation. Definitely a great highlight in the film as Lon Chaney Jr. does his best lip-sync job, mimicking Bela Lugosi’s brutal and demanding lines.
The movie’s dramatic finale begins with the anxious angry towns’ people busting down Frankenstein’s front door and entering the residence in an uncontrollable rage. They are able to quickly get little Cloestein out safely, but some of them are quickly subdued by wall vents that release a knockout gas that the doctor had installed in case of violent patients.
The now Ygor/Monster, Dr. Frankenstein and Dr. Bohmer are back in the laboratory when all of a sudden the Igor/monster suddenly goes blind. He reaches out and grabs Dr. Bohmer demanding an explanation when Dr. Frankenstein comes forth and tells the reason for the failure. He says that the Monster and Dr. Kettering had the same type blood, but not the same as Igor’s, which caused the brain to react incorrectly with the sensory nerves.
The now blind Ygor/Monster grabs Dr. Bohmer and begins blaming him for the tragic results from the botched brain transplant. Then with his temper flaring, the Ygor/Monster pushes the doctor into a large piece of laboratory equipment which instantly electrocutes him to death. The now blind giant is left stumbling around the laboratory and begins clumsily knocking over everything which sets the place ablaze. The final scenes show the Frankenstein Monster engulfed in flames and sporting a hideous melting face, which I’m sure made the audiences scream. Then they show the helpless monster becoming trapped under beams of burning rubble, as the large residence begins collapsing around him.
Surprisingly the movie never goes back to Dr. Ludwig Frankenstein character after his medical speech to Dr. Bohmer and the Ygor/Monster, so I am going to assume that he also met his demise by the unruly fire. But luckily, the majority of the town’s people managed to escape from the burning home along with Elsa and Erik, who wind up walking off into a dark cloudy “sunset-ish” type night and ending the classic film on a somewhat happy note.
My Overall Review:
Like most of the Universal Studios monster movies, what’s not to love about them? Yes some are better than others, but every single one of them captures a moment in time where a film can just be scary based on its premise, musical score and overall feel. Just because we are now four movies into the Frankenstein saga doesn’t mean there’s still not an intriguing tale left to be told. I once again congratulate the studio for coming up with a brilliant and sinister idea to keep the franchise alive. I felt the role of the monster was played a bit over the top at times by Lon Chaney Jr., but he was still able to incorporate a level of fear into us as the abnormal creation. Bela Lugosi on the other hand definitely nailed another monumental part in these ageless classics as the one and only suffering Ygor.
The only complaint I have about the film is that Dr. Ludwig Frankenstein is probably the most boring (mad) doctor in all of the Universal Monster films. I’ll assume the studio writers probably went with the more subtle approach to the story, being he was the second son of the lunatic creator, but actor Cedric Hardwicke practically performed a lobotomy on me with his dullness.
But between loving the unexpected ending, featuring the lip-syncing dialogue from the Ygor/Monster and the overall feel of another ageless B&W Universal Studios classic monster movie, I still recommend this film to everyone of all ages. My advice is start from the beginning and watch them all in the chronological order they were made in, to achieve your best Frankenstein viewing experience.
Rating: 2 ½ out of 4 stars.
DAVID SGALAMBRO is a horror writer at J. Ellington Ashton Press and a contributing Writer at Resident Rock Star Magazine. He was born in New York, but spent the majority of his life sweltering down in Florida. Growing up, he was obsessed with every 1960’s Monster magazine on the newsstand (He still has hundreds of them that he can’t bear to part with ….ever) and any Horror movie his eyes could watch (He blames some of his lunacy upon seeing the original Night of the Living Dead at the age of nine). His continuous love for the genre has kept him in movie theaters throughout his life indulging in all of the decade’s bloodiest moments, but not up until recently has he tapped into his own dark inner voice as a writer, and brought forth his compelling debut novel published by J. Ellington Ashton Press titled NED. It’s his first attempt at the literary game and he credits his love of Horror for its terrifying content. David is currently working on his second novel which once again explores the darkest depths of his maniacal mind for inspiration and creativity. David’s other current literary escape is as a contributing writer for a music publication called Resident Rock Star magazine out of Colorado. With them he gets the freedom to write about what’s happening in the current music scene pertaining to his own personal taste, Heavy Metal.
In David’s own words, “I would would like thank Thomas S. Flowers for asking me to be one of his reviewers on this very important and very cool webpage. I am also honored to find myself on a list that includes such amazing and talented authors in the literary world of Horror. And as always…. Stay Brutal !!! – David Sgalambro.