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Showing posts with label Horror in Clay. Show all posts
Showing posts with label Horror in Clay. Show all posts

Thursday, April 2, 2015

HORROR IN CLAY opens a cask of whoopass



(UPDATE: The campaign hit its funding goal during the first day!)

I'm rapidly running out of shelf space in my cabinets, thanks to HORROR IN CLAY.

The company is the work of CHS contributor Jonathan M. Chaffin. While his first two mugs showcased his love for H.P. Lovecraft, his latest will expand the brand to include a little Edgar Allan Poe.

Inspired by Poe's 1846 story, "The Cask of Amontillado," the mug features appropriately Poe-etic imagery. You can see it in the video above, so I won't waste any space here describing it ... but it's ridiculously cool.

Chaffin is planning two versions of the mug. The production edition funded by the Kickstarter campaign is expected to be a 7.5 inch, 22oz mug, and will come in a matte, wiped brown glaze. A limited-edition version (available at the higher donor levels) will be the same size, but will be hand glazed in multi-step, multi-tone process.

If you want to score one of these mugs via the Kickstarter campaign (which ends in early May) you can do so by clicking HERE.

Monday, June 16, 2014

Collinwood Cocktails: TOM COLLINSPORT



By JONATHAN M. CHAFFIN

¾ oz. Lemon juice
1 oz. Rock candy Syrup
2 oz. Plymouth Gin
1 dropper Fiendishly Tropical Bitters
Shake, add 1oz lemon flavoured or plain seltzer, strain into Collins glass with fresh ice.
Garnish with large lemon peel.

Like much of the beloved DARK SHADOWS cast, the "Tom Collins" is an oldie but a goodie ... a cocktail for the ages.

A drink known as a "John Collins" has existed since the 1860s at the very least and is believed to have originated with a head waiter of that name who worked at Limmer's Old House in Conduit Street in Mayfair.  Limmer's Old House was a popular London hotel and coffee house around 1790-1817.  This "Mr. Collins" popped up again and again ... and was immortalized around 1876 "Bartender's Guide" under the name of Tom.

Seems only fitting to update this classic with a bit of a twist made possible by the growing craft bitters trend.  Warning: This "adult lemonade" is VERY drinkable.

Cheers!

Jonathan M. Chaffin is an Atlanta-based graphic designer and art director and a lifetime fan of horror stories and film. His current project is www.HorrorInClay.com where he uses artifacts and ephemera to tell stories...he also produces horror-themed tiki mugs and barware like the Horror In Clay Cthulhu Tiki Mug. In addition, Jonathan occasionally does voice-over and podcasting work and appears on panels at sci-fi fantasy and pop culture conventions on a variety of topics. You can follow him @CthulhuMug on twitter or by friending HorrorInClay on Facebook and G+

Thursday, February 13, 2014

Horror in Clay returns with the INNSMOUTH FOGCUTTER TIKI MUG


In 2012, Jonathan A. Chaffin conjured up a successful Kickstarter campaign with HORROR IN CLAY, which gave the world the Cthulhu Tiki Mug. Somehow, the world survived the return of this elder god, possibly because Chaffin was wise enough to summon Great Cthulhu in a portable 30 oz. size.

Not having learned his lesson the first time, Chaffin is once more tampering with eldritch horror, threatening us all with the tyranny of the INNSMOUTH FOGCUTTER TIKI MUG. Here's what he has to say about the latest project:
"The backstory for the mug is supported by artifacts and ephemera I designed around an outline for a romantic tragedy set in Innsmouth. This romantic tragedy flows from fan theory; if you and your beloved were both raised knowing you were special and really would be together forever, what would happen if you couldn't be?"

The project has numerous pledge levels, which include such unspeakable oddities as The Gilman House Hand Towel, Esoteric Order of Dagon Fez, a screen-printed Evolution of a Deep One shirt and more! You can read more about the project by watching the video above, or contribute by visiting the INNSMOUTH FOGCUTTER TIKI MUG's official Kickstarter page HERE.

Find HORROR IN CLAY at Facebook at www.facebook.com/horrorinclay, or follow them at Twitter at @CthulhuMug.

The campaign ends Monday, March 10, at 5 p.m. EST.

Thursday, October 31, 2013

Monster Serial: HALLOWEEN H20, 1998

Hello, boils and ghouls! October is upon us and that means one thing: HALLOWEEN! While most holidays get a measly day or two of formal recognition, orthodox Monster Kids prefer to celebrate it in the tradition of our people: By watching tons of horror movies. This month at THE COLLINSPORT HISTORICAL SOCIETY, we're going to be discussing some of our favorites every day until Halloween. So, put on your 3-D spex, pop some popcorn and turn out the lights .... because we're going to the movies!


By JONATHAN M. CHAFFIN

In 1998 when a projectionist called me after midnight on a Tuesday and said, "I'm building the print for H20 tonight and have to test it ... wanna come watch?" I damn well got back out of bed, got dressed, and ran every red light on the way to the theater. That's how I came to watch "HALLOWEEN H20: TWENTY YEARS LATER" a week before release in an empty theater in the wee hours of the morning with the sound cranked to max.  Hearing that signature theme boom and echo in the dark for the first time was a highlight of my life [1]. The movie did not disappoint then, and still doesn't.

A quick note before we dive in: The HALLOWEEN series LOVES its long titles, numbers, and subtitles.  I will refer to this film in text as H20 or HALLOWEEN 7, and rarely by HALLOWEEN H20: TWENTY YEARS LATER.  Also; this film deals with the character Laurie Strode who is living under the assumed name Keri Tate - I will primarily refer to her as Laurie.

I'm not going to talk overmuch about the psycho killer (or agent of Thorn if you prefer [2] ) aspect of the film; it's fun, it's got a good beat, and you can dance to it. "Who will survive and what will be left of them" is as relevant a question for this 1998 release as it was for the TEXAS CHAINSAW MASSACRE in 1974. Halloween 7 is a post-SCREAM slasher film; a little self-aware, a little clever, and  a little unpredictable [3].


What I LOVE about this movie, and what has made it my second favorite of the franchise after the first, is that like SCREAM, H20 deconstructs horror movie tropes and explores their logical consequences: fan theory as opposed to fan fiction.  This film pays the most attention to the evolution of Laurie Strode (in this film called Tate) from victim to heroine. Several young cast members and a talented rapper round out the cast as mostly forgettable cannon fodder for Michael's bloodlust.

It's easy to imagine H20 starting out as a thought experiment. If Michael Myers' sister wasn't actually killed in the prior movies, where would she be and what would she be like?  As originally conceived, H20 was intended to dovetail with Halloween 4, 5, & 6, and as such does not directly contradict anything except the originally shot ending of HALLOWEEN 6: THE CURSE OF MICHAEL MYERS.

Like you'd expect from any combat veteran/tragedy survivor, Laurie suffers from post-traumatic stress and unspecified anxiety disorders.  She medicates herself with both proscribed meds and booze. The bookish girl from HALLOWEEN and HALLOWEEN II who has a caregiver role as a babysitter is now headmaster in a private school near a small town (which also conveniently isolates her from the wider world and, she hopes, from her murderous brother).


At the same time, Laurie has lived her life expecting and preparing for Michael to return and attempt to finish the job of slaughtering his entire family. This movie has fun with the audience's expectations in several places.  Other heroines in other movies wander around asking the darkness "Is anyone really there?"; when the phone goes dead Laurie goes straight for her hidden revolver. When I watched this movie a second time in the theater, there was a cheer when she pulled the weapon out.  Laurie has no intention of squaring off with her brother in a knife fight. When Michael is presumed dead she doesn't take it for granted that he's dead. Ever. 

All of these characterizations feel genuine for someone who has survived a horror movie. Laurie is believable. The mature Jamie Lee Curtis (now the Lady Haden-Guest, by the way) knocks this role out of the park with a touching blend of authoritarian instructor/overbearing parent and vulnerable survivor. Her transition into a tempered-steel Ripley-in-ALIENS heroine during the course of the movie is foreshadowed by a classroom discussion about fate. Regarding FRANKENSTEIN, a student says, "Victor should have confronted the monster sooner. He's completely responsible for Elizabeth's death. He was so paralyzed by fear that he never did anything." It is clear when Laurie chooses to get her son safely off the school grounds and then opts to return for a showdown with Michael Myers that she is working to choose her own fate. I particularly enjoyed the cat-and-mouse sequence as Jamie Lee stalks through the abandoned school wielding a fire-ax and shouting for her homicidal brother. Laurie Strode is essentially yelling, "Come on if you think you're hard enough!"


In two nicely-shot sequences that bookend the climax of the movie Laurie ends up eyeball to black eyeball with her brother. The first time her sense of panic and shock causes Laurie to fumble for her handgun and allows Michael time to disappear again.  The final time Laurie confronts her brother in this movie she seems to consider compassion…then opts to murder her brother, just to be safe. I'd love to hear some lawyers argue over whether Laurie's coup-de-gras at the finale of this film is manslaughter, self-defense, first degree murder, or what. We get to watch as she considers giving her brother a chance of redemption and discards it. The thoughts are clear on her face as she decides to snuff the light in "the blackest eyes ... the devils eyes."

To circle back to the classroom scene from the original HALLOWEEN: "fate caught up with several lives here. No matter what course of action Rollins took, he was destined to his own fate, his own day of reckoning with himself. The idea is that destiny is a very real, concrete thing that every person has to deal with."  With its' conclusion, HALLOWEEN: H20, TWENTY YEARS LATER was intended to bring closure to the tale of the Myers family and wrap it up in a tidy bow [6]. I think the film is a worthy revisitation of the themes of fate and free will as presented in the original movie. I really enjoyed the added bonus evolution of a scream queen into a fully-actualized hero. Watch it.

Happy Halloween!


1. (Star Wars fans probably know the feeling from the 1990s theatrical releases of those films).  No matter how good your home sound system is, I still believe there is a place for the epic sweep of a theater sound system.  Support your local art theater.

2. See HALLOWEEN 4, 5, & 6. Watch them as if they are a single movie, and get the producers cut of 6 if you want to think about Michael Myers in a dramatically different way. 6 also does a good job, in my opinion, of tying in the events of HALLOWEEN 3: SEASON OF THE WITCH.

3. In a fun nod to the earliest days of the slasher genre, the theme from Alfred Hitchcock's PSYCHO is briefly used during the scene (at 42:00) where Laurie Strode spoke with Norma Watson.  Norma, Laurie's secretary in this film, is a cameo role played by Janet Leigh, Jamie Lee Curtis' real life actress mother. Janet played Marion Crane in PSYCHO and is seen here in front of a 1957 Ford Sedan, license plate NFB 418 [4], reputedly the same car she drove in PSYCHO [5].

4. NFB = Norman Francis Bates. Clever.

5. Her boyfriend in the movie was named Sam Loomis…why does that sound familiar? Oh yeah…Michael Myer's doctor from the entire Halloween franchise.

6. Before those bastards went back to the trough one last time before the reboots and in so doing entirely squandered Laurie's hero journey and potential.  Jerks. 


Jonathan M. Chaffin is an Atlanta-based graphic designer and art director and a lifetime fan of horror stories and film. His current project is www.HorrorInClay.com where he uses artifacts and ephemera to tell stories...he also produces horror-themed tiki mugs and barware like the Horror In Clay Cthulhu Tiki Mug. In addition, Jonathan occasionally does voice-over and podcasting work and appears on panels at sci-fi fantasy and pop culture conventions on a variety of topics. You can follow him @CthulhuMug on twitter or by friending HorrorInClay on Facebook and G+

Thursday, October 24, 2013

Monster Serial: IN THE MOUTH OF MADNESS, 1994

Hello, boils and ghouls! October is upon us and that means one thing: HALLOWEEN! While most holidays get a measly day or two of formal recognition, orthodox Monster Kids prefer to celebrate it in the tradition of our people: By watching tons of horror movies. This month at THE COLLINSPORT HISTORICAL SOCIETY, we're going to be discussing some of our favorites every day until Halloween. So, put on your 3-D spex, pop some popcorn and turn out the lights .... because we're going to the movies!  


By JONATHAN M. CHAFFIN

When asked by an old friend to write a review of a favorite horror movie, my immediate response was “I’ll write about HALLOWEEN! That is my all time favorite horror movie!" Ah, but which Halloween to write about? The original? The bizarre but beloved by me “HALLOWEEN 3: SEASON OF THE WITCH?" The 4th, 5th, and 6th installment considered as a single film using the alternate director’s footage wherein Dr. Loomis replaces Michael Meyers as the avatar of Thorn? (Look it up...I love it). Or perhaps the ultra stylish Rob Zombie remakes?

At the end of the day, several false starts, and a lot of cursing, I decided to shift focus ... I love those movies, but there I may actually be too familiar with them. Looking at the rest of Carpenter’s filmography, though, reminded me A) I love his work and B) there is one film that has shown up in my own design work in strange ways. That film, dear readers, is IN THE MOUTH OF MADNESS, the third installment in John Carpenter’s Apocalypse trilogy (THE THING and PRINCE OF DARKNESS being the prior two).

IN THE MOUTH OF MADNESS, at its core, is a story about belief and madness. About the transitions from one state to another, and about the lines between fiction and reality blurring until they break. Part of what I love about art and fandom and movies and storytelling at this point in history is the ever-increasing likelihood of running across real artifacts and products from movies in the real world. My own HORROR IN CLAY projects specifically create fictions and backstories and artifacts for places that never existed, and part of my fascination for that traces back to this movie.


Not to give it all away in the opening paragraphs, but a cynical insurance investigator uses clues published across an author’s body of work to locate a town that isn’t supposed to exist. Then finds out it was a staged publicity stunt. THEN finds out that the publicity stunt has gone horribly wrong and the monsters are real. Catnip for a horror junkie! At one point the movie breaks the 4th wall OF the 4th wall frame story! Breaks it like a lunatic with a fireax.

IN THE MOUTH OF MADNESS tells the story of John Trent (gleefully played by Sam Neill), a freelance insurance investigator with a two-cigarette a scene habit, as he attempts to discover the truth behind a famous author’s disappearance. Neill plays it straight and dry, and the effect when he is faced with mindblowing weirdness is marvelous.

After being retained by publisher Arcane House to track down Sutter Cane (definitely not Stephen King at all ... mostly), Trent finds clues in Cane’s books which lead him to the author. Paired with Cane’s editor Linda he finds himself either trapped inside of or influenced by Cane’s books. He may in fact be a character. Hijinks ensue (but not the funny kind of hijinks...as befits a film from John Carpenter, there is some good visceral body horror and great shocks littered throughout the movie). Also, some of it is just weird and disturbing - parts put me in mind of ERASERHEAD, and parts reminiscent of JASON AND THE ARGONAUTS (well, of some Harryhausen effect vehicle, anyway).

In all its grandiose recursion, the film is about the subjective nature of reality and the power of belief to warp and change boundaries. I think there a nice implied indictment of capitalism; of its power to skew observable reality, but that might be going a little far. Nevertheless, the idea that churning out pulp novels (or political tracts, or public health pamphlets) can gradually make the environment more conducive to monsters or ideas once considered implausible and evil or malevolent forces has interesting connotations. The sleep of reason breeds monsters after all.

IN THE MOUTH OF MADNESS is perhaps the most Lovecraftian movie I’ve ever seen. The monsters from beyond space and time are indeed squamous (and in fact are described using actual bits of Lovecraft's writing.) The monsters are alien, unconcerned with humanity on a personal level. Everything will be destroyed, but it’s nothing personal. The investigator is hard-bitten and completely screwed. We know he’s screwed from the beginning shots of the ambulance heading to the asylum...the only question in how he got there.


Trent is a neo-noir character; cynical, rational, and fairly unprepared for the sharp left turn the movie has in store for him. He’s always looking for the angle to the fraud he’s sure lurks just behind everyone else. As an aside; the film has some great noir-ish camera work as well with lots of angular shadows, even what I will choose to believe was a conscious nod towards German Expressionist films such as the CABINET OF DR CALIGARI in the set design of Trent’s asylum cell. Some of the shots were in fact filmed by Sam Neil himself.

Julie Carmen’s character, Linda Styles, is pretty bad. So bad, in fact, that I actively started trying to tune her out. Her best moment, by far, is when she turns into a monster and punches Sam Neil through a door. Mediocre acting and a labored character didn’t detract too much from the general fun of the movie, it just introduced a strange note of shadenfreude. I was happy when bad things happened to Linda Styles.

Short appearances by Charlton Heston and Jürgen Prochnow (as the enigmatic Sutter Cane) were dynamic and fun additions. Don’t ask me about the thing growing from the back of Prochnow’s head…that was just odd.

Structurally, the movie is ambitious; it contains a frame story, dream sequences, narrative asides, recursive filming...true to Lovecraftian form, the audience knows Trent is doomed from the very beginning. Some of the scenes are lot of grisly, weird fun; for example a change of focus or foreground or background detail creates dramatic irony as Trent and Styles unknowingly wander through a small town straight out of CHILDREN OF THE CORN. “It came for the children first…” bemoans one creepy townsman before he does something...irrevocable. Cane’s small town, Hobb’s End, could just as easily be Stephen King’s Castle Rock or HP Lovecraft’s Dunwich.


In general, the film hasn’t aged that well (lost in New England? Where’s my GPS). Watching the movie again for this review after a number of years revealed some glorious hallmarks of 80’s film that were entertaining in and of themselves (OH those shoulder pads).

The elephant in the room is that the recursive storytelling gets grating; as many times as I’ve seen this movie there is always someone who hates it, or gets bored or hopelessly lost towards the end. All that said, I think if you accept the film’s flaws and celebrate the parts it gets right, it’s really worth seeing. The cinematography is solid, and the Lovecraft and other horror references in the movie are fun to spot. There is a faint but entertaining thread of humor throughout the movie. It has some great shocks, some great body horror, some creepy-weird bits, and some fascinating points to make about the power of belief and about consumer culture influencing belief and vice versa. Also, the movie has truly kickass '80’s music during the opening and closing credits.

Jonathan M. Chaffin is an Atlanta-based graphic designer and art director and a lifetime fan of horror stories and film. His current project is www.HorrorInClay.com where he uses artifacts and ephemera to tell stories...he also produces horror-themed tiki mugs and barware like the Horror In Clay Cthulhu Tiki Mug. In addition, Jonathan occasionally does voice-over and podcasting work and appears on panels at sci-fi fantasy and pop culture conventions on a variety of topics.
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