![]() ![]() Gone were budgetary restraints or special effects limitations, as were studio executives with their unwanted “suggestions” regarding how to make the story more marketable to wider audiences. A story could be placed in any time period, adhere to whatever genre the writer wanted, feature whatever visual insanity the artist could think of. What made the series so interesting was the freedom that was given to the creators involved to explore or examine any corner of the Hellraiser mythology. Related: 12 Comics That Would Make Great Horror Movies “We have such sights to show you” utters Doug Bradley’s “Pinhead” in the franchise’s first film, and Clive Barker’s Hellraiser definitely delivered on that promise with each installment. Lemarchand’s puzzle box could land into the lap of anyone anywhere, be it a poker player in the wild west (“Dead Man’s Hand”), an imprisoned revolutionary freedom fighter in Latin America (“The Vault”), a king during the Crusades (“The Canons of Pain”) or a present-day television children’s entertainer (“Clowning Around”). Untethered from any particular timeline or character group, you never quite knew what kind of stories you’d get on an issue to issue basis. ![]()
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