Ricky reached for her again and this time she didn't avoid his touch. Half closing her eyes, as the surf of silk rose and exposed her. He was within a couple of yards of her when a breeze out of nowhere billowed her skirt up around her waist. She turned and flattened herseif against the wall, feet spread out a little. There was no way out from this end of the cinema, and judging by the come-ons she was giving him, The hapless cinemagoer Dean, before moving in on the cancer's next intended victim, Ricky. Manifesting itself first as John WayneĪnd then as Marilyn Monroe, the cancer now seeks a more physical interaction.

Which the escaped convict's otherwise lifeless body resides. In the story, Sonny Barberio's cancer has grown through the absorption of attention and love granted the players projected onto the Son of Celluloid centred on the disease ofĬancer and had it act through several icons of the silver screen. The author as one who was unafraid to deal with subjects that others treated as taboo. Son of Celluloid glorified in illustrating Barker's unapologetic imagination and established Along with other graphic tales of horror within the covers of these debut volumes, Published in the UK in 1984 and the US in 1986. Son of Celluloid first appeared in Volume 3 of Clive Barker's Books of Blood, written in 1983 and

Here though, in the sequence below, we've charted the progressįrom printed words to a graphic novelisation, using a 'classic' scene from Clive's seminal Books of Blood story, Son of Celluloid.Ĭlive's cover painting for Books of Blood, Volume 3 - 1985 The melting pot of collaborative effort is especially significant. We've charted this in movie situations for Hellraiser and Nightbreed (see the Films index) where A scene often changes radically between first conception in the writer's mind and its final publication or public airing.

Son of Celluloid by Clive Barker