The Worm and his Kings: New Cosmic Horror

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Best Horror Books Best Of Featured Reviews

I am unabashedly a huge fan of the weird and wonderful genre of cosmic horror. The ambiguity and dread of unimaginable terror is something that strangely fascinates me, regardless of how much I understand when I read it. Plus cosmic horror stories typically involve cults, so that’s another win in my book. And while I appreciate the godfathers of the genre, such as HP Lovecraft cosmic horror movie The Color Out of Space and Robert Chambers, what has been really exciting is seeing all the new blood coming on the scene in the past decade or so. Whether it’s Victor LaValle updating a classic with The Ballad of Black Tom (2016), or Lonnie Nadler writing an original tale with Black Stars Above (2020), or season 1 of True Detective (2014) bringing the weirdness to the masses – it’s clear that cosmic horror is in good hands. And now The Worm and His Kings has entered the genre.

What I also love about more recent cosmic horror stories is that they are bringing much needed humanity and depth to their characters, in an often esoteric genre with flat characters and dense writing. Gone are the interchangeable and one-sided professors or explorers who narrate their descent into madness. Instead we now have a wide range of dynamic and diverse characters; still finding themselves trapped in the supernatural but with emotional arcs and personalities that are much more relatable and realistic for modern audiences.

And that brings me to Hailey Piper’s latest novella The Worm and His Kings (2020). Set in 1990s New York City, it’s about a young woman named Monique who is down on her luck and living in an abandoned freight train tunnel. Her partner Donna has recently been taken by a taloned monster that stalks the city’s underground tunnel system. One night Monique works up the nerve to follow the monster in a half-planned rescue mission that quickly turns sideways. As she descends deeper into the earth’s depths, Monique will encounter a variety of creatures and mind-boggling horrors in her desperate bid to save the woman she loves.

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The Worm and His Kings horror book cover
The Worm and His Kings by Hailey Piper

Oh man, where to start on this one? Spoiler alert: I absolutely loved it! Monique is a great protagonist and one whose struggles I immediately sympathized with. While she is somewhat at the mercy of the cosmic forces seeking to ensnare her, she’s not going to give up without a fight. I desperately wanted her to win, but I was constantly afraid that she would not. She’s up against some formidable foes, including the deranged cultists who sing (and kill) in preparation for the Third Coming of the Worm as well as other shadowy, scaly creatures. The Gray Maiden, the giant lizard-like monster who stole Donna, is like something out of a Dark Souls game and particularly terrifying. 

The lore that underpins the story is fascinating and manages to feel hauntingly familiar yet also stand on its own. The history of the Worm and the Kings, the emphasis on alternate dimensions and timelines, the enigmatic practices of the cult – all of it is very compelling. And not only does Hailey Piper write an engaging story, but the way she writes it is beautifully evocative. I loved the vivid details, descriptive imagery, and the constant atmosphere of unease. I really felt Monique’s fear and like I was right there with her in the story, whether in the glaring halls of the cult base or the wet, cold, creeping horror of the Sunless Palace far below ground. Piper also does a good job of balancing clear language with frightening ambiguity, giving me a story that felt grounded but that also threw me off-kilter in an apprehensive way. 

The Worm and His Kings is the best cosmic horror story I’ve read all year, and easily takes a place amongst my all-time favorites. It has a protagonist you really root for, creepy monsters, a fantastic backstory, lots of twists and turns, and plenty of unsettling and mind-bending scenes. It also has an ending that surprised me, but also makes perfect sense with the story. This is my first book from Hailey Piper, and I can’t wait to read what else she has written!


The Worm and His Kings by Hailey Piper is distributed by Off Limits Press.

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We Are The Flesh – “The spirit doesn’t reside within the flesh; The spirit is the flesh!”

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Featured Horror Movie Reviews Scary Movies and Series

History is littered with questions as to the validity of extremism in art and media. Traditional English-speaking sensibilities all but protect us from the taboo-destroying underground world of experimental cinema, a place until now reserved for those who were prepared for a deep-dive into their local video rental store or, more recently, the internet. That being said, if I see that a horror film originated in the likes of France, Japan or Korea, to name a few, I know I may be in for a bit of a ride. At least I could be about to see something I had, through cultural linearity, never seen before. When I discovered Arrow Video’s release of We Are The Flesh (2016) promising an extreme and uninhibited French-Mexican horror experience, I was cautiously optimistic. 

Written and directed by Emiliano Rocha Minter, it’s a gleefully depraved slice of post-apocalyptic experimentalism. Beginning with a brother and sister (played by Diego Galamiel and María Evoli, respectively) discovering the makeshift lair of a primitive loner (Noé Hernández) after wandering a seemingly ruined city for ‘days’, the loner offers them refuge under his own, as of yet unknown conditions. Before long the ethos of this energetic stanger has leached fully into their minds, as well as our own, and from here We Are The Flesh consistently ups the ante until we’re sure we’ve seen it all. Displaying shockingly brash instances of sex, torture, murder and cannibalism, one would be forgiven for assuming that this is simply another exercise in shock horror and likely deserves the dreaded ‘Torture-Porn’ moniker. 

What Genre is We Are the Flesh?

The fact is, Minter’s directorial feature debut is far too intelligent to fall into such derogatory categories. The full commitment to its views, monologued with gusto by Hernández, completely backs the primordial hedonism to follow. As he bangs his drum and screams of deep phenomenology and the freedom of primitive chaos, viewers can’t help but be sucked into his words, nodding along and cheering for things that would have otherwise disgusted them. The core themes of his diatribes being isolation and the liberation it has afforded him, these matters could not be more apt for times like these. Rather than condemn his seclusion, he describes its effects with violently joyous energy. He speaks lovingly of mankind’s dual and savage nature as beasts who only suppress their most ancient of instincts, urging his new acquaintances to do away with the thin frameworks of moral decency that only other people held in front of them.  

“The spirit doesn’t reside within the flesh; The spirit is the flesh!”

The storytelling is vague and often confusing. The destruction of the outside world is only hinted at by the state of the converted apartment block the characters reside in. Many elements are implied and only fall into place in the final moments leading to an ending that makes any right-minded viewer question everything they have seen, their own values, and likely those of the entire human race. This is the essence of experimental horror.

Shock or Thought Provoking Imagery, Maybe Both?

We are the flesh horror movie poster featuring a person in a war helmet and tank top

We Are The Flesh left a hell of an impression on me; the type you sit and ponder for a time, probably long after the credits roll. While a lot of people won’t make it to that point, and some may even react negatively at being shown such an uncompromising film. But that’s where the true point of cinema like this lies, for me anyway. If someone becomes joyous or angry or upset at what they see then they’re making a decision on it; for better or worse it has made them think. Either we reject the new and strange ideas being shown to us or we embrace them for all of their gleeful depravity. These long, unbroken scenes of increasingly bizarre, deviant sex and violence will unnerve even seasoned horror fans and, elite as it may sound, only those with the capacity and intent to soak in the true meanings behind the insanity will gain anything from their viewing. If Hernández chanting, flapping his arms like a bird and appearing like something between Gollum and Dennis Hopper in Blue Velvet (1986) doesn’t spark at some primitive charge in your brain then what follows will only deepen your confusion. 

Through focused cinematography, blistering intelligence and chilling commitment to performances, We Are The Flesh is one of the finer experimental horror films I have subjected myself to. While appreciators of this type of art remain in the few, this is one of the more accomplished pieces of work that could take its shameless style to a wider audience. That being said, I won’t be recommending it to any family members. 

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