The Hellraiser Puzzle Box: History and Influence of the Iconic Artifact

Shivering with sweat in a dark room, a man kneels on bare floorboards. Illuminated by candles, he works feverishly to solve the puzzle box in his hands. An ornate construction, made up of sliding panels and mysterious chambers. The air flexes with a distant tolling bell as polished pieces click into place. Out of it, a banal melody plays on a hidden mechanism. The din is reduced to a naked scream as the gates of hell open.

What is your pleasure, sir?

Clive Barker’s horror novella, The Hellbound Heart was first published in 1986. Dissatisfied with other film adaptations of his work, Barker made his directorial debut with Hellraiser in 1987. An almost verbatim adaptation of the novella. The film was the beginning of a multimedia franchise expanding on The Hellbound Heart. With each sequel peeling away more layers of Barker’s dark dreamscape. The doors of which are opened by a 3-inch cube called the “Lament Configuration”.

The box was originally called “the Lemarchand Configuration” in Barker’s novella. Known to most humans as only a rumor on the lips of a derelict. Several boxes were thought to exist but few were willing to track one down. Described as charts of the interface between the real and realer still. A box would break the surface of the trivial delights of human condition. The novella mentions one being locked away in the vaults of The Vatican. Another said to have been used by the Marquis De Sade while imprisoned in the Bastille. 

All boxes were said to be created by a French craftsman, Philip LeMarchand. Previously famed for creating mechanical birds, he constructed a tool in the form of a toybox. A puzzle that to solve would mean to travel across the schism. LeMarchand’s background would develop later in Epic’s Hellraiser comic series that ran from 1989-1993 with the support of Barker. In them, LeMarchand was described as a mass murderer using human fat and bone in the construction of his boxes. The film Hellraiser IV: Bloodline would portray LeMarchand as an ingenious toymaker hired by an aristocratic occultist. The crafting of lament configuration would curse LeMarchand’s bloodline.

The existence of multiple boxes seems to have found its inspiration by way of the occult world. Some suggest it is reminiscent of the 13 Crystal Skulls mythology. Or more seriously, The Key of Solomon, a Renaissance grimoire of seals that command spirits. Barker once explained wanting access to hell in the book and movie. “Explored by something rather different than drawing a circle on the floor with magical symbols around it.” The idea of a puzzle came from childhood memories of his grandfather. A ship’s cook, having returned from a trip to the Far East with souvenirs. After one particular trip, Barker was given a carved wooden puzzle box.

In The Hellbound Heart, the Lemarchand Configuration was described as smooth, black lacquered faces with hidden pressure points. A surface reflecting faces of souls caught up in the obsession. Inside were the mirrored innards of fluted slots and oiled pegs. The cinematic version of the Lament Configuration was made of polished wood and brass. Special effects designer, Simon Sayce had studied ancient writings and symbolism from North Africa to China. He notes the inlaid characters of box’s brass work were inspired by surgical tools from an exhibit at the Pitt Rivers Museum. Later to be seen in the film as the disembodied torture devices summoned by the box.  

The instructions to solving the Lament Configuration were part pragmatic and part metaphysical. The puzzle requires a cunning mind and nimble fingers. But to truly open it requires a dark desire for knowing. Desperate individuals seeking pleasure beyond mortal understanding. “You have to become aware of the Lament Configurations”, claims Doug Bradley. Longtime friend of Barker and actor that portrayed lead cenobite, Pinhead. “And then you have to find one, and then solve the puzzle. It’s not just the physical act of opening the box. It’s the motivation behind it.”

Barker’s Configuration has lent its inspiration to the modern urban legend/Creepypasta called The Devil’s Toybox. Part of a Halloween roadside attraction in rural Louisiana. It is described as a single room shack with 6 inward facing mirrors. The attraction’s challenge is to step inside for as long as possible without losing your mind. Another inspired object of the same name is used by paranormal investigators. These Devil’s Toy Boxes are much smaller mirrored contraptions. Popularized by Joshua P. Warren on Coast to Coast AM, it is believed to create an endless loop of energy. Some claim it attracts spirits and demons. Others utilize it to trap and remove negative entities.

The puzzle box remains an iconic artifact. Possessing an intricate mythology splashed across the pages of books, comics, and the big screen. Inspiring artwork, jewelry, toys, and a wide variety of other replicas. Many online merchants peddle puzzles that might offer access to paradise instead of hell. What kind of doors can you unlock with your own Lament Configuration? What is your pleasure?

Originally published Spring 2021

Additional Links:

http://www.hellraiserbox.net/

http://www.cenobite.com/

Splatterhouse: History and Inspiration Behind The Classic Arcade Game

Before there was a video game content rating system, the creators of Dig Dug and Galaga were blazing trails with a different kind of game, dripping with graphic content. In the late 80’s, Namco unleashed the gore-fest known as Splatterhouse into arcades and home ports. Setting the cornerstone for the future of horror gaming and on-screen violence.

“May be inappropriate for young children…and cowards.”

While horror games had been churned out for years on home computers and consoles, scarier aspects were left to the player’s imagination. The depictions of violence and gore in gaming had a very limited scope. That is until the Japanese game developer, Namco, decided to push arcade boundaries as well as break their own mold. Namco was best known, at the time, for the creation of cute and cartoony games like Pac-Man and Mappy. In November of 1988, under the direction of Shigeru Yokoyama, the Splatterhouse arcade game was released. Influenced by popular Western slasher cinema and parental outrage, Namco was counting on shock factor to bring players to the joystick. Unlike other side-scrolling brawler games, Splatterhouse was hyper-focused on detailed gore and graphic violence. Purposely drawing attention to the gruesome content resulted in the arcade cabinet’s immediate success in Japan and Europe. A slower cult following developed in the United states as Splatterhouse wasn’t widely distributed to Western arcades. Lore surrounding the game claim’s its content stirred controversy resulting in a ban while others believe it was a copyright infringement. Home ports that followed for TurboGrafx-16 and MegaDrive would bring a censored version to wider audiences with toned down splatter and character changes.

Gameplay

The original Splatterhouse arcade game didn’t offer much of a backstory. Only presenting the player with an opening sequence of two figures seeking shelter from a rainstorm in a dark mansion. It would be 1990’s home port that would expand on the game’s plot. In the instruction manual, the figures running through the woods are identified as Rick and Jennifer. College sweethearts and parapsychology students that have traveled to West Mansion for a research project. The West Mansion is locally known as “Splatterhouse”, rumored to contain mutated abominations created in a lab by the homeowner, Dr. Henry West. As they enter the mansion and the door slams behind them, Jennifer screams bloody murder and a game over screen appears. But death is only the beginning. Rick awakens from his own unknown demise in a dungeon, resurrected by the “Terror Mask”. An ancient artifact containing a spirit that grants super-human strength to whomever puts it on. Attaching itself to Rick, he is transformed into a rampaging monster out to save Jennifer and take revenge on West Mansion.

A 2-page advertisement for the Turbo-Grafx 16 port was released as a mini comic of Splatterhouse’s origins. Featuring Rick and Jennifer entering the West Mansion, being attacked, and the Terror Mask fusing with our anti-hero.

A Real Video Game Nasty

For any fan of contemporary slasher figures and horror cinema, the main appeal of the Splatterhouse arcade game is guessing who’s who. A game within a game of spotting all the references in weapons, enemies, and backgrounds. Most are quick to point out the resemblance of Rick’s mask to Jason Voorhees in the Friday the 13th franchise. Beyond the beloved horror icons of the 80s, the concept of a haunted mask hadn’t yet found its true voice. One of the first horror film entries is the 1965 Japanese supernatural drama, Onibaba. A lost samurai passes on the curse of a jealous demoness with the use of a Hannya mask. Almost 2 decades later we would be reintroduced to mask horror with a disconnected sequel to John Carpenter’s best-known movie. Halloween III: Season of The Witch’s plot was a collision between tech and the occult at the Silver Shamrock mask factory. Italy would step up to the under used trope in 1985 with Lamberto Bava’s Dèmoni. Giving audiences a plague of demonic possession when an ancient mask is tied in with a horror movie promotion.

The second most notable horror reference in the franchise is our villain, Dr. Henry West. Highly regarded in the parapsychology community as a brilliant man, his secretive experiments within his mansion have unleashed Lovecraftian horrors on the world. A direct homage to H.P. ‘s 1922 novelette Herbert West-Reanimator and the 1985 horror comedy film that followed. But it is Lovecraft’s obsession with old dark houses that gives the Splatterhouse arcade game its namesake. Short stories such as From Beyond, The Dreams in the Witch-House, and The Shunned House all offer a residence where either mad science or occult ritual take place. Creating massive rifts of trauma that transform the very structure into a living abomination itself. Splatterhouse’s West Mansion is not only filled with hideous monstrosities but actually births them into reality.

Several other horror films of the 80s are remarked on lending inspiration to the bad guys that come for Rick. Deadly Spawn slugs and Poltergeist mirror reflections are mixed in with xenomorph chest bursting and Cronenbergian fetus mutants. The chainsaw-armed boss called “Biggyman” could have borrowed again from Jason on Friday the 13th II, with a burlap bag over his head. Or it might have been a reference to the Phantom in The Town That Dreaded Sundown.

The majority of the Splatterhouse arcade game’s tributes fall under 1987’s Evil Dead II. The final act of Stage II is an entire room and its contents shuddering at the presence of Rick. Attacked by flying furniture and squaring off with a hung portrait flapping about. Stage V gives you pools of sentient severed hands crawling about and a few giving the finger. But it is the moment when Rick encounters Jennifer laid out on a sofa, that leads me to emphasize Evil Dead II. She awakens to transform into a hideous monstrosity that reminds me of Ted Raimi as a Deadite Granny. Rick has no choice but to kill his own girlfriend, in an anguished moment once shared with Ash as he chainsawed Linda.  

“It begins again…!”

The success of the Splatterhouse arcade game in Japan was followed in 1989 with the first and lesser-known sequel of the franchise. Splatterhouse: Wanpaku Graffiti was a Japanese exclusive for the Famicom system. More of a cutesy parody of the original, the graphic violence was removed and it was marketed to a younger audience. Wanpaku Graffiti deviated from the original storyline and featured even more horror pop-culture references that made the game downright silly, at times. Fans continue to debate whether or not it was intended to be a prequel to the original game. In 1992, Namco released Splatterhouse 2 for Sega Genesis. The game’s plot would pick up 3 months after the events of the Splatterhouse arcade game. Rick plagued with nightmares and tempted by the spirit of the Terror Mask to return to West Mansion and revive Jennifer’s soul. 1993 followed with Splatterhouse 3 on Sega, with the disruption of happily ever after. Rick and Jennifer are now married with a child as Dr. West’s horrors once again invade their lives. 2010’s Splatterhouse is a retelling of the original story for X360 and PS3. Updating the 16-bit world to a modern-day bloodbath that is packed with horror reference easter eggs. Following in the arcade cabinet’s footsteps of valuing blood n’ guts over gameplay, the reboot is incredibly entertaining for a gore-hound. In fact, the entire franchise is highly recommended to fans of retro horror gaming, if for nothing else than the nods to hack n’ slash cinema throughout each installment.  

A Putrid Pioneer of Horror Gaming

It may not have been the first horror game, but the Splatterhouse arcade game reshaped the genre. Giving the player the opportunity to be a Jason Voorhees knock-off that punches bats and chops levitating heads with a medieval axe. Namco reached new audiences with gruesomely detailed carnage and solid Eldritch elements; a formula still prevalent in modern horror games. Without Splatterhouse we may have never gotten Friday the 13th: The Game for PS4 and Xbox One.

“If coin-ops could give out smells, this one would reek of an abattoir.”

In a 1989 Splatterhouse review in Computers and Video Games magazine

Further Reading

Splatterhouse fan-site “The West Mansion” 

Splatterhouse arcade emulator (in browser)