“ART IS DANGEROUS. It left me feeling slightly violated, and really wanting cookies.”
Doctor Flesh: Director’s Cut is written in layers. It is dense with inside jokes from previous works, popular culture, and tons of intellectual references. The genius of Johnson’s writing is such that even if you don’t realize those layers are there, you’ll still have a rollicking good read. So, I’m saying don’t get me wrong, yes, it’s naughty—but it’s so much more than that.
I loved the inventions of Dream Liquid through which you could manipulate the outcome of movies and free form DNA through which actual bodies could be manipulated. The theme of manipulation came up again in Johnson’s commentary on the transformation of our society from flesh and blood, sperm and spew reality to a place where all is focused on what you choose to see and manipulate on your myriad sized pod, pad or computer screens.
Oh, yes, he nudged me beyond my comfort zone several times—and right over it at least once. Art is dangerous.”
From Alex S. Johnson, the author of Bad Sunset, Wicked Candy and The Death Jazz, comes a new vision in Bizarro horror. Imagine a TROMA film on meth and acid, one part cyberpunk, one part Franz Kafka, and three parts frankly unsuitable for a sane audience. “Will make you feel as if you’ve just eaten 8 Percocets and washed ’em down with a bottle of moonshine,” says Necro Stein of Texas Terror Entertainment.
“It’s an amazingly awful (and awfully amazing) piece of bizarro terror-smut that I only recommend for my most depraved friends. It left me feeling slightly violated, and really wanting cookies. Also, having an acknowledgment in it (for assistance with “format f#%ery”) pretty much assures that I can never run for public office again. I’ve never been happier.”