Coming soon… The Hell Bound Kids Book 2: The Architect

Exciting New Interactive Fiction Role-Playing Game of Crime, Horror, and Suspense

We’re getting real close to wrapping production up on our demo release of The Hell Bound Kids: The Architect, which will be the second book in our line up of the HBK series.

This time, instead of a traditional digital and print book like with our first book in the series, Wild In The Streets, we’re going with an Interactive Fiction RPG.

So what exactly does that mean?

It means it’s gonna be a helluva lot of fun. Think choose your own adventure, but with lots of interactive maps, and an actual arcade-style combat system. And, since it’ll be free to play, all it will require is a little of your time.

Hero or Villain?

In Book 2, you’ll get to play the role of a gangster who mysteriously wakes up on the hellish streets of Punk City, with little recollection of how you arrived. Are you still a hardcore O.G. with something to prove? Or were you leaving that past behind?

It’ll be up to you to decide—will you be the hero… or the villain? Either way, it’s all about survival in Punk City, and the choices you’ll have to make may not be so black and white.

Stories and Rumors

As you explore Punk City, among the many stories and rumors you’ll soon discover, one is a legend about the alleged creator of the city, a mysterious entity known as the “Architect” and his “House of Pain”—a trap-filled maze in which is guarded an ancient tome called the Book of Fate that contains the secrets of Punk City and location of its hidden exits.

In Punk City it can be hard to distinguish between sobering reality and darkest fantasy, but most of the Kids trapped with you in the city seem to believe the legends, and for even a slim chance of escape, many more have risked life and limb to locate the House of Pain and find the Book of Fate, never to be seen or heard from again.


The game is largely text-based. There are a number of RPG mechanics such as:

  • Character creation.
    • Over 20 Skillz to choose from.
    • Experience Points and Street Cred to gain levels, hit points, and additional Skillz to make your character more powerful.
  • Inventory with dozens of items and a Store to buy weapons and gear.
  • Turn-based combat system with 2D characters and maps you can interact with.
  • Maps with clickable objects that can reveal additional text and choices.
  • And, of course, thousands of words of text with choices that will take you deeper into the game, revealing new Items, Journal Entries, Quests and areas of Punk City to fully explore.

If you like choose your own adventure you’ll dig this game; and if you like RPGs—then you’ll really dig this game! The release of our demo, will consist of the first chapter, showing what you can expect with the full release of the game. It’s gonna be helluva fun, and, did we mention… free to play!

Video Clip Previews

From now until the release of the demo, we’ll be dropping these announcements along with short video clips of what the game play will be like.

Start Screen, Character Avatar Selection Screen, and Character Name Screen

Welcome to Punk City… the city where the bad kids go. You’re the newest Punk to arrive. Find out just how deep the rabbit hole goes. Shit’s about to get real!

Writing In The Dark And Brutal World Of “The Hell Bound Kids” Is Fun As Hell

An Interview With Some Of The Authors And The Publisher Of “The Hell Bound Kids” Series

The fine folks at Self Publishing Review put together some Q&A for the authors of “The Hell Bound Kids: Wild In The Streets” and MANSON, Anthony Perconti, and the owner of No Sell Out Productions, Jason Duke, answered.

Read the full review here.

Self-Publishing Review of “The Hell Bound Kids”

An edgy piece of punk brilliance



Co-Authors Manson, Anthony Perconti, Sebastian Vice, and Joe Haward unveil an ominous dystopian world in their novel, The Hell Bound Kids: Wild in the Streets, the first in a longer anarcho-dystopian series.

Populated with childish but street-hardened characters like Ghost, Corpse, Pusho, Mimic and more, this is the story of rugged survival in the face of overwhelming oppression and persecution at the center of Punk City. A once civil society has collapsed into a Kid-filled wasteland of looting, murder, and depravity, with authorities stoking the fires of conflict to keep the gangs at each other’s throats, while the puppetmasters rest comfortably in power.

Read the rest at Self-Publishing Review.

The Sound of Your Footsteps


Michael Reyes

The bum covered in shit sat ragged and bare-faced at the Crossroads of the World. He called himself Mazda Miata, his broken grin and feral gaze more than enough to keep strangers six feet away, not that there were many people around. The few that walked his territory did so in a hurry—essential workers, drug addicts, and lonesome whores… all eager to get away from the eerie vagrant basking like a reptile under the afternoon sun. Times Square was his.

Only one man tested the boundaries of Mazda Miata’s kingdom.

George Campos: a short and heavyset twenty-nine-year-old with wavy green hair, olive colored skin, and wide set eyes. An expensive Nikon camera adorned his proud chest like the cross on a crusader’s breastplate. He wore a black jumpsuit. Plastic gloves. Several facemasks. A belt attached with Lysol cans strapped around his waist. He strode through the plague-ridden land with a steady hand and firm steps. Airborne Ebola couldn’t stop the photographer from chronicling his city.

The shirtless vagrant sat on a milk crate in front of George Cohan’s statue. Mazda Miata seemed content nestled in a circle of trash. He gently picked his nose, watching chunky rats and dirty pigeons play in the refuse.

“Gross. What’s your story, man?” George whispered to himself.

Mazda Miata looked to be in his late fifties. He had ruddy, pockmarked skin. From his large head sprouted strands of greasy black hair. A cardboard Burger King crown rested on top of it. Yellow shit and strips of torn denim covered his legs. His bare feet were the stuff of nightmare: black and scabbed like a dog had gnawed on them before getting sick of the taste.

Taking in a sharp breath behind his triple layered facemask, George snapped another picture from ten yards away.

Mazda Miata’s eyes instantly widened and he frowned.

George ducked behind a shuttered pop-up tiki bar next to the graffiti of a fire breathing Donald Trump spray painted along the bar’s abandoned gate. The flames engulfed Hilary Clinton, two Shaqs (though they may have been badly drawn pictures of George Floyd), and something that looked like a skinny cock wearing oversized sunglasses.

George’s heart was racing. Had the vagrant just recognized him? The photographer had been surveying Mazda Miata for months. Had something just shifted in those glassy black eyes? Had the man reengaged with reality?

“I’m Mazda Miata! Mazda Miata! Black boots are hanging from the streetlamp.”

Probably not.

George peeked back out.

“You’re the fucking King of Times Square and you know it, Mr. Mazda Miata.”

“Not another Mazda Miata! No, ahahaha! Not another! I got enough! I am enough!”

Mazda Miata chuckled, steering an invisible wheel, then fell into abrupt silence. He stared up at the dozens of giant Times Square screens, vigorously masturbating to the flashing images of Covid death tolls, race riots, the Tiger King, Mayim Bialik’s face, Governor Cuomo delivering grave announcements… Mazda Miata seemed to enjoy them all equally.

George’s stomach lurched. A definite line would be crossed if he followed his artistic instinct. He knew so with every ounce of his being. There would be no going back. But how could he not capture this moment?

Fuck quarantine. Fuck the virus. Fuck their rules. Here’s this barefaced royal bum in the Center of the World, whacking his willy in the face of death. This is a statement.

George nodded at this insight, pleased with himself. In Mazda Miata’s throaty groans, George sensed a climax, and hoped he was a long stroker and no minute man.

“Just a few more seconds your Highness.”

Taking a deep breath, George swung back around the tiki bar, capturing the moment. Mazda Miata stopped in mid stroke, staring at the obsessed photographer. Heart pounding, George lowered the camera, staring back at the King of Times Square, as the homeless man sat motionless, cock in hand, Burger King crown tilted oddly on his head.

Not another Mazda Miata. There are black boots hanging down from the streetlamp. We’re hungry. And we know the sound of your footsteps. The beat of your heart.”

The voice spoke inches from George’s face.

George jumped back.

Dropping his prick, Mazda Miata waved. Weird shadows coalesced around him—unanchored to any physical object.

George snapped a few more pictures. The vagrant stood and sauntered away, pants still down, crown on his head now firmly in place.

George lowered his camera, breathing heavily.

The strange shadows followed Mazda Miata uptown.

Dizzy and disoriented, George headed in the opposite direction. He took a few more furtive pictures of junkies shooting up at Herald Square Park. Jumped on an empty train. And headed back to his Brooklyn apartment.

He walked in on his roommate and her boyfriend having sex on the communal futon, and cursing under his breath, slammed the door and stepped back into the hallway. The couples’ harmonized climax was loud, abrupt, then quickly consumed by a moody silence. George cringed. He lolled his head, snapping the band of his plastic gloves angrily against his wrist.

The door swung open.

Karen sashayed into the hallway. Her face sweaty. “Sorry about that. Wyatt is insatiable.”

The pixyish twenty-five year old was an unemployed fashion designer. She had red hair. Wore a red kimono. No facemask. Her large sleepy eyes were the color of dying grass.

A few drops of semen clung to the side of her jaw.

Cupping his facemask, George tried not to retch. He vaulted backward, slamming into the banister.

“We just came from a BLM protest. That always gets us in the mood. Why don’t you ever protest systemic racism with us? Aren’t you an ally?”

“Please, Karen. Have sex in your own bedroom. I paid for that futon.”

“You’re too attached to the material world. You know that? Meditate for once in your life.”

She nonchalantly wiped off Wyatt’s trouser gravy.

George stared nonplussed.

“Whatever happened to your girlfriend?” she asked.

Karen was losing her mind during lockdown. This conversation only strengthened his suspicion.

“We’re not together anymore. She moved back to Florida to be with her family. You already knew that. Why are you asking about her now?”

“You told me she died last week.”

“That’s not true. I never said anything like that. You’re lying for no reason.”

“You’re too backed up. In a sexual sense. I’m going to hook you up with Marcy.”

“We’re in the middle of a pandemic. I can’t go on dates.”

“But you can stalk mentally ill vagrants for your art? Marcy sleeps in a tent on my fire escape. You can party with us on the roof tonight. Weather permitting.”

“You’re kidding, right?” George stared in disbelief.


“That’s not cool. Or healthy. I mean

Five people barged from the apartment. A gaggle of Brooklynites in their early twenties. Barefaced and half naked. They pranced past Karen and George, giggling loudly.

“We’re going to the bodega,” they said in unison.

Karen smiled. George stared at the floor. The merry group dashed down the stairs. Storm of flip flop claps quickly fading. George sprayed a cloud of Lysol around himself, giving his roommate an incriminating stare.

“Not safe, Karen.”

“You worry too much. Besides, you see the way Marcy was staring at you? Hot.”

“Which one was Marcy?”

“Which one? Um, they’re all Marcy. That’s how they choose to identify.”

“As Marcy?”

“Yeah. What fucking century are you in dude? Wake up.”

“Why Marcy?”

“They operate a Farmer’s Market across from the Marcy projects. You know, Jay Z’s old hood. They sell plums and kale. They give back to the community. They’re a treasure.”

“Stop fucking on the futon.” George entered the apartment.

Wyatt lay naked on the couch.

“Yo,” he nodded.

George said nothing, unlocking his bedroom door, and slammed it closed.

“Privileged asshole,” said Wyatt, his voice coming through the paper thin walls.

Quickly, George locked his door. A small bed, bureau, and bookcase, as well as a dozen framed photos by André Kertész—his favorite artist—occupied the 500 square foot room.

Opening the window, George sprayed more Lysol just to be safe.

He considered setting up a security camera. The last thing he wanted was Karen, Wyatt, and the Marcy sneaking into his room and mingling liquids on his Ikea bed. George had put the bed together in under eight minutes without an instruction manual. It was a source of pride.

Loud calypso music played in the living room.

George grabbed his camera and sat on the windowsill. “Fucking maniacs. They’ve all lost their minds. I’d be better off out there.”

He cringed at the garbage piled across the alley three floors down. The trash hadn’t been picked up in days. City services were the pits and would only get worse. There had been three shootings in his neighborhood during the past week. Maybe “The Bad Old Days” were back and here to stay… with much shittier music. He rubbed his face. Looked through his day’s work.

Mazda Miata.

George had been taking pictures of midtown Manhattan for years now, chronicling the tourists and transients around Times Square. Mazda Miata was new—he’d arrived shortly after New York City’s first Covid death.

Miata had ambled past the Naked Cowboy on that unseasonably warm March day, as thousands of tourists milled about, avoiding him like the plague. The cops eyed him but also kept their distance.

George snapped his first picture of the vagrant while he sat alone on a bench. There was something different about Miata. He seemed so unlike everyone else. George couldn’t quite put his finger on it. The quality was ineffable.

George took another photograph.

The spirit of long-gone alleyways, of decaying gargoyles perched on forgotten roofs, of the subways’ lost tunnels and hidden platforms, and every kinetically charged heap of rubble and history the city had shed over the centuries, had all animated and come to life in this wreck of a man. These strange ideas and others like them flashed across George’s mind the first time he saw Miata.

George thought about the strange encounter with Miata earlier today. The vagrant must have somehow thrown his voice. That was the only reasonable explanation. The string of words? Just a mentally ill man rambling on.

Black boots hanging down from a streetlamp. They could hear his footsteps. The beat of his heart? Who were they? George caught a chill and shook his head. No… nothing worth thinking about. It was all  bullshit.

Something was different about the latest batch of photos George had taken. The area immediately surrounding Mazda Miata wasn’t normal. In the backdrop were traces of a shadowed, cavern-like landscape.

George hopped off the windowsill. Uploading the pictures onto his laptop, he noticed more odd textural discrepancies. The photographs appeared embossed—overlaid with raised, braille-like dots. The dots… moved. Wiping his eyes, George focused in. Miata wasn’t sitting in Times Square at all. It was a cave. Some kind of tunnel system.

It had to be a glitch. Old data from George’s camera or his laptop had corrupted the image files. Past photos had somehow merged with the new ones to create an illusory effect of caves and dots and whatnot. But right now he was beat. The day had been long and whatever technical issue was causing the problem could wait until morning.

George put away his laptop. Grabbing a six pack from his mini fridge, he drank heavily. Wyatt, Karen, and the Marcy’s partied outside his bedroom. Ambulance sirens blared past somewhere down in the streets. George had grown accustomed to both. They lulled him to sleep. He awoke covered in spilled beer. It was four AM. Finally the apartment was silent.

Mazda Miata weighed on George’s mind. George tried to get back to sleep but couldn’t. He reexamined the photos, puzzling over the bizarre glitches of dots and caves. He smoked a joint. Drank another beer. Neither helped. George badly needed to piss. The thought of the biohazard zone beyond the safety of his bedroom filled him with loathing. Quickly putting on his gear, he grabbed two fresh cans of Lysol.

A mass of snoring bodies lay sprawled across the dark living room floor outside his door.

George sprayed Lysol. “I’m living in a madhouse.”

No one stirred. Spraying a fine mist over Wyatt’s face, George nearly emptied the can, satisfied. George claimed the bathroom throne.

Someone was snoring in the bathtub.

“Jesus Christ. Karen!” George said in a fierce whisper. “What the hell? We have to talk in the morning.”

Karen stirred, smiling vacantly, and burped.

“Another Mazda Miata,” she grunted.

“What did you just say?”

Karen’s eyes blackened, taking on the wild gaze of the eerie vagrant.

“Hungry. We know your footsteps. Your heartbeat. We’ll take you soon. We know you well enough now.”

Karen loosed a rancid burped. Ripping off the shower curtain, she wrapped it around herself, falling fast asleep. She snored, reeking of rot and disease. Mazda Miata beckoned.

Unafraid, George would answer the call.

George rode an empty train to Times Square. Packets of synthetic weed lay scattered across the dirty subway platform. A few homeless men huddled around a bench, smoking and swaying to music only they could hear. One of the men was tall, wearing little more than rags and surprisingly clean pro-keds, and shouted something incoherent as George hurried past.

George took pictures of the group and rushed away. He raced up the main terminal, out of the desolate station, and strode beneath the bright starry sky. He snapped pictures of Broadway. The buildings seemed more buoyant than ever. Unburdened for months with the weight of human beings. And yet furtive figures still darted from shadow to shadow. They possessed an unreal quality to them. Maybe they were only there because they had to be? Something demanded it. The idea of it was turning George’s thoughts hazy and erratic. Yet it was a premonition he couldn’t shake.

Driven by his odd intuition George continued west. The already sparse populated streets grew more isolated as he walked into the bowels of Hell’s Kitchen and beyond. A loud squelching noise erupted the night air near 12th avenue, a block past the trafficless highway, and through his facemask permeated a foul odor.

He walked toward the river. Firebombed cars lined the deserted street. He was surprise to find a stripped Mazda Miata. The black boots dangling from their laces on the streetlamp.

Maybe he lived here.

George took pictures.

At the very least this place means something to him.

He snapped more pictures, approaching the edge of the street where the scent was strongest. A combination of rot, motor oil, and wet plaster.

In the concrete opened a rectangular hole with braille-like notches jutting from its edge. George grew fearful. But he couldn’t look away.

It was breathing.

The hole was some organic thing in disguise. Its wheezing breath carried the noxious odor, ruffling the scratchy protrusions living along its inhuman mouth.

Looking down inside its throat George saw only darkness. He felt watched. Now the entire street seemed alive. Sentient. Bustling with the retroactive energy of a city gone deathly still. Hungry for echoes of life. For hidden things living and thriving beneath the ground. It would even sacrifice a bit of itself just to simulate a return to order. And in exchange it’d take anyone foolish enough to be found in its lonely, unlit places.

Just like it had taken Mazda Miata.

Replacing him with the gibbering thing from the hell moutha creature that had latched onto the final fleeting images of Miata’s mind; and now was using them as an incantation to anchor itself in the world above.

George suddenly heard shuffling feet. The creature resembling a man would round the corner in moments. A black coldness existing beneath its veneer. One that could only develop in the shadow world below. And it would take George, replacing him.

He fled the shambling thing. Light of foot so he wouldn’t alert it. Wheezing, he made it back to Times Square. His legs weary. His heart racing.

Doubling over, he ripped off his facemask.

The smell penetrated everywhere. In everything. And it had brought with it Mazda Miata. But he wasn’t alone. A hundred or more people stood gathered around him in a great circle. Normal looking. Yet George knew they weren’t. He needed to get away. To catch his breath and flee. But George couldn’t help himself. He wanted to capture the moment. Had to capture it.

George snuck toward the crowd. The bright Times Square lights recoiled from the people: a gathering of hazy, shadowy things with enough power to keep the light at bay.

Snapping a picture, he drew nearer. Another, and still no attention was paid him. They were listening to Mazda Miata speak. George was too far away to hear what was being said and he crept closer.

Icy cold fingers squirmed like tapeworms wrapped around the back of George’s neck. A great force propelled him toward Miata and he screamed out.

The faceless things surrounded him. His body paralyzed. Held in place by the creature at his back. He dropped his camera and it broke against the concrete.

My Nikon.

The thing squeezed harder. It mumbled its victim’s words. George’s eyes rolled up and met Broadway’s bright lights.

The light won’t shine on them.

Mazda Miata continued to speak.

I still can’t understand him.

George’s neck snapped. His world grew dark. Behind him the creature spoke in his voice. Guttural. Inhuman. Grasping at the words that would anchor it in the world above. Using his voice to bring itself into existence.

His last words… and its first.

When Chucky Didn’t Do It

How a tabloid witch hunt for a killer dollmovie reveals a pursuit of profit over truth


Steve Stark

England 1993 and a horrific murder has shocked and horrified the nation. A pair often-year-old boys, Robert Thompson and Jon Venables, have been found to have tortured and murdered two-year-old James Bulger after abducting him from his mother’s side at a supermarket.

This senseless, sadistic crime dominated the news for months, terrifying parents nationwide. Search for motive and reason continued into the trial where judge Justice Morland suggested exposure to violent videos might have inspired the boys’ actions. To any horror fan or sensible person Morland’s theory might sound an absurd idea, but this wasn’t long after the “Video Nasty” panic of the eighties.

Headed by “moral campaigner” Mary Whitehouse, this tabloid-fuelled movement had whipped up hysteria, claiming movies such as The Evil Dead and The Exorcist would corrupt young minds, leading to deviant behaviour and violence. In the case of the Bulger killing, many saw proof of what Whitehouse had warned.

Police investigation into the video rental history of each boy’s parents found Child’s Play 3 had been rented by Venables’ father. At the climax of that movie the possessed killer doll, Chucky, dies near a railway track (actually a ghost train) and had earlier been struck with a paintball pellet. For some, the similarities to the Bulger killing were all too obvious. Bulger had died on a railway track having also been spattered with paint.

But that was where the similarities ended and detectives handling the case found it unlikely the movie had even been seen by Venables, since he was not living with his father at the time of the rental. Later psychiatric reports confirmed that Venables disliked horror films, yet by this time Police had already viewed over 200 titles from the Venables’ family rental history and found no scene or storyline resembling what had occurred, nothing they could say might’ve inspired the horrible crime.

Inspector Ray Simpson of Merseyside Police famously commented: “If you are going to link this murder to a film, you may as well link it to the railway children.”

Unfortunately, such facts seemed to elude a frenzied tabloid media, who zealously offered up Child’s Play 3 as scapegoat, rather than explore the more disturbing truths about the case. Nowadays, it’s easy to see the motive behind such willful ignorance. The original video nasty furor had proven quite profitable for the press, so why not bring it back for a sequel? Ironically, this was likely the same thinking which had led those Hollywood execs to greenlight Chucky’s third outing.

Rupert Murdoch’s The Sun newspaper led the charge against Chucky. The paper had long been shunned in Liverpool due to its shameful coverage of the Hillsborough disaster, when 97 Liverpool football fans lost their lives in a human crush at Hillsborough stadium. Initially The Sun had blamed the fans themselves, for being drunk, unruly and ignorant of police instruction. However, further investigation found fault lay with the supervising police who’d opened extra gates in attempt to ease congestion outside the turnstiles. The resulting influx of bodies caused the crush, which also saw 766 people injured.

Boycotts followed that reckless reporting, and The Sun became largely known as “The Scum” in Merseyside and Liverpool. Ever keen to win back the region’s custom, the paper quickly seized upon the Liverpool-based Bulger case and its tenuous link to Child’s Play 3. They aggressively campaigned against the movie, publishing front-page headlines such as “Burn your video nasty” above an image of the VHS cover set alight inside a bin.

Under such intense pressure many video stores refused to stock Child’s Play 3 and Sky TV (also owned by Murdoch) dropped it from scheduling, yet contrary to the Daily Mirror’s triumphant credit-claiming headline, “Banned, thanks to your Daily Mirror”, Child’s Play 3 was never officially banned, nor were the series’ previous instalments ever linked to the controversy.

It’s worth mentioning here that Mary Whitehouse’s NVLA apparently stayed out of this one, perhaps due to a lesson learned from their fruitless and embarrassing persecution of The Evil Dead some years prior. Or perhaps they recognised what the tabloids refused to? Something Judge Morland realised over the course of the case.

Post-trial, Morland laid the blame firmly at the feet of the killers’ parents, stating: “The home background, upbringing, family circumstances, parental behaviour and relationships were needed in the public domain so that informed and worthwhile debate can take place for the public good in the case of grave crimes by young children.”

Sadly, such debate and analysis never took place with a lazy, dishonest media more focused on sensationalism than truth.

Venables and Thompson were initially sentenced to eight years, which was soon extended to fifteen after another campaign from The Sun pressured home secretary Michael Howard to intervene. A later appeal overturned this decision, and the boys were released in 2001 having served the original eight-year sentence. Now both 17 years old, the boys were given new identities and while Thompson has seemingly stayed out of trouble since, Venables has returned to prison repeatedly for various offences over the last two decades. They stand the youngest convicted murderers in modern British history.

To this day The Sun remains unpopular in Merseyside, where the continuing boycott is estimated to cost the paper roughly £15 million per month in losses. Meanwhile, Child’s Play 3 can be freely purchased on Blu-Ray and DVD in the UK, although it has rarely been shown on television.

In 1999, Leeds city councilor Loran Cohen attempted to ban the movie’s belated sequel, Bride of Chucky, citing the unproven link to the Bulger case as her reasoning. During a radio interview Cohen claimed to be on a “moral crusade”, but since the councilor must’ve known Child’s Play 3 was never seen by Venables, and that it was never actually banned, there doesn’t seem to be anything particularly “moral” about her grandstanding against its sequel. Instead, it seems like an attempt to gain publicity, to virtue-signal against a soft target, and if that was the case, it’s all the more distasteful that she did so in the memory of such a tragic event.

Cohen’s “crusade” rightfully failed, yet for many in the UK, the Chucky series still carries the stigma of a horrific crime it had nothing to do with, largely due to the behaviour of a few self-serving parties.

One person who had very little to say about the movie was James Bulger’s mother, Denise, who’d lost him in the supermarket that fateful day and had to suffer the grief of her loss while under the glare of an intrusive and amoral media. Inspiringly, Denise rebuilt her life following the tragedy and now lives with her three sons and second husband. For decades she has campaigned for various legislation to protect children from criminal offenders and in 2010 she launched the James Bulger memorial trust to support young victims of crime.

Denise received the British citizen award for her efforts in 2017 and wrote a book dedicated to James’ memory which can be purchased from the charity’s website:

Manson’s First Interview

A Life Through Books Interview



What is the hardest part of writing your books?

Self-doubt. Trying to overcome that nagging inner critic. Nothing ever seems good enough for it, and just when I think I do have something good enough to appease the little beast, it wants me to kill the darling.

What songs are most played on your Ipod?

Since I’m pretty eclectic in my taste of music I’ll list bands instead of songs. I’m a country girl turned city girl. So anything country (especially Johnny Cash). But I’ve been a city girl for a spell, got into the 80’s punk scene, so I’m also an old school, head banging, punker chick and love anything punk and heavy metal. Especially Sex Pistols, The Ramones, Siouxsie and the Banshees, The Clash, Blondie, Talking Heads, Slayer, Metallica, Slipknot. I like oldies like The Animals and Johnny Ace and Pink Floyd. Also like Hip Hop and Gangsta, like Brotha Lynch, Wu-Tang, Cypress Hill, and Eazy-E.

Do you have critique partners or beta readers?

Oh sugar I have a hard enough time fighting the little monster critic in me and trusting in myself than to put faith in beta readers. Though I suppose the fine folk at No Sell Out Productions could be considered my critique partners when I work with them on my manuscripts. Their editors have been top notch to work with.

What book are you reading now?

The Book of Job.

How did you start your writing career?

With a lot of prayer. As much as I’m filled with self-doubt, I’m also a gal of great faith and belief that helps get me through the doubt, like a doubting Thomas. But I suppose it all started as a reader. I love reading horror, crime, and dark fantasy, and researching the occult. It presented me with what I felt were really great insights, ideas, and possibilities, that I began writing down and expanding on into stories and then of course full novels.

Tell us about your next release.

My next release will be the second book in The Hell Bound Kids series, tentatively titled “Beneath The Nightmare City” which picks up immediately where the first book leaves off. And I’m currently hard at work on the third book in the series.

La Madre De Los Dolores 

The Futility of Hope


Anthony Perconti

First of all, let me get something out in the open immediately. The Hell Bound Kids: Wild in the Streets is not the feel-good hit of the summer. It is a mélange of hardboiled fiction, by way of The Lord of the Flies, The Warriors and Dark City with just a tiny hint of supernatural intimations.  Manson’s creation of Punk City is a big mysterious, sprawling set piece that serves a specific purpose and a specific group of, let’s just say, vested individuals. It is an experiment in social Darwinism writ large. Where the only way to survive and thrive is to get your hands dirty. As a father of two, the concept of Punk City is downright frightening to me. It gives me a strong case of the heebie-jeebies. It hits me on a visceral level. 

When editor Jason Duke graciously invited me to contribute to this shared world project, my immediate thought was to introduce a counterforce to the city. An individual whose purpose is to disrupt the status quo. A yin to the city’s yang as it were. While I was at it, I wanted to pay homage to all of those comic book and pulp fiction characters that I loved reading about (and watching) growing up. The Question, The Shadow, The White Tiger and Diabolik, are some of the inspirations (among others) for the character of La Madre de Los Dolores. O’Neil, Cowan, Rucka, Bendis, Kaluta, Sienkiewicz, Baker, Bava with a hint of Andrew Vachss thrown in for good measure. She is my take on a street level hero, who, due to the nature of the city, has dirty hands. 

But in addition to riffing on the masked vigilante genre, I wanted to infuse a bit of hope into Manson’s world. Just a bit. That’s not to say that her creation is downright Ligottian-it’s not. I have it on good authority that The Hell Bound Kids is ultimately a story of hope. And as the series progresses, readers will see this as well. In my contribution, “La Madre de Los Dolores,” I posit the question: is it foolish to have hope in a seemingly hopeless situation? Well, it’s a complicated answer, to be sure. Grant Morrison, in his magnificent history of the superhero genre, Supergods states: “It should give us hope that superhero stories are flourishing everywhere because they are a bright flickering sign of our need to move on, to imagine the better, more just and more proactive people we can be.” Are Morrison’s ideas utopian? Certainly. Is his brand of optimism a little too rose colored? Perhaps. I would argue that it is the intent that is important in this statement. Without hope, without the possibility of things changing, existence is reduced to a turgid cycle. The idea of one’s actions, making a change (even a slight one) in this harsh old world, for the better is a heartening one to me. And as a father, I would not want my children living in a world devoid of hope. That doing good deeds (and treating others with respect and dignity) can have a positive impact on the people around them. Hell, if Matthew McConaughey character of Rust Cohle, at the conclusion of the most Ligottian sequence on television yet devised (True Detective season one) can get in on the action, why not my pulp hero? Sure, the dark has a lot more territory, but maybe, just maybe, our minuscule actions can make this place just a bit less inhospitable.

Mary Whitehouse VS Evil Dead

How one low-budget horror film eventually defeated the censors


Steve Stark

In 1984, the British establishment were very concerned, not with the fallout from the Falklands conflict, high unemployment rates or the AIDs epidemic. They werevery concerned with the emergence of a batch of horror films on VHS, chief among them being Sam Raimi’s Evil Dead.

It had come to light that the distributors of titles such as Driller Killer and Cannibal Holocaust, were taking advantage of a legal loophole to avoid submission to the censorious British Board of Film Classification (BBFC). This meant a vast array of gory horror films were sitting in video stores uncut and uncertified, where they could be taken into the homes of unsuspecting plebs, whose unsophisticated minds would soon be corrupted by the depravity on screen.

At least that was how many among the elite saw it.

“Ban the sadist videos” squealed the Daily Mail in a long-running campaign. “Save us from Video Nasties” it begged,and “Moral crusader” Mary Whitehouse heeded the call. Whitehouse and her busybody campaign group, The National Viewers and Listeners Association pressured the government into action and thus the Video Recordings Act was born.

This new act demanded all publications be submitted to the BBFC first, which led to heavy censorship, outright banning and even prosecutions for distributors under the Obscene Publications Act. A total 72 films were banned initially and formed the infamous “Nasties List” which the Mail naively published in hope of warning the public. Ironically, the notoriety only increased interest in these titles and many of them developed a cult following they may not have otherwise found.

Sam Raimi’s Evil Dead was among the 72 nasties and is perhaps the most important. Here’s why –

For his first film, the young director married gory special effects horror with slapstick comedy and to achieve this he concocted a simple set-up which would become a staple of the genre –a group of teens go into the woods, bad stuff happens. In this case the bad stuff involved demonic possession and bodily dismemberment.

Made on a meagre budget of $375,000and by a crew of mostly Raimi’s friends, Dead was clearly not going to be a slick Hollywood production. Fully aware of the limitations, Raimi understood the best way to make his film stand out would be by pitching everything way over the top. He’d draw on his love of The Three Stooges’ slapstick, then add gallons of fake blood to create what some critics would refer to as “Splatstick”.This revolutionary approach would not only bring box office success. It would also draw the Sauron-like gaze of the tabloid press, the NVLA and a certain Mrs Whitehouse.

Whitehouse immediately branded the film “The number one video nasty” despite not having seen it yet. She eventually did when she showed footage to alarmed politicians and following that screening the film was placed on the dreaded list with copies ordered for seizure. Distributors Palace Pictures were then raided by Police and swiftly hauled into the courts on obscenity charges.

Legal proceedings took place over several months, with Raimi flying in to testify. But upon seeing the film, canny judge Owen Stable recognised its humorous intent and outright dismissed the case, even going so far as to criticise the prosecutions service for bringing it to court.

This outcome exposed a chink in the movement’s armour, a chink which would soon begin to crack. After all, how could the video nasties be so bad if the supposed “Number one” was deemed inoffensive by some stuffy old judge?

By 1985 Evil Dead was off the nasties list, yet perhaps out of spite the BBFC still withheld certification for several years. Its eventual release in 1990 was cut by 1 minute 55 seconds. This toned down every act of violence, especially the shots of an ankle being stabbed by a pencil and where a character is sexually assaulted by a possessed tree (incidentally a scene Raimi now regrets). The film finally passed uncut in 2000 and was a top seller on DVD that year.

Nowadays, all 72 Nasty titles are available on DVD and Blu Ray in the UK, most of them completely uncut. It would seem we live in more liberal times. However, as streaming giants Disney Plus digitallycensor harmless fare such as Mermaid comedy Splash, and with Netflix recently providing a needlessly sanitised version of Back to the Future 2, it would seem the authoritarian pearl-clutchers haven’t left us yet. Rather, like the eternal malevolence which lurks in the forest of Raimi’s film, they merely lay in wait of the next unsuspecting victim…

Something To Do With Death: A Review of Coy Hall’s The Hangman Feeds the Jackal


Anthony Perconti

Subtitled A Gothic Western, Coy Hall’s novel The Hangman Feeds the Jackal immediately brings to mind the 1974 classic, Richard Brautigan’s TheHawkline Monster. Both books fall squarely within the Western genre, but where Brautigan amplifies elements of the (weird) gothic, Professor Hall focuses the macabre. One zigs, where the other zags. One could argue that The Hawkline Monster is a proto-Weird Western, in the tradition of Joe R. Lansdale’s Reverend Mercer stories. The Hangman Feeds the Jackal in my view, has more in common with Scott Phillips’ 2004 offering, Cottonwood, than Dead in the West. There is nothing overtly supernatural in Professor Hall’s novel: the elements of the macabre are perpetrated by human beings. This Western concerns itself with evil, to be sure, but it is the evil that men do, which makes it all the more disturbing. 

Elijah Valero, who has appeared in three short stories, is the protagonist of The Hangman Feeds the Jackal. In many respects, Valero is a traditional Western lead: he is a gunfighter and quite a deadly one. His reputation precedes him, wherever he goes. However, all is not what it seems. This particular gunfighter suffers from visual and auditory hallucinations that compel him to kill avatars of the ever-relentless Hangman, who takes a myriad of forms and identities. The entity known as The Spider, is Valero’s constant companion and acts as an embodiment of his reptile brain. The Spider is always goading and pushing him to eliminate any potential threats (disguised as the ubiquitous Hangman). Hall portrays Valero as a haunted individual who, during moments of clarity, feels remorse and shame for many of the lives he has taken. Valero’s backstory is parceled out in bits and pieces, throughout the novel, of his tragic relationship with his parents (particularly, his mother). It is in these flashback’s that the true nature of The Hangman is revealed, along with Elijah’s damaged psyche. Hall does an exemplary job of demonstrating that certain individuals become what they are through formative trauma, coupled with hereditary predispositions. The antagonists of The Hangman Feeds the Jackal are a direct counterpoint to Valero’s tortured existence. Spence and Corbin are “gallows followers:” individuals who are infatuated with the act of death (and dying) and have taken their infatuation to its logical conclusion. In modern parlance, they are “thrill-killers.” But as disturbing as these two characters are, their newest associate, the teenager Felix “was an empty husk, capable of no genuine emotion. He was damaged. The boy imitated feelings, but he didn’t experience them.”  

Felix Hines’ actions are the catalyst for much of the story’s plot. I am being intentionally vague, but suffice it to say that many macabre elements of The Hangman, hinge upon the teenager’s decision early on. There is also the local legend of the hidden cache of a fortune in silver that works as the tale’s MacGuffin. Hall deploys many traditional Western tropes during the course of the novel: a posse is formed and dispatched, the sheriff of the settlement Bone of Wellington, is well meaning, yet untestedand yes, a damsel is technically in distress (but so is the majority of the settlement). However, Professor Hall allows the reader entry into his character’s heads, adding a nuanced layer of depth (and characterization to boot) absent from many traditional Western yarns. 

Professor Hall is a storehouse of information with relation to Italian “trash” cinema. I would contend that the man knows more about Spaghetti Westerns, Gialli and the immortal duo of Bud Spencer and Terrance Hill than your average Italian film school student. To this end, Hall peppers in some nice Easter Eggs (one that I am absolutely sure of and two others that I have a strong suspicion about) for the discerning film buff to ferret out. There is one quote that I would like to end off this review with. Previously I mentioned that The Hangman owes more to Scott Phillips than to Joe R. Lansdale and I still stand by that. However, I believe that there is one other writer that Hall is channeling, albeit quite obliquely. Cosmic horror (and crime writer) grandmaster, Laird Barron. These lines could easily work as a description for Barron’s ever hungry, cosmic entity, Old Leech. “Where she would say that Jesus harbored and welcomed these folks, that they were lucky to have passed, he would say something more malignant had occurred. The world was hostile. The whole universe was malignant and if it targeted you…well, there was no loving god waiting when it caught you…Any god with power was a god of animals and he was a brutal god.” Bravo, Professor Hall. Bravo. So, when does the next installment of the Elijah Valero series drop? 

My thanks to Coy Hall and Nosetouch Press for providing me with an advanced reading copy of The Hangman Feeds the Jackal. The release date is June 14, 2022. In the meantime, you can track down these Elijah Valero short stories while you wait. Happy hunting. 

“The Trail of King Death” 2014 The Big Adios issue #1 

“The Spider Vignettes” 2015 Pulp Modern 

“Valero Serves a Hungry Grave” 2017 Broadswords and Blasters 2017 issue #3 

The Hell Bound Kids: Wild In The Streets press release


Contact: Jason Duke, No Sell Out Productions publishing




Art Imitates Life – And With Violent Crime On The Rise Across The U.S., There’s Plenty To Imitate

PHOENIX, ARIZONA, May 1, 2022: Take all the major cities in the United States with record-breaking crime and homicide rates. Merge them into one big mega city with no clear exits. And the result is Punk City, the fictional city of The Hell Bound Kids, a transgressive new book series blurring the lines between crime, horror, dark fantasy, and suspense.

Called “An edgy piece of punk brilliance” by Self-Publishing Review, The Hell Bound Kids is an exciting new series published by indie press No Sell Out Productions and written by series creator MANSON, with contributing authors Anthony Perconti, Sebastian Vice, and Joe Haward. Book One: Wild in the Streets is named after the song by Garland Jeffreys. Another major influence on the series is Sol Yurick’s The Warriors.

The series is centered around the eponymous Hell Bound Kids, one of the many gangs warring for control of Punk City’s hellish streets. The iniquity within the city’s inescapable borders is purposeful, orchestrated by its mysterious ruler, Abraxas, and his corrupt City Management. Through the implementation of ever-shifting policies and social experiments, they manipulate the Kids and keep the gangs at each other’s throats, maintaining the status quo that keeps Upper Management in power.  But when a repentant member of HBK called Ghost learns of a group named the Outsiders that may know a way to escape, it threatens to reveal the city’s true purpose, and that is something neither Abraxas, nor the Powers That Be he serves, can allow.

Available in print and ebook on Amazon, Apple Books, Barnes & Noble, Kobo, and wherever else books are sold, $5.99 in ebook, $13.99 in paperback, $21.99 hardcover. To learn more about this exciting new series, visit:, or contact Jason Duke the owner of No Sell Out Productions to request review copies and/or arrange interviews with the authors.