Asylum opens by serving up a face-full of evil, with a fiery and intricate illustration of the world’s favorite scapegoat, the boogeyman, the Father Of Evil himself– Lucifer. This goes alongside various religious labels that his darkness and gift of malevolence transcends. The endless list of religions and cults that exist solely for the hailing of Father Darkness is presented as the foundation of which Asylum’s plot sits.
As the story develops, crime investigators, are summoned to a scene where danger of an unusual shade and jarring uncertainty looms. Upon entrance to the scene it’s mystery is penetrated when a man who is near certainly possessed scales the walls while hissing like an insect, red eyes aglow as he seeks to devour all who are in his path. Though he who is possessed escapes, the presence of a priest on the scene has been revealed, as was the true identity of Father Daniel Beckett, who’s been relatively silent within the story until now. As it is discovered that Beckett was conducting an exorcism on the scene, unexpected layers of the plot slowly begin to unfold.
A woman who was previously introduced as nothing more than a seduced damsel, is acknowledged to be in on the intricate game of taming the very origins of the evil that is the driving force of the plot. The curvaceous character, naked and nameless, verifies that Beckett is indeed a priest who believes in demons and even dabbles in voodoo practice, all info extracted by the power of a little bit of “romance” and good looks.
As the officers and detectives are always two steps behind, the possessed man, William Jackson, makes his rounds leaving a trail of despair and ruin, as he battles his literal internal demons, torn between the worlds of who he is (or once was), and the pure evil that now lives inside of him. Losing the battle, his pursuers find him in a motel where he’s sacrificed his wife, leaving her in a stance that mocks the Christ crucifixion.
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