Ambitious, Dean M Drinkel is a published author, editor, award winning script-writer and film director as well as being Associate Editor of FEAR Magazine – he has also contributed several non-fiction pieces to various publications. He has over thirty credits to his name in the field of genre writing (including short stories, collections, novellas, anthologies); has written and directed fifteen theatrical plays in London and the South East of England and during the years 2002 – 2008, he wrote and directed several short experimental films. In 2016 Dean moved to Cannes, France to write a script with Romain Collier which was to become entitled “The Tragedy Of The Duke of Reichstadt”. This went on to win two screenplay awards (Best Historical Drama / Best Independent Spirit) at the Monaco International Film Festival. In 2017 Dean directed the short film “15” for Midas Light Films (currently doing the festival circuit and will be screening at the Solaris Festival in Nice in June 2018) and in 2018 will direct (also for MLF) “Echoes of Mine” based on his own script. Dean and Romain currently have the film rights to Stephen King’s short story “Willa” which they will be filming early 2019 in the South of France – Dean will be following this with “The Lake” – an historical short film about the Empress Eugenie and a young piano-tuner to be shot in Chislehurst, Kent at their former home – Camden Place. Dean has won five awards (thus far) for his script-writing and was runner-up for the 2001 Sir Peter Ustinov Screenwriting Award (International Emmys) – for his script “Ghosts”.
“Dean M Drinkel is the first to admit his affection for Clive Barker’s work. He’s not shy about the influence that Barker has had. He doesn’t hide from it. Indeed, like with Barbie Wilde or Paul Kane’s fiction, the undeniable influence that encompasses the stories feels like an extension on a quietly whispered mythos. And for that alone it sends shivers down any Barker fan’s spine. For his contribution to the anthology [DARKER BATTLEFIELDS] Drinkel offers up a tale of remorse, regret, loss and passionate loyalty within the murky waters of a manically fragmented story. However, amongst this chaotic mayhem there’s a very human element rising up out of the blood-drenched trough of hurt and pain. Somewhat akin to Barker’s later work, Drinkel’s tale embraces homosexuality in an entirely open and unashamed way. Indeed, some may find such an explicit show of male-on-male sexuality quite uncomfortable, however the physical and emotional connection brought out through the sexual acts depicted is integral to the tale as a whole, and far from a mere splash of provocative titillation. It paves the way between the fragmented islands, underpinning the motivations and connecting the dots of the meandering plot. Of course, this is a Drinkel tale so you need to expect darkness vividly painted with an air of almost poetic grace. There’s a murk to every angle. A sinister tone that coats every sentence and every turn in the tale. But there always seems to be a purpose to it all. Something that’s always hinted at. A wisp of a suggestion added to everything that takes place. And running underneath all of that a distorted, quietly-corrupted religious element to it all. The title alone prods the reader towards such associations: “Descensus Christi Ad Inferos” roughly translated as “Christ’s descent into Hell”. And as you’d expect, the story is littered with connotations suggesting many such links, should you wish to dig deeper. The story is textbook Drinkel. If you’ve come across Drinkel’s work before, if you’ve already delved into his ferociously dark and deviant mind - somewhere where demons and angels seem to blur - then you’ll know exactly what to expect here. This is how Drinkel writes. This is his love affair with Barker’s vision of a tangible, far more seductive and intrinsically human Hell. It’s got it all in there. And holy fuck does it drag you into a dark and endlessly chilling embrace.” – Chris Hall, DLS Reviews