Conflict-à-trois

After last week it's time for a conversation about three-ways. It's one thing to say that they are complicated, that they change the nature of the story. The first decision is always who are the three sides. Answering this helps to open up the other questions like which two sides will come together to deal with the third. That is if any of them come together. It happens most of the time, but it is not a requirement. Whether or not two side with each other one will always mess up the plans of at least one of the other two sides, if not both of them. It all comes to down to the other huge question of what are the goals of each side. The goals may be deeply ingrained in the whom of these three characters or groups. Or it may be just of matter of what they are willing, or unwilling to do.

As complicated, or straightforward, as the conflict may be there may always be a fourth matter of complication. The three-way conflict struggles in the directions afforded those possible outcomes without the affect of any outside influence. An outside influence throws the whole dynamic into a spin. Although allegiances may form and break up, or shift based on the actions of one or more of the sides, they do not shift as fast or as easily when there is an external impetus. Each party of the conflict will try to manipulate events to their advantage, but some events are adjustment proof. They can't be planned for. They may not be of help to anyone. They may even be immutable and only worked around. There are different events that can be like this.

Disasters are the first example of an immutable event that cannot be avoided. It may be used to advantage by any of the characters or groups if they can be predicted. Plans are foiled or need serious revision if an unplanned for disaster strikes. Such disasters could be weather related, seismic, or even smaller scale such as a fire. Depending on the setting and pre-planning a disaster might even be a weapon in one side's arsenal. This is especially true of fire, bombings, avalanches, and the like. Of course even false indications of such a disaster can be a tool to use. Fake bombs or threats, false tidal wave warnings, or even pulling a fire alarm throw a wrench into someone's plans. As almost always, the possibilities are endless.

Mood: feisty.
Music: Porno Star by Motley Crue and Slick Black Cadillac by Quiet Riot.

Or get MP3s.

Buy these at Amazon.com Click Images to Buy CDs

Or get MP3s.

13 Nights of Hallowe'en 2010: Night #5 White Noise

It's the weekend before the big night, eight days yet to go. Tonight we have White Noise starring Michael Keaton as aman who becomes obsessed with EVPs, also know as Electronic Voice Phenomena. His preferred method is using video. What you do--yes you can try it for yourself, but hopefully you won't get results like portrayed in this film--is you find a blank television channel and you record the static for hours and hours. Then you play it back and somewhere along the line you find ghosts in the video. This is a method that is getting harder and harder to use with the decline of VCRs and the advent of digital TV broadcasts and the static filled unused channels being blocked by cable and satellite providers for your convenience. This is a very interesting movie. I was unfortunately saddled with a Pan & Scan copy and may have to repurchase Widescreen.

I think it says something that I'm considering double dipping over the problem that ended with me ordering the wrong version. It might be an easy answer if I start in with Blu-Ray--I haven't even considered the switch yet. White Noise puts me in mind of couple other films in pieces, a matter of mood, and of cinematography rather than plot or events per se. It has a sort of The Mothman Prophecies vibe and some of the scenes have the kind of visual feel that was present in the remake of the TV series Night Stalker (2005) starring Stuart Townsend. There is also some comparison to be made to The Sixth Sense--no not like that. I find it a little amusing that after all this time Keaton becomes involved in a movie about ghosts where he has to deal the repercussions of their existence such a long time after he played one of the most famous ghosts of cinema, Beetlejuice.

Mood: leery.

Music: Haunted by Poe. MP3s

Anatomy of a Horror Setting #3-6: Extraterrorestrials

Across the vast, nearly unfathomable stretches of space they come to deliver horror on the primitive, disorganised, backwater planet Earth. They are unknown, their intentions incomprehensible, and their arsenal of terror tools vast. As if that were not bad enough, watching the skies for their vessels and looking for little grey men may only leave the unsuspecting to fall prey to less intelligent but much more insidious incursions. This is just a general overview of the forms that science-fiction horror stories involving aliens may take. The first line of horror offence when dealing with extraterrestrials is as before, the unknown. Next comes the intimacy and scale of contact. Then there are the ramifications inherent at several different levels of depth.

Working with the unknown is a point that really deserves some belabouring. The first question to ask when starting the creation process is how apparent will it be that it is a story about aliens? UFOs immediately figure into this question even to the degree that mysterious lights in the sky will be an immediate tip-off unless obfuscation and misdirection are used, requiring that the audience not end up feeling cheated by it. The aliens--greys aside--are much easier to keep out of the spotlight by comparison. As with any inhuman personage aliens should remain unnamed-so until it is well obvious. Furtive figures with unnatural shapes in the shadows, seeing the results of their actions rather than them, and inexplicable events are the way to go when keeping to the strictest level of the unknown.

The big reveal, whenever it occurs in the timeline, begs the question of intimacy. Do one or more members of the main cast come directly into contact with the aliens? Is it at a distance or directly? Is it in a neutral location like a deserted road or something more frightening such as the science lab aboard their ship? Is it even worse than meeting aliens, and be experimented upon, than to be infected with an alien organism or virus? How many aliens are involved, or how many humans are affected or infected determines scale. The scale directly infers what kinds of ramifications will be a part of the author’s considerations. While a handful of people may be directly affected by the alien encounter an even greater number will be party to after effects. What of the bigger picture as well?

Music: Perfect by Alice Cooper and Dead Again by Type O Negative.

Buy these at Amazon.ca Click Images to Buy

Anatomy of a Horror Setting #2-18: Something Came Over Me

No matter what setting it happens in one of the most frightening things that can happen to a person is for them to be possessed. People innately need to feel in control, if of nothing more, than at least their own bodies and their actions. This is merely the first level of this insidious invasion. Invasion is actually the next level. Not only do the possessed have the vital loss of control, but also it is lost to something else, some invader--making it worse than mere mind control. At the next level there is a divergence that happens with two different kinds of torment possible. On the one hand the possessed person blacks out and does not know what happened when the invading force is in control. The other hand is that the possessed person helplessly watches everything that the invader is doing.

Fear of the unknown is one of the greatest fears. The imagination comes up with all sorts of vivid, frightening images. It sees endless actions and consequences as terrible, depraved, and terrifying as the imaginer is capable of thinking. The blacked out possessed suffers not only the indignity and shame of their uncontrolled actions, and the inability to stop it. They learn piece by horrible piece what happened, and have the looming dread of what is yet unlearned. By contrast the suffering is immediate for the possessed that witnesses it all. That awareness brings with it greater guilt that they cannot stop it. These aware ones may even know what will happen just before it does. Either they are tapped into the consciousness of their possessor or it gleefully tells them what horrors await.

There are two ways that possessions happen in a magical horror setting. Possession spells allow someone’s consciousness to inhabit and control the body of another person. The tightest control comes form the magic being the possessor so that they can make sure everything goes as planned. A trusted bodyguard is required while the caster’s body is bereft of its intelligence. If the needs are less stringent the magic user may use an agent to be the controlling force of the possession. These agents can be other humans or summoned beings willing to entrust their bodies to others. The other way to possession comes from incorporeal beings that are naturally able to possess other beings. Brushes with the mind of an unnatural possessor are always an added terror.

Mood: impulsive.
Music: Public Animal #9 by Alice Cooper and Mr. Brownstone by Guns N' Roses.

Buy these at Amazon.ca Click Images to Buy