They Need Your Vote, Josh

If you're new to this blog, or just to this particular topic I am writing a blog called On Dark Rhoads™. It is the fictional account of Joshua Rhoads and the haunting of his house. It is more than that though. One aspect of the fictional world Joshua lives in is a fictional political party running the country. Another aspect to consider is Joshua is psychic and does not know it yet. Now, this is what I'm dealing with...

Another decision point has come up in the Joshua's journey. I essentially have to make the decision before the fork in the road appears. Some interesting links have been brought to my attention that afforded some new tweaks to the still forming setting. Some of them have come up in TechStop™ and others may make their way into there. They are not a part of the horror, but at the same time they do add to it and certainly many of them are not nice for people like Joshua. There is nothing to stop me from doing one thing in Joshua's stories and another in the game, but I would like to have that cohesion. So here is the decision to be made. There is the aforementioned political party with sinister intentions. Is it more compelling for Joshua to be aligned with them and learn of the dark side and reject it or to be opposed to them in the first place?

It may be something of a cliché to be party to the party and then learn the error of his ways. They can only be visibly sinister to a small degree or otherwise they would not have the power and influence that they do. At the same time I do not believe there is some dark core pulling the strings but that it is more a matter of an overall dark outlook. Furthermore I intend for them to be the way they are for the good of others. It's not an intentional malevolence and they are not aware of the amount of harm they are creating or the hatred they foster. It's not about any particularly bigotry either--except for political party opposition bigotry where one party despises the other so thoroughly and thoughtlessly--at least not initially until events of other natures start them down that path. It is not a matter then for Joshua to just be readily aware of their malevolence.

At the same time this party is hard line on a number of subjects, which draws a certain amount of ire from different factions, and a general disgruntlement from people who align themselves with the other parties. The drama is a little less starting on the side of right and removes added dimensions such as guilt over Joshua's former affiliations, and anger at first having indirectly been duped and then becoming victim to their burgeoning malice. There is nothing to stop Joshua's affiliation with the opposition party from having its own turmoil, including the party siding with the malevolent one on the topic of people like Joshua. Here what seemed right is no better, but has the option of it being possible to sway their opinion to a more moderate stance and embrace the approaching sea change for everyone's benefit.

Mood: harried.
Music: Trumpets Of Jericho by Bruce Dickinson and Death on Two Legs by Queen.

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They're Not as Scared, Josh

I talked a bit more about the On Dark Rhoads blog over at Inchoate with "Gearing Up for the Rhoad" and got into some technical and non-writing aspects like commenting and general blog shoptalk.

Last time here we talked about pace and tension. What does it really mean in regard to the scare factor of the tale though? For that matter what does the format do to the scare? Certainly as much as horror is known for it scares, for leaving the audience creeped out if only for a little while, it is about the horrific too, obviously, but as a kind of milieu it is about the situations, beings, and the like that are horrific or monstrous. As such it doesn't always have to scare or horrify at least on the small scale--nor constantly either.

A story about a haunting is a horror story even if you are not scared by it. Stories with monsters are likewise horror as well by virtue of the monsters, though this might require it not additionally being say a medieval fantasy story. It is a matter of degrees and a question of intensity. It is the outlook that matters. Monster heroes in a city will be urban fantasy for instance rather than horror if it lacks horror. It's all shades of grey as far as the presentation goes. Often what distinguishes horror from the other similar genres in this no man's land is how the unnatural elements affect the characters. This is especially true of horror role-playing games. The game need not scare or horrify the players per se, but the setting, the conflict, and the scenarios had certainly better present the characters with fear and horror or a sense of dread.

I see the same delineation in horror fiction even as others insist the product, whatever it is, book, movie, or game, must frighten them or affect them personally to be successful and therefore count. As an example consider the movie Paranormal Activity. I don't mean to compare my haunting tale to it for either its admirers or detractors, but it is a good example from an illustrative viewpoint. Some who live with an actual haunting were dismissive of the bulk of the phenomena as not being scary enough to carry the horror. Others cannot fathom staying anywhere haunted and are floored by these kinds of movies. To bring it back to the original questions I would like the scare factor to be there. I would like nothing more that to have people, well, haunted, by the events, and suspicious of their own surroundings. Was that book where they left it? Wasn't that water glass on the right a moment ago where now it's on the left? At the same time it's okay if they don't do that, as long as the experience through reading the entries was enjoyable.

Come back next week for a special post (instead of my usual day off) regarding a forthcoming role-playing game called Amaranthine from David A. Hill Jr. of Machine Age Productions makers of Maschine Zeit. David is running a Kickstarter campaign to fund the print run of Amaranthine right now.

Mood: relaxed.
Music: Hotel California by the Eagles and Someone Else? by Queensryche.

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Bad Comparison Claims

I wanted to talk a little bit today about movies, in specific the complaints about them revolving around one movie ripping off another. There are some pretty out there comparisons.

For instance someone described Darkness Falls as a rip-off of the Friday the 13th movies. You know that a flying old dead hag wearing a white mask who can't enter the light for fear of bursting into flames is exactly like a movie about a guy who eventually dons a hockey mask, becomes undead, and throughout life, death, undeath kills people for being naughty. Pretty broad comparison there if you ask me.

Someone making one of the documentaries about the original Halloween decided that Evil Dead is a Halloween rip-off because you know, people trapped in the woods fighting demonically possessed people and corpses is exactly like a movie about a guy in a mask killing babysitters. Never mind the fact that Evil Dead is actually to some degree an homage to Night of the Living Dead and not a rip-off of that even.

The other day I saw another ludicrous comparison. The Manitou is a rip-off of the Exorcist because you know that a woman with a tumour on her neck that's actually an embryo of a reincarnated Native American medicine man bent on destroying modern day white people is exactly like the story of a girl suffering from demonic possession. Wow, the similarity is just uncanny. Come on people.

Don't let these baseless accusations slide. No one likes a mean dismissal of their thoughts, so kindly and gently educate if you see something outrageous like this. As smart places on the web say, don't address the poster, don't make it personal, just state the big differences in these movies. Remember, only you can prevent flame wars.

On the other hand don't be afraid of pointing out the really close ones like say (and I cannot recommend anyone actually watch this movie) The Astronaut's Wife, which is very similar to Rosemary's Baby. I'm not even saying that closeness is itself an issue, just that unlike the other examples it's pretty clear. My issue with the movie is what I consider it's lack of quality, which is neither here nor there, and some people may like it.

I hear recent The Roommate is much like Single White Female from years back. So what. I don't have a problem with that. It's just this idea that everything is a rip-off and thus bad and should be, I don't know, blocked, banned, or burned that gets me--of course compounded by blatant mistakes in the similarity. I guess that's all I have to say about this now. Next time, my take on remakes.

Mood: spleeny.
Music: The Ripper by Iced Earth and Let Me Hear You Scream by Ozzy Osbourne.

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Take Out the Garbage

*** Disclaimer: The following in no way means to disparage the people of lower class income or who live in certain kinds of homes. It is specifically about the character of some people and speaks to the common and likely even stereotypical view of such groups of individuals. ***

Previously we took a look at the unsavoury subset of the already looked down upon white trash group. For note some of this applies to disaffected urbanites, the rich who live in their own world practically, and just the general malaise affecting much of the civilised world that rises to the very aptly named legal term called depraved indifference. Further, this is different than the uncivilised groups that frequently partake in wanton destruction and consider defilement commonplace and desirable--the villain/monster perhaps. This is really about those who have the veneer of decency and civility bare in spots or ripped away and sitting askew. With that in mind, it's time to look at how exactly they change the horror in a story or movie.

One consideration is that the horror should offset or counterpoint the grungy, dirty, immoral quality of these characters--this of course is if they are prevalent, which is certainly true with their natural habitat as the setting. The first possibility that comes to mind is a slasher who is much the opposite, who is moralistic in that sinners and the improper die by his or her hand. Thematically, or better yet even literally/visually, the blood spilled washes away or hides the dirt with clean, placid-smooth red, though of course this is temporary as it dries and becomes just more grime worsening what was there--don't forget the added element of blood smell to this--a chink in the armour of this "purity" if you will, belying it's masking nature, and foreshadowing the physical rot to come to match the moral rot.

Overall the most important consideration in creating terror with these types of characters is how to overcome the audience's dislike of the characters. It dulls the horror when people don't identify with the characters. It's even worse when the audience wants to see them come to a bad end--though there are readers and movie watchers who do that on purpose, but even they frequently want nice, undeserving victims, when the point isn't to punish the impure. Also, unless you're looking to have shades of grey in frightening conflict you want to be clear just who the metaphorical monster is. Make your horror really horrific and evil. Enough to scare the hardest heart and make them look almost cuddly in comparison. Lastly, in film at least, fear is infectious and characters who show their fear illicit it from the audience. These are just some of the things to keep in mind in this kind of setting.

Mood: solemn.
Music: Sweet Pain by Kiss and Poison by Alice Cooper.

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To A Creepy New Year in 2011

Hello and welcome to the New Year of Horror on Hump Day! It's been a long hiatus, though maybe not the longest I've taken. Publishing a horror magazine will do that, even at the length of Killing Time - Horror E-Rag. It's become something of a tradition to look back and then look forward. Let us begin.

Looking back I am immediately struck by the recent posts about movies and television both before and after Hallowe'en's thirteen blogs. Both by the number and the ideas I hoped to express about them. There was even some motivational material, because honestly with all the negativity out there about the genre and its failings someone has to get on topic, push forward, and try to be a force of change.

To some degree it's a sad state of affairs that it has to be me, but really who better? I've always been trying to push for better horror, and painting the way as a consumer. Some could ask, who am I tell to anyone how to make something better? The answer is, I'm someone who enjoys horror so much I had to become a creator. Even that much commitment isn't necessary. All it takes is a passion for the material, the movies, the books, the games, the tropes, the feelings, the whole shebang.

The look back became the look forward. Might as well continue mixing it up. The past year I talked about a setting with witches, and more pertinent to the discussion witch hunters. It's kind of funny because I recently saw the animated video for "American Witch" NSFW by Rob Zombie, which seemed to me to be a companion piece to the "Lords of Salem" NSFW video, which I had seen significantly longer ago. The Lords video is very evocative of just how frightening the Witch Hunter General and his closest men are, to not only the common man, but also to even the blackest hearted witch.

I intend to look at some more settings. Like early in 2010 I also intend to look at horror from a RPGer's perspective because what is a pen and paper RPG for the person running the sessions (known as the Game Master among other names), a position akin to director on a movie set and at the same time scriptwriter--if both of those only worked with or wrote the minor characters and the setting/sets. I'm re-explaining this both for new readers and because there's been some recent controversy, but that's not something I intend to get into here. Beyond that, I never know what I'm going to write about until I start planning for the next week. Here's to new horrors and new looks at it.

Mood: stoked.
Music: American Witch by Rob Zombie and Werewolf Women Of The SS by Rob Zombie.

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A Mass of Awesome

Today I am going to talk a number of spoilers for a number of movies. If you don't want to know nitty-gritty details about "The Blair Witch Project", "The Mangler", "The Texas Chain Saw Massacre (1974)", "Paranormal Activity", "The St. Francisville Experiment", "Dead & Buried", "The Devil's Rejects" "Hatchet", "The Amityville Horror (2005)", "Behind the Mask: The Rise of Leslie Vernon" or "Silent Night, Deadly Night", then you had better stop reading and join me again next week for the final Horror on Hump Day of 2010. You're safe until the end of this paragraph while I outline what I want to cover about these movies. I make it no secret that I like a number of things and movies that others do not care for or outright deride. I thought in keeping with the upbeat trend I've been on that I would tell you about some of these today. I'm sorry for excluding some people from the fun, but now and then it's fun to talk about these spoilers.

Let's start with my favourite little story about "The Blair Witch Project" in the theatre. I went with a friend. Afterward we both agreed the following happened. As the film progressed we got colder and colder. The instant the credits rolled the cold was gone. There was no way it was anything other than psychological. I'm in a very tiny minority as a huge fan of "The Mangler". I just love it to bits, except for the incessant screaming of the girl at the end. Speaking of screaming, the first time I saw "The Texas Chain Saw Massacre (1974)" was on a really bad VHS. It was a poor experience when a large bit of the movie was a pair of white shorts running through pitch darkness--with nothing else visible--screaming, to the sound of a chain saw. I still think there is a bit too much screaming, though I'm sure there are some people who scream incessantly until they can scream no longer.

I thought "Paranormal Activity" was pretty good despite that it was in some ways a pretty tame haunting. It's all a matter of pacing, and successfully directing the kind of expectation the audience should have. The guy hurtling toward the camera made me jump, and I even like the demon-face morph. "The St. Francisville Experiment" gets a bad rep as a Blair Witch rip-off sight unseen, when really it's like an investigation of "Ghost Hunters" or "Sightings" in movie format--yes the ending's a bit Blair Witch. The ghost throwing the chair was really cool and the weird doll scene was a great bit of suspense. One of the freak-nastiest things I've seen is the burned man hanging upside down in the car in "Dead & Buried". There are a lot shots of him in the extras on the DVD box I have too. I call him Ham-head to mitigate some of the ick-factor, but really it makes it worse.

Stay with me, I'm going extra long today. Now for those moments where I hoped the movie would do something and did. That was awesome in "The Devil's Rejects" when he made her wear her boyfriend's face and then she chases after the maid and turns into a massive road smear. Or how about in "Hatchet" when he sticks the shovel in the ground and then uses it to spear his next victim? The best part of "The Amityville Horror (2005)" was when the ghost girl made the babysitter stick her finger in the bullet wound in her forehead. Then there is the movie where you wonder will it get to the horror goods and then--BAM--"Behind the Mask: The Rise of Leslie Vernon" turns from documentary making into horror movie when the real survivor girl is revealed. Finally, since it's the season, I must talk about the "Carrie" of slasher films, "Silent Night, Deadly Night" and the world's creepiest grandfather. I love that movie, and dislike none of it. The creepy Christmas carols and songs rock too. That's it. See you next week.

Mood: rebellious.
Music: Callin' The Shots by Quiet Riot and Where Eagles Dare by Iron Maiden.

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Be Brave with Your Fear

Did you ever want to tell the story after the story, but you decided that you couldn't because beginning at that point requires an emotional investment in the characters from the audience for it to mean anything to them? Did you ever want to have an event in your story that seems arbitrary, but has a good reason behind it, it's just that you can't tell it too early or you will spoil it? Did you ever want to tell a story in chronological order, but you couldn't because no one would stick with it long enough for the right things to happen to make for a great pay off later on? Did you ever want to tell a very subtle story, but it was just too much effort to build in everything to grab and keep audience and not leave the subtlety lost in the clutter? There are a dozen more questions like this that can be asked. There are dozens of variations on each and every one of them.

Some of these scenarios have resolutions. They can be conquered. The first question is do you want to surmount the obstacle? Sometimes the question is are you brave enough to embark on such a challenge? Will you stick with it or give in when the pressure becomes too much? The worst pressure may come from within. Just like last week I'm asking you to consider what happens when we break from script and do something different rather the same old thing--whether the same old thing is bad in the first place, or especially if it does work already. It's one thing to jettison a failed idea, to not repeat bad execution, but what if the thing are you looking to replace always works, gets certain people going, and ultimately is what will definitely sell to some fraction of the desired audience? You might ask who am I to do these things. I may be the one to do them or not, but I am here advocating them to others.

Are you going to do such a thing now? Be brave; be bold. If you are telling your stories and getting them in front of people, no matter how many or few, then you are already one of the brave. Look at the positives. Turn negatives around into positives. Think big even if you're doing it by thinking small. Bring the excitement whenever you can, as hard as you can. Go now and be the object of fear--not the recipient--tell your stories. Remember to scare them silly and leave them panting for more. I'll leave you to it.

Mood: invigorated.
Music: You Took The Words Right Out Of My Mouth (Hot Summer Night) by Meat Loaf and Brave New World by Iron Maiden.

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Tired Trope Kick-out

I was watching what was a great series of horror shorts when one of the pieces comes out of the blue with an excessively overused trope that I am really sick of seeing. You know it very well too I bet. A person has information that could help the police once they get past the fact that it is a supernatural perpetrator. This in and of itself is not a story problem even as often I've seen it. Now, this informant meets with the detective on the case and starts in about how the detective will think the informant is crazy. Mistake number one. Certainly the informant is intelligent enough to know that it's hard to believe so why don't they think ahead to find a way around that? This is way too often made worse by how the informant came into this information about the supernatural, which is a part of the trope--and the worst of it all--that there was a previous case involving just such a modus operandi as the current crimes.

In the particular case of this series there is a further bit of information. The informant knows about the particulars not only because of the previous case, but also because a relative was directly involved in the old investigation. Yet, the informant never does what any reasonably intelligent mammal would do and start off the conversation with "Hi, my name is Clara and I have something to tell you about your case because my deceased grandfather was a crime scene photographer and I found old case files that seem just like what I saw in the news papers." No, instead the conversation goes, "You'll think I'm crazy... there's something unnatural going on... the victims eyes are missing..." and the detective immediately has suspect number one right in front of him because no one not on the case is supposed to know anything about the missing eyes.

Instead, why can't script writers--I have no idea if this trope is repeated in novels but I have to imagine it is--sidestep this tired, and frankly pretty lame from the first instance whenever that was trope? What happens if this and other overused plot devices are put aside? How will the stories differ? Sometimes movies with tongue firmly planted in cheek, or with an attitude that all of their competition sucks flaunt these ideas. Sometimes they even knock these scenarios with flare and style. Not all tropes are bad, just like stereotypes. The word trope itself refers to different things with the meaning I have here being in line with the idea of "TV tropes" rather than traditional literary tropes. I'm personally fond of a trope I like to call "heritage speaking" where intelligent, somewhat socially awkward, characters speak as if they come from an older time period, but it is instead actually a matter of their family's status and its link to stuffy archaic thought and speech.

Mood: breezy.
Music: Phantom of the Opera by Iron Maiden and The Phantom Opera Ghost by Iced Earth.

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13 Nights of Hallowe'en 2010: Night #13 The Haunting In Connecticut

Ah! It's Hallowe'en! I hope it's red 'n' black, and slimy green for you. As always I have left the best movie for last. The Haunting InConnecticut is another movie based on a true story. Up until the haunting really shifts into high gear the story is fairly close to the original incidents. I was thrilled when I found out they were making this movie, and even more so when I watched the movie and saw what they had done. Let's start with our star Kyle Gallner. You may have seen him in Jennifer's Body and the Nightmare on Elm Street remake. He just makes this movie so much more. I wouldn't sneeze at Virginia Madsen either. She's been in Candyman, The Haunting, and The Prophecy. The rest of the notable actors in the movie's family include Amanda Crew from Final Destination 3 and Martin Donovan from Insomnia (2002) or on TV in Ghost Whisperer or Masters of Horror (2007).

A last mention on cast is the helpful reverend played by Elias Koteas who was also in The Prophecy with Madsen; otherwise you mightrecall him from Lost Souls, The Fourth Kind, Shutter Island or Let Me In (2010), or if you're really sharp in a small role in Apt Pupil. There is something I have to gush about in Haunting In Connecticut and it is one word... ectoplasm! It's right there on the cover. We're not talking green slime here, we're talking something much more textbook, and I for one love it. It's the icing on a very cool cake. Now, for those of you who don't know, this is a movie about a mother who moves her family into a house that was formerly a mortuary because the house is close to the hospital where her one son is undergoing an experimental cancer treatment. The place is haunted, but the how and why is all of the fun. Enjoy, and Happy Hallowe'en!

Mood: festive.

Music: This Is Halloween by Danny Elfman. MP3s