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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The White-Trash King

*** 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. ***

Let’s talk about Rob Zombie again. Specifically I want to talk about how sometimes I jokingly refer to him as the White-Trash King. I mean no disrespect in this, in fact quite the opposite. If you want down and dirty, trailer trash--with or without the trailer--lowbrow, low rent, it must be both trying and fun to be around these people, kind of characters then Zombie is your man. I mean wow. I am in awe and more than a little jealous. I feel way too clean cut and, take your pick, suburban or rural to get the kind of grasp on these kinds of characters like Zombie does. You can have your opinion as to why he has this grasp, but that's none of my business, and I'm here about other things. Now, let me give you a little background and viewing history.

I've had an influx of Rob Zombie watching over the last couple of months. I had liked "House of 1000 Corpses" from the moment the end credits rolled despite some of its obvious flaws. It took me quite a while to get around to "The Devil's Rejects" and I was floored. It was amazing. What a huge leap forward in directing--and the other aspects of the filmmaking process were also up to that standard. Then we have Zombie's "Halloween" remake. I like it. I've only seen the director's cut--go unrated discs. It really puts me in mind of the original's director cut in that it seems to carry on quite a while. The thing is that it is interesting if you are in the mood. Since I recently saw Rejects I also finally got my hands on "Halloween II"--again director's cut and unrated. Let's start with the bad news--I'll be brief, the review will be elsewhere. It has it's problems--again that will be elsewhere (sorry).

Back to the characters. These trashy characters aren't just everything I described in the first paragraph. Those people aren't all that bad. There is a subset among them though, that you might say are equal in roughness, more kindly unpolishedness perhaps, morally as they are in the more obvious attributes. This more rotten core will stab you as soon as look at you, smack their kids and spouses around (yes, by no means limited to the trash demographic), and attack the authorities when they come to take away their right to be beaten. As with any group, the two kinds mix freely making it harder to spot the villains, and adding complexity to dealing with them for both the author and any characters from the outside. Now, with this look at these types of characters in hand, we can take a look at how they affect the horror in any given story or movie.

Mood: daring.
Music: Deep Unknown by Stratovarius and These Colours Don't Run by Iron Maiden.

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The Modern Witch Conspiracy

The surface has been brushed for period piece settings and stories with evil satanic witches. What though of the modern day? Has the ghastly horror witch gone the way of the dodo? The answer is a resounding no. They are certainly about and still practicing their nefarious ways. They do have their work cut out for them in some fashion though. Their brand of wickedness pales in comparison to the likes of serial killers, mass genocide in foreign lands--though honestly those kinds of atrocities have always gone on, if not as efficiently bloody as now--and the general moral slide of society with a total disregard for the value of courtesy, freedom, humanity and life not seen in centuries. Where then is the place for witch when the Adversary seems to be doing fine without lifting an apparent finger?

As with everything that slides into the present and looks to the future the ways and the wants of the witch have become more complex. Things are subtler now than ever. Part of it has as much to do with the witch hunters as it does the witches and their master. Staying covert went from a matter of privacy to one of downright survival. As would prove later to be beyond prescient the greatest lie the Devil ever told was that he did not exist. Thus too was it for his witches. The witch scare died down, past some unknown point, but likely earlier than now expected, the bulk of the victims of the stake were left to the innocent and the witches' own chosen scapegoats. Beyond that need for discretion was the need to find ever new, ingenious, and complicated ways to waylay and corrupt a populace that was continually growing savvier and more educated by the decade.

That formerly mentioned moral slide may have occurred all on its own, but the levels that it reaches and the ways that people are led, or driven, to act on the worst impulses that it represent can, and is, tweaked by the slyest of witches. There is a new, more ambitious, agenda at work. It is hard to nail down what it is precisely, but it is insidious, widespread, and broken down into a vast array of cogs that work as a monumental mechanism of evil the likes of which hasn't been seen before. Trying to chip away at those cogs is hard work and there are multiple redundancies. There are whispers and innuendo in certain circles about the nature of the witches' endeavours. The most frightening hypothesis put forward about this Machiavellian project is that even the attempts to derail it at every turn are pushing it toward its nefarious goal.

Mood: sly.

Music: Everything Louder Than Everything Else by Meat Loaf and Pure Evil by Iced Earth.

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Anatomy of a Horror Setting #4-2: Arcanis Visicius Domini

Most of the questions, suggestions, and considerations that were a part of devising the setting for a modern magical horror still apply in the horror fantasy setting. The fantasy setting conventions and norms provide extra help as well as disadvantages to crafting the horror of the setting. Even some magic that was discounted is back on the proverbial table. The disconnect that the fantasy genre has with the modern, rational world immediately opens up avenues of horror that would be unwieldy or impractical in the modern magical horror setting. That disconnect also negates the impact of breaking the rational, which is often a major factor in supernatural horrors. In its place is the horror of the inevitable, the persistent threat looming overhead, lurking in every corner.

Magic of any great power or import should be kept out of the hands of the protagonists. This can be achieved by the requirements of magic or by maintaining strict moral lines. Material components and magical knowledge availability is limited not only by the environment but also by the greed for power of the magical caste, the wizards. Magic is nothing more than power in the setting and power is always jealously guarded. Corrupting power and the mad grab for it will direct much of the morality of the spell casters or the magic most commonly used. Beyond that magic can divided into direct black and white moral lines because the fantasy setting is more accepting of such mythos rules. Black magic will have evil requirements as well as evil results.

At the level of specifics fireballs and lightning bolts called down from the sky are fair horror fantasy game. Curses and geasa of terrifying kinds and results can be wonderful plot underliners giving the story a real mythological feel. Geasa is the plural of geas--a kind of magical obligation or prohibition like a taboo. In some cases the person is incapable of breaking the geas because they’re magically compelled. In other cases there are dire consequences to breaking the geas. As a facet of the setting curse bringing and geas infliction lead to other considerations and implications from the level of daily life all the way up to politics. The ever-popular zombie has its fantasy counterpart but requires a different touch. A matter of scale comes into play for this and other magic.

Music: Killed by Love by Alice Cooper and Welcome to the Machine by Motley Crue.

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Anatomy of a Horror Setting #7: Psychic Interrogation Techniques

Happy New Year, and welcome to the first Horror on Hump Day of 2008.

Back in part #5 the topic of a psychic as a lie detector came up. There is more to be said on this topic, but also there are other ways that psychic powers can be used in the interrogation of a subject. As with regular interrogating there are questions, and determining the truth from the lies, which carries on up to more questionable methods of information extraction like torture and the myriad forms that that can take, even by conventional methods. Since this is a horror setting it may be more pertinent to focus on the possible torturous applications of psychic abilities. Of course torture comes in two distinct and encompassing formats--physical and psychological. Each of these formats will require the use of different powers as well as a different mental skill set.

The mental skill set required for physical torture is fairly low for the psychic interrogator due to the limited array of applicable powers. The conventional torturer works with different instruments and styles of which money and imagination are the only obstacles. Likewise a psychic cannot design new drugs unless they possess that knowledge. A psychic can use pyrokinesis for the application of fire. A psychic can inflict pain directly or instead of cutting, beating, and pulling out things like teeth and fingernails or can do those via telekinesis. The best, most horrific tortures stem from permanent, unforgettable damages that are only a glance away for the rest of their lives. The downfall of physical torture though is that it affects the heart and can lead to accidental death.

A psychic with powers used for psychological torture techniques can require much more skill and imagination in their interrogations. The options available to such psychics are very open ended. Techniques can include phantom pain--less stressful on the heart--false memories of torments visited upon them, and being trapped in long drawn out nightmare scenarios. There are also subtle, gentler methods, which are not torture and may be just as successful. Beyond straight mind probing for answers there are dreams and hallucinations that make the subject think they are passing the information onto trusted comrades or people who need the data for good purposes. As with all torture and falsity there are moral implications, for those with morals, which leads us to next week's topic.

Mood: refreshed.
Music: Wildest Dreams by Iron Maiden and Prophet of the Last Eclipse by Luca Turilli.

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