Tag: horror (page 13 of 15)

Canned Goods: Circle of Brimstone

Canned Burger

Wow. Been a while since I’ve done one of these. I’m up to my eyeballs in code and have some deadlines breathing down my neck, so have the first half of an attempt I made at a gothic supernatural horror short. Enjoy.

Spoiler
The hinges of the door moaned like the support beams of a house sagging under generations of spoiled children and corrupt parents, far too old and overworked from keeping something out, or shutting someone in. The name on the frosted glass read “Deacon Jackson,” and the door was ajar. In the mind of Detective-Lieutenant Allison Daniels, that wasn’t right. Sure, it was a backwater office in a run-down part of a declining city, but the lock on the door was solid, so it wasn’t that the bolt was sub-standard. And the individual she sought, according to his file, wasn’t one for just leaving his door open for any Tom, Dick or Harry to walk in. She drew her sidearm and eased the door open with her shoulder. What she saw caused her to sigh and re-holster the firearm.

Deacon Jackson, private investigator and (by all accounts) generally useless bastard, was passed out on his desk. An empty bottle of Jack Daniels lay on it’s side on the floor by the wastebasket, and a lowball glass was in his hand. He drooled a little, a tiny puddle of spittle having formed on the photo of a man on a cell phone. Allison closed the door gently and examined the picture. She knew the man’s picture, from the vice department: he was a suspect in a case where a man was beating prostitutes. According to Jackson’s notes, he was also cheating on his wife. Not terribly surprising. Smirking a bit, she grabbed the photo and its associated files and yanked them out from under Jackson’s dirty blonde head.

There was a satisfying thump.

“Huh? Wuzzat?” he babbled incoherently, looking around. His green eyes focused on her smiling face and he seemed to regain his composure a little. “Ah. Detective Daniels. What brings you to my doorstep?” He wiped his eyes and looked at the file. “Doing vice’s dirty work? What, is homicide too boring for you now?”

“No, though I see you’re still up to your old tricks,” she replied, laying the file back on his desk. “Chasing down wayward husbands and desperate housewives. I’m sure you get something out of it.”

“Sure do. Couple hundred an hour, plus expenses.”

She blinked. “You charge that much?”

He shrugged. “Lots of rich folk want their work done by someone who doesn’t travel in their circles. And I certainly don’t do that. I mean, come on, look at me.” He held out his arms to indicate his slightly threadbare gray sweatshirt stained in several places and his three-day-old stubble. Daniels shook her head.

“I don’t either, but I can still appreciate a Prada.”

“Of course you can, you’re a woman.” He stood and stretched, looking out on the street, turning his back to her. “But you didn’t come down here to discuss the nuances of my work, or my fees. Unless you’ve gotten married since I saw you last and your husband’s running around on you. In which case I might give you a discount seeing as you’re one of the city’s finest.”

“Finest what?” she asked coyly. Before he could respond, there was the sound of something hitting the desk. Jackson turned around and looked down. Sitting on the blotter was a small plastic evidence bag. Contained inside was something that could’ve been a patch of leather if it wasn’t far, far too pale. He picked it up gingerly and felt the slightly gelatinous consistence of the other side of it – this was relatively fresh. On the pale side of the patch was some sort of brand or marking, a dark circle inscribing a star with 13 points. Jackson kept his face impassive as he turned the bag over, and confirmed that the backside of the patch of leather-like material was, in fact, bloody and gory. He felt bile rise in his throat.

Daniels watched his face carefully as he set it back down, bloody side up. She had tried very hard not to let on how tired she was from this case. This was the eleventh murder of this type so far in the last two weeks, as far as anybody could tell. Forensics was still working around the clock to nail down a timetable. But the common thread was the murderer’s methods and these odd markings, and according to Jackson’s file, he might be able to shed some light on it. Besides, Allison Daniels had become a detective partially because she liked observing people. Some might call her a little voyeuristic in that way. But she simply had a knack for watching someone’s face or body language and knowing what they were thinking. It was how she’d known her last three boyfriends had been thinking of other women while in bed with her. Somehow, however, Jackson was inscrutable to her. He was like a dark statue. Not what she expected from a cut-rate private dick.

“Can’t help you,” he said, and sat back down. He steepled his fingers and stared at the small evidence bag and its grisly contents. Behind his jade eyes embers of a fire seemed to spark. He blinked heavily, with effort, as if trying to force something away from his conscious mind. Allison decided to take a chance and maybe pry out of him whatever he was hiding. She picked up the bag and thrust the circle-side in his face.

“You can’t shut me out,” she told him. “I’ve read your file, Jackson. I know the circles you used to travel in, all those years ago, before you dropped off the face of the earth only to wash up here, keeping yourself busy with the vices and hypocrisy of the rich. I know you used to be Deacon H-”

“Do not say that name!” Deacon bellowed, shooting to his feet, glaring at Allison. The power behind his voice, the sudden belligerence of his manner, the almost-eldritch fire in his emerald eyes, rooted the detective to the spot. They blinked at each other for a moment. Then, slowly, Deacon sat back down, reaching into his desk drawer for a fresh bottle of whiskey. “Those days are dead. My past is dead. You’re a homicide detective. But the case of my past is very, very cold. You won’t get anything out of it but trouble and nightmares.” He poured himself a glass, and downed it in one gulp, then looked at the evidence bag. “Where’d you find this?”

“Off the back of a 24-year-old woman on the other side of town,” Allison told him, wrenching her mind back to the case at hand rather than dwelling on the dour look on his face or the way his eyes seemed so haunted. Something about this whole business had spooked him. “Evidence showed signs of a struggle.” She handed him a sheaf of photos. “Those markings on her wrists and ankles are consistent with razor wire, according to forensics. She wasn’t gagged – wherever it happened, she was probably screaming. They branded her in 12 other places, carved this off of her back between her shoulder blades, and killed her with a single stab wound on the corresponding side of her chest. Forensics found no fibers in the wound so she was naked at the time. It all points towards some sort of…”

“Ritual,” Deacon finished, in that same dark voice. His eyes danced over the photos, and Allison studied his face. There seemed to be a conflict inside of him. As if part of him recognized what was happening, and wanted to help, but the other part of him was too scared to admit it and was pulling away. Either way, he knew something, and it could be crucial to this case. She had to hold back a flood of questions in her mind. Would there be more murders? What sort of religion was being practiced here? And why was a man who had no trouble giving information to rich, influential people that might kill their spouses and get away with it so afraid of what he was seeing? Finally, he handed her the photos back.

“What do you want from me?” he asked her.

“Help,” she replied frankly. “We’re baffled. There have been 10 other victims like this and I finally have gotten a chance to see one fresh. Normally we don’t find them for days.”

Deacon just nodded. He poured himself another drink.

“Well? Can you help me?”

He didn’t respond. She leaned towards him. His eyes did not go to the tempting view down her half-open blouse nor to her sky-blue eyes framed by wayward brown curls that had escaped the bun held on the back of her head by a pair of black lacquered pins. He simply stared into his lowball glass as if it held all the answers in the universe. She was watching him very closely now, and he was choosing his words carefully. She could see it in his face. He was making a big decision, at least for him.

“I don’t want any part of this,” he said at length. His green eyes finally swept up towards her. “And neither do you. If you’re as smart as I know you are, Detective, you’ll drop this case, pack up, and leave town tonight. Right now.” He plucked one of the photos seemingly at random out of the stack she held and dropped it on the desk. It showed one of the victim’s wrists, and his finger stabbed a chalk line on the floor. “That wasn’t from the outline. If you go back to the crime scene and lift the carpet there’s a lot more chalk there. And you’ll probably find gunpowder scattered around the place, too, and this black burn mark wasn’t there when the tenant moved in, I guarantee it. You don’t want to know what it all means. Your mind isn’t ready. It may never be ready. You don’t want it to be ready. Get out of my office, get out of my town, get out of my life, and take this shit with you.”

She looked at him as he sat back down, feeling genuinely hurt at his words. Something about his manner told her that he wasn’t just being a dick for the sake of being a dick, there was something going on that was truly terrifying to him and he was doing this to try and protect her. She sighed, straightened, and gathered up her evidence.

“I may be back to consult with you again,” she said flatly, like a traffic cop telling a speeder they were getting a ticket. Deacon shrugged.

“I’ll be consulting your Uncle Jack, Detective Daniels,” he replied ruefully, and raised his lowball glass to her before draining it’s contents. She walked out and slammed the door behind her. Deacon sat for a long silent moment. Then, he leaned forward and grabbed a pen from his desk and a notepad. He drew the circle and the star within it perfectly, and searched his memory for a moment. The patch of skin’s brand had born one more feature Allison hadn’t pointed out: 11 fine dots, like pinpricks, on the outside of the circle. He had seen this before. His skin burned and his perceptions drew dark. He had the sinking feeling in his gut that he was right, and knew exactly what was going on. The question was why.

He leaned back and wracked his brain. His green eyes focused on the ceiling fan as it lazily sliced and circulated the air over and over. He had only brushed against this symbol, this knowledge, a few times in the dozen years since that fateful night. He closed his eyes and could still remember vividly, as if it had just happened: the palpable anticipation, his friends and him chanting, the smoldering magma-like eyes as they drank him in, the soft velvety laugh caressing his ears and wrapping around him like something about to consume him in a single, warm, sticky moment…

His eyes snapped open. He’d have to tell Allison. It was time to blow the dust off his police scanner… and shave.

But first, he’d finish the bottle he’d just opened. No sense in leaving it unattended now that’d he’d gone to the trouble of pouring a drink for himself. Besides, it might be the last chance he got.

* * * * * * * * * * * * *

The flashes hurt Allison’s eyes. They always did. She had been diagnosed with minor epilepsy, and was on medication for it, but she still got a little edgy around flashbulbs. Ever since her father had shown her his prize possession, the M-16 he’d carried through two tours of Vietnam, firing on fully automatic, bright flashes of light had caused her to convulse herself into unconsciousness. It’s why she carried a revolver as opposed to one of the newer automatic sidearms; that, and she liked the weight and feel of her old Colt .357 Trooper, the first gun she’d ever herself fired. It’d stuck with her through ten years of dedicated police service. But this was the first time she’d dealt with a serial crime of this magnitude. She turned away from the CSI photographer and looked over the scene.

Tonight’s victim, David Stratham, was 25 years old, male, a stockbroker and had no prior arrest record, unlike the previous night’s former juvenile delinquent trying to go straight. Like the previous victim, he’d been tied down with razor wire – to his own kitchen table, no less, after a black velvet tablecloth had been laid down. The struggle had been intense, with sprays of blood along the walls and ceiling. Like the other eleven victims, Dave’d been branded, but this time there were 12 burns instead of eleven. And again, the 12th brand had been torn off his skin. Wearing latex gloves, Allison gingerly tipped the body onto one side and examined the red and raw-looking patch just over his spine between his shoulder blades. About a quarter of an inch of flesh overall was missing. The wayward skin had laid over the fatal wound, presumably after he’d bled to death. Again, with the lack of cloth fibers anywhere on or in the body, David had been naked when he’d died. And the tools that had been used on him, from the razor wire to whatever blades had cut away his skin and stabbed him in the heart, had been very sharp.

He died naked, screaming, and afraid, Allison thought with a shudder. She flipped through her small notebook and the notes she’d scribbled about their other victims. They’d been left in other places – dumpsters, behind buildings, one in the backseat of a parked car. This one had been killed in his home. That didn’t make sense. Was the killer (or killers) growing more desperate? Was the insanity deepening?

“Not sure what to make of it, Detective,” said one of the guys from CSI. “Still don’t know what all this chalk is doing on the floor.”

“Is it like last night?” she asked. After her abortive attempt to enlist Jackson, she’d gone back and, sure enough, had found more chalk lines and scribbles under the carpeting, along with burn marks and trace amounts of gunpowder.

“Sort of,” the CSI expert replied. “Still only bits and pieces, nothing really coherent. And we have no idea what the gunpowder has to do with anything.”

“That’s because everything important was obliterated long before you found the poor bastard,” came a voice behind Allison. “They’re laughing at you.”

She turned, surprised, to find Deacon Jackson smirking ruefully at her. He was clean-shaven and better-dressed, in a dark button-down shirt, white tie, and soft leather coat. He stepped past her with a nod and examined the scene. She cleared her throat, reminding herself that she was this was her case. She’d taken it over from the guy they’d transferred upstate and it was hers.

“Nice to see you sober,” she quipped, but he ignored her. He knelt by the body and pulled on a pair of latex gloves. Turning the victim’s arm towards him slowly, he looked at the underside of the wrist, at one of the brands which had been made near where the razor wire had held the man down. One of the CSI workers was about to protest when Allison held up her hand and shook her head at him.

“What is it, Deacon?” she asked quietly, not wanting to disturb the man since he’d showed up of his own free will, and apparently with no prompting or even foreknowledge of where the murder had taken place. He seemed not to hear her, running white-gloved fingers over the brand. He leaned over and reached out, taking the black velvet tablecloth between his fingers and nodded to himself a little. Then he stood and fixed his emerald gaze on her.

“He’s 25 years old, right?” he asked pointedly, and Allison blinked at him.

“Yes… er… how did you know that?” managed one of the CSI workers. Deacon made a face and looked at the floorboards, running the toe of his boot over the chalk lines they’d discovered. The CSI geeks flushed and began to protest when the private investigator held up his hand.

“Like I said,” he began, “the killers obliterated anything useful before you arrived. They knew you’d find the body. They wanted you to. They know you’ve been on their trail and they’re beginning to play on your fear. They believe it gives them power.”

“They?” Allison asked. He looked at her and nodded.

“There are 13 of them.”

The room was silent. Deacon continued.

“More than likely, two of them doing most of the directing. Masterminds, if you will. The other 11 are likely pliable young people just looking to fit in, or got into it thinking this stuff was cool and ended up brainwashed. They’re probably made to do most of the dirty work. But one of the two – probably the male – delivers the sacrificial blow as the female holds him down. That’s how it’s usually done.”

“You sound like you speak from experience,” Allison said quietly. Deacon said nothing, but headed for the door. Allison blinked.

“I’m sorry,” she began, but he held up his hand.

“Carry on with investigating the scene but I doubt you’ll turn much more up. Detective Daniels, I want you to meet me at the library around the corner from my office at noon tomorrow. There’s something I need to show you.”

He was gone. Allison just stared at the open door for a moment, then shook her head and got back to work. She had a lot to do if she was going to get up in time to meet him.

* * * * * * * * * * * * *

It was raining as Allison Daniels ran up the steps into the modest library. Traffic had been light but she’d woken up late, exhausted from comparing notes on the 12 victims so far. Deacon was waiting for her, looking much like he had the night before as if the passage of the last few hours hadn’t touched him. He was awake, alert, and watching her every movement.

“You’re late,” he finally said, and she nodded, shaking water out of her curls.

“I know, I’m sorry,” she replied, “but I noticed something. Deacon, the first victim was a 14-year-old girl. Next, a 15-year-old boy. Then a 16-year-old girl. And so on and so forth until the 25-year-old man last night. This has been going on for two weeks. You know something, and you need to tell me.”

He turned on his heel and headed into the library. She followed him, resisting the urge to grab him by the shoulder, spin him around and punch him in that smug expression until he coughed it up. But he lead her over to a book stand on which a huge, old-looking tome had been placed. The cover was black and looked like leather, and a pentagram had been embossed into it. Deacon touched it gently, then touched the clasps. They sprang open of their own accord and he gingerly opened the book. He seemed to be coaxing the pages rather than turning them. The library had gone eerily quiet and Allison had to suppress a shiver as it felt like something cold slithered down her spine.

“You’re looking for the Circle of 13 Shadows,” he told her, having stopped the book’s pages at a woodcutting illustration of thirteen figures in cloaks on their knees bowing down before an old-fashioned depiction of Satan. “They are an old society that hasn’t existed since the days of the Spanish Inquisition. One of the few good things the Inquisition did was destroy 12 of the Circle’s members at the time.” He sneered as he turned a page. “But always in light can one find darkness. The last member managed to convert the Inquisitor that found her – seduced him out of his vow of chastity, no less – and since then the circle has been very small and very quiet. Even the rest of the infernal society shuns the Circle, if they can, but their power can be undeniable if the Circle is complete and its rituals properly carried out.” He looked at her. “You’ve been witness to one of those rituals, Detective. The Circle of 13 Shadows has been very busy lately.”

“What are they doing?” she asked. “Do you know?”

He nodded, coaxing the pages again. She watched the way his fingers moved over the pages, gently, almost lovingly. Another shiver coursed through her body and it was as if she felt those fingers on her spine, her ribs, his breath wafting down the back of her neck, and something inside of her uncurled itself and growled a feral purr. She was suddenly and acutely aware of a growing moisture between her legs, and did her best to suppress the urge to pounce the man looking through the ancient book of forbidden lore.

“By the way,” he said quietly, “what you’re feeling is the ambient energy of this book. It was co-written by a succubus named J’z’bel, a baroness of Hell. Part of her… essence… is within it. Few people can touch it without immediately being compelled to touch themselves. Demons like J’z’bel believe that people’s lusts are the most effective weapons to use against them. It’ll pass. Think of your grandmother naked on a cold night.”

Allison’s eyes suddenly focused on Deacon’s face, and she laughed, aware that she was blushing. He managed a smile as he glanced at her, then his eyes turned to the book again and his fingers stopped. He pointed to a passage.

“Here,” he said. “‘Behold, and there shall be a great darkness. The Circle of Thirteen will be complete and the teeming streets will be tarnished with sins innumerable. The law shall be overthrown and sacrificed on the altar of chaos. Then shall the infernal be among the material and the reign of Hell on Earth shall begin. The Morningstar shall burn away the impurity of the world and all of the legions of Hell will join the gladly converted on the face of the Earth until the forces of Heaven can no longer resist the true destiny of the Dark Father, whom YHWH cast into Hell for seeking to prove his superiority.’”

Allison blinked. “This is… talking about Satan?”

Deacon nodded. “In shorthand, yes. It’s talking about Lucifer coming to Earth and damning the entire world to bring more troops to his cause of making war on God.” He coaxed a few more pages to turn and pointed. Allison moved closer and peered down at the book. A series of 13 symbols was on the page, each of them a circle inscribing the 13-pointed star, and she could clearly see each had a series of dots around it.

“Part of the ritual depicted here requires these symbols. Look familiar?” he asked. She nodded, knowing them as the brands on the 12 previous victims. “The Circle of Thirteen has seen this. And they’re putting something terrible together in the name of Lucifer.”

As if on cue, the clock chimed gently, just once. Allison spun, surprised by the sound. The library was empty, other than her and Deacon. Though she thought she saw something in the shadows. Her hand went to her sidearm and she narrowed her eyes.

“Deacon…” she whispered. She heard the book slam shut, and she was certain she heard a soft hiss immediately afterwards, like a cat that had been deprived of a bowl of cream. Deacon also produced a gun and was looking into the shadows. The private eye and the detective moved slowly towards the exit, coming back to back. At the circulation desk they turned to look at one another and their eyes met for just a moment.

That’s when the Book of J’z’bel flew out of nowhere and struck Deacon in the side of the head. He immediately dropped. Dark figured leapt out of nowhere and tackled Allison to the ground. One of them laid their entire body on the arm holding the gun while another stepped on her fingers. Through the pain and thrashing, pieces fell into horrific place for Allison. One o’clock was the thirteenth hour of the day. She was 26, female, and an upholder of the law. And the law shall be overthrown and sacrificed on the alter of chaos, she remembered with horror as the chloroform was pressed to her face.

IT CAME FROM NETFLIX! Predator

Logo courtesy Netflix.  No logos were harmed in the creation of this banner.

[audio:http://www.blueinkalchemy.com/uploads/predator.mp3]

Monster movies. People just love monster movies. Back in the 30s, the monsters were mostly human in appearance, with Dracula and The Mummy setting the stage for what came after. The 50s saw the type of monsters growing into the more surreal, with The Creature From The Black Lagoon, Them! and It Came From Beneath the Sea just to name a few. A lot of these films relied on models and rubber suits, and most of the memorable ones involved Ray Harryhausen. As special effects techniques progressed, the monsters became more complex, like Geiger’s xenomorph from 1979’s Alien. While the 80s were more concerned about action flicks with big manly stars, one film from the decade not only brought back the monster movie but had a bit of fun at other action flicks’ expense. It’s called Predator and is, among other things, a movie about a monster FROM SPACE!

Courtesy Amercent Films

Arnold Schwarzenegger, long before his ascent to governor of California, is ‘Dutch,’ the leader of an elite “rescue squad” sent into a South American jungle to rescue a cabinet minister. His team is accompanied by his former squadmate and current CIA operative Dillion, played by the equally manly Carl Weathers. Along the way to the enemy encampment they find a lost team of Dillion’s that had been brutally, almost ritualistically murdered and skinned. They find the enemy camp and blow it to smithereens, which to my mind makes it difficult to ensure a successful rescue, and find out the mission was a set-up. On their way back, though, the members of the team start dropping dead one at a time, and it turns out that these professional hunters are themselves being hunted by a single, alien being with advanced technology, a high level of cunning and an undying love for the hunt – the eponymous Predator.

One of the things Predator has going for it is relative simplicity. It moves from action movie to horror to science-fiction monster fight pretty smoothly, and doesn’t waste time with extraneous plot or elaborate character development. I’d be lying if I said the film was well-written, though. The lines were clichéd twenty years ago and are even more so now, and they’re delivered with such machismo-fueled ham-handedness that you can almost smell the bacon sizzling. Jesse Ventura (hey, another governor!) and Sonny Landham are particularly guilty of chewing the scenery in this flick. Some of the best moments in the movie come when nothing’s being said at all, and we read the characters’ expressions rather than hear them rattle off another self-congratulatory one-liner, which for Arnold is par for the course.

Courtesy Amercent Films
“Dillon, are you sure this vest doesn’t make me look fat?”

When Predator was being made, studio execs clearly were viewing the success of The Terminator, Platoon, and Aliens with envious eyes. They wanted another big loud macho gun-heavy action flick, and asked director John McTiernan for exactly that. His reaction is well-documented, as he crafted a five minute scene of the cast doing nothing but shooting guns at practically nothing. He got the impression that the producers’ and audience’s fascination with guns bordered on the pornographic, and so delivered this more than slightly sexualized depiction of large, well-toned men unloading their weapons in a swelteringly hot environment. The fact that they hit nothing at all underscores the impotence of such diversionary film-making, and about the only thing that survives the masculine ejaculatory fusillade is the lampshade McTiernan hung on the whole idea.

All of that talk of hot man-love segues me neatly into the next glaring thing I see about this film that had me laughing the whole time I was watching it. There’s a huge undercurrent of homo-eroticism that is pretty hilarious even if it’s unintentional. You have several large men in an intimate situation often shown slapping hands, shooting guns and showing an odd amount of concern for one another, with long looks exchanged between each other as sweat slides down their skin. Considering this is meant to be a manly movie, the sort of flick that would arm-wrestle 300 in the back room at a bar (which may or may not be lit by candles), and “perfectly straight” guys are meant to be whooping and hollering at the screen, it wouldn’t surprise me if a lot of this film’s devoted fan-base either indulge in the sort of self-denying homophobic ‘humor’ that typifies most random Xbox Live people I’ve encountered, or want to protect the institution of marriage from those ‘insidious’ gays. And I also wouldn’t be surprised if they were too dumb to notice.

Courtesy Amercent Films
Looks to me like the Predator’s wondering what Dutch uses to exfoliate.

Despite the nits I’ve picked about this flick, it doesn’t detract from the fact that as a monster movie, Predator does the job. The creature, a towering and truly alien hunter, is effective and exists as another example of Stan Winston’s genius, may he rest in peace. The slow reveal of the predator’s methods and technology build tension and suspense, and the final confrontation between it and Arnold do make for some decent action. It’s a shame that the suspense is undercut by lousy line-reading, but the gradual and unhurried pace of the build-up towards the end still persists as an example of relatively good story-telling in a genre that usually looks at story as a vestigial growth meant to string the audience along from one gunfight to the next.

Predator isn’t a bad movie, by any stretch of the word. It’s just so unintentionally hilarious, especially in retrospect. As much as the special effects hold up despite its age, the writing and implications of certain scenes are just raucous in comparison. What’s telling to me is that McTiernan went on after this to direct Die Hard which is not only one of my favorite action films of all time but is also what I’d call a ‘thinking man’s’ action flick. Predator by comparison doesn’t require much thought at all, but it’s still diverting and plenty of fun. It’s good to have on your Netflix queue if you have a summer weekend coming up and are looking for something to watch on a lazy sunny afternoon. From a guy’s perspective, it’s definitely best enjoyed with other guys, preferably in a dark basement with a cool beer at hand while you watch large, well-toned men unload their hot barrels.

…I mean, while you watch muscle-bound action heroes in close, intimate shots of their bodies sweating and slowly removing their clothes…

…that is to say, while leaning back to enjoy the back-and-forth action between…

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

Creating Atmosphere

Centralia, PA

There is no drama without tension, so the saying goes. And there are very few things that build tension than a well-crafted atmosphere.

Considering how hectic my day’s been, I could just end the post there and be on my merry way, but I feel it’s necessary to elaborate for a variety of reasons. So, here goes.

There’s a part in the early stages of Vampire The Masquerade: Bloodlines where you must enter a supposedly haunted hotel and retrieve an item of importance to both the local baron and to the spectre inhabiting the building. The sequence of events that take place in that hotel can only be described as “harrowing.” Between the music, sound design, lighting and use of the game engine, an atmosphere of sheer terror is built, infusing the scene with tension without a single shot needing to be fired and no dialog spoken above a whisper. To this day, the thought of going into that digital hotel gives me pause.

The bit I played through last night in Half-Life 2 Episode 2 applies. The antlion hive is just downright creepy. Eternal Darkness is another good example of a game building atmosphere, as is Silent Hill 2, part of a series of games based on the real-life town of Centralia right here in Pennsylvania. I’ve driven through that town on more than one occasion, folks, and let me tell you the most sensible thing to do is just keep on driving. This sort of setting is also the inspiration for many of the works in the World of Darkness, and Storytellers would be well-advised to rely upon such sources.

Conveying atmosphere in writing alone can be difficult. You have no way of relating the sight, sound or smell of something outside of words. And yet there are those who have proven themselves masters of printed palpable dread. Lovecraft, for example, and Stephen King to a lesser extent. Tolkien’s descriptions of the balrog and Shelob can be chilling, to say nothing of the reaction of millions of fans at the appearance of Voldemort in the books of Harry Potter.

Let’s have a few more examples. Who scares you, as a writer? What do you think about when you want to convey a certain atmosphere? How do you channel dread, or fear, or despair into a written work?

Go ahead and give me your thoughts. I’ll be waiting. Watching.

Maschine Zeit Update

There’s quite a bit going on over at Machine Age Productions you might want to know about. They have a shiny new website and, if you like unique and fun tabletop games with original concepts, you can get in on the ground floor of Maschine Zeit.

They’ve begun a kickstarter, a cool little way to make sure the game gets a print run. Any contribution you can make will help them get real, tangible copies into the hands of potential players and Directors, not to mention ensuring the game’s mastermind, David A Hill, show up at a convention in a cocktail dress. It’s just as awesome as it sounds.

If you’re still not sold on the idea, or are as yet unsure as to the game’s premise, look no further than this little promotional poster I put together:


The stations were meant to save us. Millions of us went there.

Courtesy Machine Age Productions

Millions of us died there.

Now the stations hold secrets; both miraculous and terrible. Intrepid explorers from all over the world are going up there to look for answers, or profit, or loved ones.
What they are finding, some say, are that dead men do, in fact, tell tales.

It’s time to tell yours.

Courtesy Machine Age Productions

A role-playing game of ghost stories on space stations.
Coming in May 2010 from Machine Age Productions
http://www.machineageproductions.com/

Survival’s Requiem

This week’s Escapist, “Bump In The Night,” is all about survival horror. Here is the article I pitched them for the issue, all about one of the best games of the genre I never played until I got married.


I think there are certain elements of true horror in games that, like in the film industry, have been left aside for torture porn and jump-out scares. Few games that carry the horror moniker truly get inside the head of the player and compel them to struggle to survive, let alone prevail, and instead toss handfuls of gore and jarring images at the screen. A game that understood the meaning of horror and holds up despite the passing of one console generation to another is a humble title for the GameCube – Eternal Darkness: Sanity’s Requiem.

Courtesy Silicon Knights

Instead of cribbing notes from more modern sources of horror such as Eli Roth or James Wan, Eternal Darkness reaches back to some of the more foundational writings of the genre, particularly H.P. Lovecraft and Edgar Allen Poe. The game, in fact, quotes Poe in the beginning, as we are introduced to Alexandra Roivas, a young woman whose grandfather Edward was murdered in his Rhode Island home. As the investigators have few answers, Alex begins looking around the mansion herself, and stumbles across a secret room containing, among other things, the “Tome of Eternal Darkness.” Upon opening this ghastly book, Alex is transported into the life of centurion Pious Augustus, who in 26 B.C. discovers one of three artifacts representing the essence of a powerful and old god-like being called an Ancient. As the player, you choose which Ancient corrupts Pious, setting up a conflict between the creature using the now-undying centurion as a proxy, and several characters throughout time including Alex who must stop the Ancient from ushering in a terrible age of eternal darkness.

Courtesy Silicon Knights
Several generations of the Roivas family

Eternal Darkness has a minimal UI, keeping the screen from being too cluttered as you explore the game’s four locations at various points throughout history. Your life, “magick” and sanity meters only appeared when they were being affected. The player quickly begins to associate the different colors of the meters – red, blue and green, respectively – with the three Ancients and their minions, and must quickly learn how each affects the other. Ulyaoth, whose purview is over the soul, powers his minions through magick but is vulnerable to physical confrontation. Chattur’gha rules the body, making his pawns potent in a direct scrape but susceptible to mental assault. Xel’lotath reigns supreme in the realm of the mind and pushes the boundaries of one’s perceptions of reality through her servants, but must succumb to magickal assaults. Each has a color, a distinct personality and a unique appearance, but all three of them hate the neutral yet powerful fourth Ancient, Mantorok, whom the player’s characters come to represent whether they want to or not.

The spell-casting system of “magick” is one of the unique features of the game. Instead of giving the players direct instructions on how to use the runes discovered in various places and times, the player must experiment with the runes in what amounts to sentence construction. Basic spells involve three runes: the name of an Ancient which sets the spell’s “alignment”, a “verb” that describes what the player wants to do – summon, absorb, etc – and a “noun” that instructs the spell as to its target. Enhancement or “power” runes can expand a spell to five or seven runes, but the important part of the spell is its alignment. Trying to attack a minion of Xel’lotath with a physical spell isn’t going to work as well as the opposite. However, a spell aligned with Ulyaoth will do the trick nicely. Remembering this sort of thing on the fly as undead minions lumber towards you can make for a harrowing experience in and of itself. There’s also an option to discover the right rune to represent Mantorok.

Courtesy Silicon Knights

On a story level, the common threads woven between the disparate lives of the dozen or so characters in Eternal Darkness drew them and the player into the dire and seemingly hopeless web of machinations of the Ancients. Well-written stories for each character coupled with excellent voice acting showed us mortal beings who found themselves struggling to maintain their sanity in the face of horrors from beyond the stars. And the insanity was not limited to the game’s side of the screen, because every so often, the game would quite directly remind the player that they are not entirely in control of what is happening to them with the use of the game’s infamous Insanity Effects. This innovation was so singular that Nintendo patented it.

Gamers often maintain a distance between themselves and the content of the game with the knowledge that they, ultimately, are in control of the events unfolding on the screen. Eternal Darkness broke through that barrier directly into the fear center of players’ brains. In addition to horrifying visions the characters see, witnessing a character’s head explode upon attempting to cast a healing spell or finding them walking across the ceiling when previously they were on the floor, the game occasionally poked holes through the fourth wall, by turning down the volume complete with a generic TV volume meter (a move guaranteed to blast out your eardrums if you were unprepared and tried turning up your TV in response), turning off the screen entirely or giving a false GameCube error screen. It’s not entirely uncommon for the player to echo the character’s panicked cry of “THIS ISN’T HAPPENING!”

Courtesy Silicon Knights
Ellia, one of the game’s dozen characters.

Since Eternal Darkness, there have been few games that really got into the head of a player. Silent Hill 2 is often touted for the same sort of atmosphere and storytelling as Eternal Darkness, but when it comes to this sort of immersive survival horror gameplay, the list is pretty short. Survival is, after all, more than just fighting off wave after wave of zombies. Who are we when we emerge on the other side of such an experience? How do those events change us? Good survival horror should address those questions as well as “how many zombies can you kill in three minutes?” or “how many different ways can you kill zombies?” Killing zombies will always be fun in games, but few games balance that fun with sheer terror, let alone madness.

Horror is about more than just gore. Games, as a storytelling medium, should ideally be about more than complicated physics engines and shameless sex appeal. Horror games, then, should aspire to rise above the slavering hordes of the undead chasing down a trashy blonde with big tits. Alex Roivas may be an attractive blonde, but she’s also smart, not a marathon runner, and pretty reasonable and stable, at least when she first arrives at Edward’s mansion. Like James Sunderland of Silent Hill 2, she is pretty much alone in a haunted place slowly losing her grip on her sanity as she delves deeper and deeper into the mad secrets of the Tome of Eternal Darkness. We’re taken right along with her on this downward spiral, rather than observing from a distance. We want to maintain her stability because it’s the stability of our experience as well, and we want her to survive because we want to see how it ends. If that isn’t immersive storytelling, I don’t know what is.

Eternal Darkness doesn’t just set us up against slavering hordes of the undead with a selection of blunt, sharp and loud objects to fend them off. It sets up a situation that pulls is in, drives us forward and leaves us wondering how we made it through to the other side. The game becomes more than a mere simulation and serves as a medium for the invocation of primal fear. So few games since have tapped into that sort of emotional and psychological response because marketing trends seem to indicate that this sort of experience, singular and powerful as it may be, isn’t what the majority of gamers are looking for. The wide-spread critical acclaim of Eternal Darkness and its die-hard fans can’t compare to the masses clamoring for the next Halo game, at least in terms of spending power. Shooting or bludgeoning zombies over and over in various arenas is simpler than setting up a situation where facing a single creature can be a pants-wetting experience, and while it might be unfair to call the fans of the former sort of game “simple”, the evidence seems to speak for itself. As much as I will admit to enjoying blasting legions of shambling corpses, there are times when my brain cries out for something more, some immersive storytelling, an experience that means something. Eternal Darkness fits that bill perfectly, and when my brain starts making those noises I’m likely to play it again. The uninitiated player would hopefully find it to be a unique and unforgettable experience … if they survive.

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