Posts Tagged ‘horror’

As many of you know by now, I’m in the middle of editing The Pure World Comes, a Gothic horror novel I wrote earlier this year. The novel follows a maid living in Victorian England who goes to work at the estate of a mad scientist (yes, that’s my elevator pitch for the story). Since a mad scientist features prominently in the story, I thought I’d take a moment to discuss the trope, as it’s extremely common in fiction, especially sci-fi and horror.

With that being said, I decided to do some research before working on The Pure World Comes. I couldn’t find many articles on the trope (and those I did were pitifully short), so I asked one of my Facebook writing groups for help. I got way more responses than I’d expected. Some of them gave me some funny responses like including wild, white hair and a funny accent, or differentiating mad scientists, who do mad experiments, to mad engineers, who build mad things. Some were not helpful at all, like imagining them as autistic overachievers (excuse me? I’m on the spectrum and an overachiever! I take offense at that).

However, there was some good information given to go with the few articles I could find. To start with, the mad scientist trope is over two-hundred years old, with the prototypical mad scientist being Victor Frankenstein of the novel Frankenstein.* However, the stereotypical look of the mad scientist–wild hair, crazy eyes, and “quasi-fascist laboratory garb1“–as well as the outlook for the lab, was influenced by the character Rotwang and his lab in the German silent film Metropolis. Rotwang also had numerous traits we associate with mad scientists (more on that later). After the horrors of WWII, such as German experiments and the atom bomb, and the outbreak of the Cold War, mad scientists began to reflect the horrors and fears of that age, often working on projects that could destroy all or almost all of mankind.

Given the state of the world now, I’m expecting an influx of mad scientists interested in virology and/or social engineering.

Alongside their history, I found out mad scientists have some common subtypes:

Victor Frankenstein (here renamed Henry for some reason) is a great example of an unethical mad scientist.
  • Mythical scientists. These are the mad scientists who seem to be working with godlike powers, either through unexplained, futuristic science bordering on magic or actually studying/utilizing magic items. Science-colored wizardry, as one FB commenter put it.
  • Unethical scientists. These are the scientists who are actual scientists but have dropped their ethics/morals. These types are usually based on the Nazi scientists, the Tuskegee doctors who studied on unknowing black men, and so many more (sadly), though Frankenstein technically falls into this category.
  • Cutting edge obsessive scientists. These types aren’t always so bad. They are good at their work and love it deeply, but tend to get obsessive to the point it can cause trouble for them or other characters. Often, after causing a lot of trouble, they can get a redemption arc. A good example is Entrapta from the She-Ra reboot.
  • Scientists with mental illness. These are self-explanatory, and are becoming more and more common in media these days. This can be a bit of a double-edged sword, as it can be great representation for the disabled, but it can also give a bad name to the disabled by linking their evil behavior to their mental illness.

Obviously, these types can cross over with each other. And there’s probably more than what I’m listing here.

Whatever their type, type combination, or era of creation, all the types have some commonality. For one thing, they generally deeply believe in their goals or research. They also tend to think of themselves as a protagonist in their own personal story. Even the ones who acknowledge they’re evil still believe they’re a main character on the world stage. Pride, greed, or the belief that they know better is generally what drives them, and is often what leads to their downfall.

As for how to write mad scientists, it’s less having to do with the trope and with the character itself. Because of what the mad scientist can do, they’re often used to fulfill a number of needs in stories, but unless you’re making them a satire of the trope or just including them for comical effect, you need to really think about their character. What motivates them? What are their odd ticks or quirks? Think of them like you would any other character and apply the same amount of love and development. Hopefully then you can create a great mad scientist.

Entrapta in the She-Ra reboot is a great subversion of the mad scientist trope.

You can also try going against clichés. Most mad scientists are older white males with nefarious intentions, so going against one or more of these traits and then making the character your own might be a good idea. Looking at you again, Entrapta from She-Ra! You wonderful, robot-obsessed, magic-haired princess, you!

Mad scientists are common characters in fiction and for good reason. And while there’s no sign they’re going away any time soon, there’s plenty of room to innovate and make them your own. Especially if you do your science homework before you start writing.

That’s all for now, my Followers of Fear. This will probably be the last post I make for 2020. If that’s true, I’ll catch you all next year. In the meantime, I’ll be bingeing TV, sleeping and editing The Pure World Comes (I’m currently in the chapter where I reveal who Jack the Ripper is).

Until next time, stay safe (and don’t travel), Happy New Year, and pleasant nightmares!

*Fun fact, Victor Frankenstein never actually finished college, so he’s not a doctor, though people think he is. But since the discipline of science hadn’t been formalized and all the other stuff by the early 19th century, we can still call him a mad scientist.

My copy of Remina from the library.

I’ve been looking forward to this book getting an official translation and release here in the US for quite some time. And I was so excited when it arrived at the library, I stopped by yesterday afternoon to pick it up rather than wait till Friday. As you can guess, I stayed up late reading it, hoping the story within would give me some pleasant nightmares.

Known as Hellstar Remina in Japan, Remina kicks off with the discovery of a new planet that seemingly appeared from a wormhole several lightyears away. The discovery is hailed as the greatest development in astrophysics ever, and its discoverer, Dr. Oguro, names the new planet after his beloved, beautiful but shy daughter Remina, causing her own star to rise alongside the planet bearing her name. However, planet Remina is moving through space in ways that defy physics and sense. Planets and stars disappear in its wake. And it soon becomes clear that not only is this planet headed to our solar system, but it spells doom for all on the Earth. Especially the young woman who shares a name with it.

Oh man, I don’t think I’ve loved something from Ito this much since Uzumaki!

First off, the concept is well-executed. Ito takes this idea of a planet flying through space towards us, threatening everything we found our worldviews on as well as our lives and our planet, and turns it into this strange, dread-inducing story that somehow manages to ramp up more and more with every page. The planet itself is rather terrifying. There’s so many unknowns about it, and the more you learn and see of Remina, the more questions you have and the more you learn to fear it. It really puts the “cosmic” into cosmic horror.

I was also impressed with the human characters. Remina Oguro, the planet’s namesake, is easy to like. She’s shy and humble, and really only becomes an entertainer because she’s suddenly famous, so she might as well use it to get through life more easily. Which makes the hardship she goes through later so heart wrenching. As the planet bears down on the Earth and no solution seems to work, people begin to wonder if the Oguros, particularly Remina herself, have some hand in bringing the planet to them. In their terror, many abandon reason and decide the only way to save humanity is to kill Remina Oguro herself.

It’s not only an excellent example of cosmic horror–of humans dealing/reacting to their insignificance in the universe in the only ways they know how–as well as making you feel for Remina, but it feels really relevant to our current predicaments. Whether it be COVID-19 or the national election, you see people embracing the most insane conspiracy theories rather than accept an obvious reality. That is illustrated so well in Remina, and I felt a chill reading that.

This shot encapsulates so much of what makes Remina great.

Other aspects of the story worked as well. Ito’s art is amazing, as always. Earth in this manga is portrayed as being a few decades ahead of us a la The Jetsons, flying cars included, and it’s cool to see Ito give Earth this futuristic look. The characters are well-drawn, with our protagonists given a more realistic look while those driven mad by fear or anger are hyper-exaggerated to best portray their emotions. But the best illustrations are the spreads taking two full pages. They portray that cosmic dread so well, I spent quite a bit of time looking at them.

And as for the science aspect of the story, while more pseudoscientific than based in reality, it seems plausible enough to believe in for the moment.

The one aspect I disliked was just how quickly things escalated in the first chapter. Within about thirty or forty pages, things go from excitement and new promises to gloom-and-doom and psychotic, murderous behavior. I would’ve preferred things to move a bit more gradually before getting to that level.

All in all, Remina by Junji Ito earns itself a splendid 4.5 out of 5. It’s terrifying in both its cosmic and human aspects and will be hard to put down for any reader. Pick it up, settle in for a terrifying ride, and never name anything Remina.

Also, someone please adapt this story into a movie or miniseries! Live action or animated, this would be a great spectacle to see on screens. Just lay off the CGI except when absolutely necessary and it could be awesome.

Audible’s audio edition of Dracula by Bram Stoker. Turns out, it was just what the Count ordered.

Everyone has heard of Dracula. Most likely, you’ve seen some version of him in a movie or a TV series .* But how many of you have ever read the original novel? Not many, surprisingly. Besides the fact that Dracula’s melted so thoroughly into pop culture, the source material is a Victorian novel written in the form of diary entries and letters. Even veteran bookworms have to steel themselves for those!

I tired once or twice in my younger years to read Dracula, but found it harder to get through than some Lovecraft stories and had to stop reading. Last month, however, Audible offered its own audio version for free as part of my subscription. I was like, “Maybe I’ll enjoy it more in audio form” and downloaded it.

Turns out, while Audible may have a dumbass exchange policy (and yes, fixing Audible and Amazon’s issues are still works in progress), the audio book was just what I needed. Great cast that brought the story to life and allowed me to get into it while driving or working out or cooking.

And let me tell you, Dracula the novel is good! It’s a slow burn Gothic story that takes its time building up an atmosphere as well as a conflict. By the time the action really gets rolling, the suspense and dread is so well-constructed that you actually feel a bit of worry with every encounter or setback the characters endure.

I also liked how a lot of my expectations were subverted while listening to the novel. Yes, his name’s on the cover, but Dracula himself doesn’t show up that much in the story past the first act. He’s mostly on the edge, only showing himself every now and then. While this may upset some readers who expect the Count to be front and center, it’s actually pretty effective. Whenever Dracula shows up, you know shit is likely to get real, and you’re waiting for that shit to happen.

Contrary to what the movies portray, Dracula is more on the edges and backgrounds than front and center.

Another surprise: while I expected Dr. Van Helsing to be an important character, Mina Harker (nee Murray) really stole the show. She’s easily smarter than most of the other characters, including the doctor, and could almost be seen as a proto-Buffy. The only reason she doesn’t do any slaying is because Victorian mores made it impossible for anyone, including Mina herself, to see her taking on a more active role against Dracula (much to their regret later). Kind of makes you wonder if Stoker was making some sort of feminist statement there. I’d love to see an adaptation where Mina’s the one kicking ass. You know, instead of falling for the Count and/or being totally helpless.

And there were some details in the story that I found fascinating, simply because they never make it into any adaptation. For example, Van Helsing hints that Dracula, for all his power and evil, has a very childlike brain when it comes to planning or deep thinking, and that hinders him when he comes to England. It’s amazing what never gets translated to the adaptations.

All that said, the novel isn’t without flaws. The character of Renfield, Dracula’s faithful madman, is pretty extraneous to the plot. He’s really just a vampire radar, and other than that, he doesn’t do much beyond be crazy and help develop Dr. Seward’s character. Then there’s Quincy Morris, a character from Texas who feels more like a parody of Texans from Western novels than a real Texan. And yeah, I would have liked to see a bit more of Dracula, as well as him being a big bad. That might just be my pop-culture image not lining up with the novel, but can you blame me?

All in all, though, I think Dracula is deserving of a 4.8 out of 5. It’s moody, well-written and worth the read if you find a format that works for you. Hell, I think I might go on a binge of Dracula-related media: some essays on the story’s deeper meaning, some adaptations, that novel co-written by Stoker’s descendant (yes, that’s a real thing). I might also write a story involving Dracula and characters in the novel. Who knows?

That’s all for now, my Followers of Fear. If you need me, I’m celebrating the first night of Hanukkah with vampires and jelly donuts (weird combination, I know). Until next time, happy holidays and pleasant nightmares!

*Speaking of which, I’m still sad that the 2014 NBC TV show was cancelled after one season. All because they didn’t give it the advertising it deserved. The fact that this might be the first you’ve ever heard of it unfortunately proves my point.

Tell me, where would you put Godzilla in this classification system?

For a while now, I’ve been thinking of the different kinds of antagonists in horror stories. Not divided by type, but by level of threat. What do I mean by this? I mean, aren’t all antagonists in horror stories a threat? I mean, it is horror!

Well, yes. But how big that threat is can vary from story to story, and can even influence what kind of tropes and stakes we can expect in the stories. To further illustrate this, let me categorize the level of threats using Starbucks sizes: Tall, Grande, and Venti. Yes, I know they have a Short size and a Trenta size, but I don’t know anyone who uses them. In fact, I don’t think I’ve ever seen the cups for those sizes.

Also, Starbucks, please don’t sue me. I’m just using your sizes to help illustrate a point.

Getting sidetracked. Let’s start talking about the levels of threat, starting from biggest to smallest.

Venti: While all horror antagonists are a threat to the protagonist(s), the Venti-level threats are usually threats to many or all people. Cosmic entities like Cthulhu or the Devil in stories taking place during the Apocalypse usually rank this high. They’re a threat to all life or to all we hold dear, and the suffering they could induce if they succeed would be terrible.

This level can also apply to threats like Pennywise, aka IT. While he’s restricted to the town of Derry, Maine, he’s responsible for countless deaths since the 17th century. Even when he’s not active, his influence over the town of Derry is such that he controls it at all times, causes all sorts of horrors while sleeping. IT is Derry. Thank goodness his children didn’t get anywhere, am I right?

Bughuul from Sinister is a great example of a Grande-level villain

Grande: An antagonist of this size may be a threat to many people, but they’re not as all powerful or have such sweeping implications as a Venti-level threat. Still, you wouldn’t want to cross one of these guys if you ended up in their stories.

An example of a Grande-level threat would be Leland Gaunt from Needful Things. A demonic figure who looks at things from a business-like perspective, any town he comes to faces annihilation once he sets up shop. Half of Castle Rock either ended up dead or blown up because of him, after all.

Another example might be Bughuul from the movie Sinister, a Babylonian deity that eats children. Throughout the centuries, he’s manipulated children into killing their families so he could eat their souls. Anywhere he goes, you can expect blood and death to follow. He’s definitely no small potatoes, though he doesn’t warrant the same level of panic as a Venti-level threat might.

Tall: While they may be the on the lowest level of horror antagonist, that doesn’t mean you should relax. In fact, these villains tend to be much more personal than the likes of Bughuul or Cthulhu.

Tall-level villains may only be a threat to the protagonist and a few others, but they bring with them the power to destroy everything the protagonist holds dear. Demons seeking to possess a soul, vengeful ghosts, stalkers and serial killers focused on one particular victim, cursed objects, etc. They may not be seeking to end the world or blow up a town, but they will destroy the protagonist’s happiness and sanity for their own goals.

I would even include the Overlook Hotel in this category. It may be powerful and evil, but it’s only able to be so in the presence of someone with the shining, and then it only seeks to add the shining to its own power so it can be active more often. In the novel’s case, it breaks down Jack and terrorizes Danny to make them more vulnerable and ultimately to possess the former and kill the latter.

Like I said, what they’re missing in power or scope of threat, they make up for in how personal they are.


This, ladies and gentlemen, is a way to classify the threat level of horror villains.

Where does Jason fit on this scale? It’s not easy to tell.

That being said, it’s not perfect. What villains belong where is entirely dependent on who’s doing the categorizing. Is a slasher villain like Jason Voorhees a Grande because he has a particular hunting area and has killed many over the decades? Or is he a Tall because he’s only a threat if you step into his territory? And this doesn’t even cover stories like Gerald’s Game, where there is no antagonist but a pair of handcuffs and the protagonist’s own psyche. Even the Space Cowboy who visits her doesn’t really threaten her. He’s more of a reflection of her own terrors who turns out to be a real person than anything else.

So why do I write all this, if it’s not a flawed system? I do it because it’s not to categorize the villains themselves, but the stories they belong to. A story with a Tall villain is much more character-focused and can often lean into the character’s mindset. A story with a Venti-sized villain often requires the story to encompass a huge cast, lots of locations, and putting an entire population at risk. A Grande may straddle the line of the other categories, while also having varying kill counts depending on what the story requires.

In a way, The Starbucks Levels of Antagonism (copyright pending), are like the Bechdel or Mako Mori tests: exercises to examine stories, the decisions made while creating them, and how you can learn from them. And given the nature of fiction writing, as well as how difficult it is to categorize fiction like a scientific system, that’s probably for the best.

Thanks for giving me a chance to air some thoughts, Followers of Fear. I’m off to figure out where on this system I belong. Until next time, pleasant nightmares!

Do any of you remember back in April, when an incident occurred near my building that the cops had to be called to take care of? And I got so inspired by it, I used it as the basis of a short story? One that I wrote in one whole evening without getting out of my chair till the story was done?

Don’t worry if you don’t. My memory has faded as well.

I bring it up because yesterday, something similar happened. No, there wasn’t an incident in my neighborhood that required the police (not that I know of, anyway). But I had a sudden flash of inspiration, and knew I had to write the story immediately. The result was six hours or so at the writing desk working on a new short story. I was done at three in the morning (I was a wreck at work today).

Anyway, onto the story, which I named Le The de l’apres-midi. Yes, I gave the story a French title. I am that pretentious. I was going to name it, “That Feeling You Can Only Say in French,” but Stephen King beat me to it, so I settled on Le The de l’apres-midi, which means “afternoon tea.”

Maybe I should just call it that.

Where was I? Oh right, the story is about a film society that gets its hands on the only extant copy of a surrealist silent short film, Le The de l’apres-midi. This film is infamous as it was considered so disturbing, its director was expelled from the surrealist movement of the 1920s. The members of the film society soon learn that not only is this reputation well-deserved, but the copy the society has may be something sinister in and of itself.

The story was inspired by Un Chien Andou, or The Andalusian Dog, a short surrealist film by Luis Burkel and Salvador Dali. A YouTuber I follow recommended it as a lesser-known disturbing piece of horror cinema, and while I didn’t find myself terrified by it, I did find some moments scary and slightly upsetting. It probably didn’t help that I was eating dinner while watching it.

Anyway, the film inspired the short story, and I started writing. At the end, it was just under thirty-eight hundred words. And next…well, I think I may give it a round of edits before I let a beta reader see it. Maybe it’s because I was up past midnight and rushing so I could get to bed, but I feel like the ending needs a few tweaks. Maybe a bit more fleshing out and a much more dramatic conclusion. We’ll see when I get to it.

Mother of the King. Releases December 1st, 2020.

For now though, I have a beer I’d like to pour, and a new project I need to get to work on. And then I’m getting some sleep so I’m not a wreck tomorrow at work. Wish me luck.

Oh, and before I forget, my fantasy story “Mother of the King,” about the woman who raises the returning King Arthur, will be released two weeks from today as an e-book exclusive. If you’re interested to check it out, click the link and you can place a preorder now. Or you can check out all my available stories on Amazon through my author page. Checking out my work not only helps me out, but it might make for a good read or for a relative/friend this holiday season. So why not?

Well, that’s all for now. Until next time, my Followers of Fear, pleasant nightmares!

I’ve been hearing a lot of buzz about this film. It’s from the same director as the Happy Death Day films and has a talented cast. Plus, the trailer looked great. Even my dad, who is never interested in horror that I haven’t personally written, was interested in it! So, while the theaters are still open, I went to go and see it.

A horror-comedy mashup of Freaky Friday and the Friday the 13th films, Freaky follows Millie Kessler, a quiet teenage girl whose life was already difficult. But then the Blissfield Butcher, a local serial killer, goes after her. What happens next causes Millie to magically switch bodies with the Butcher. So now, while stuck in the body of a middle-aged murderer, she must figure out a way to get her body back before the Butcher uses it to massacre everyone she knows and loves.

This film is bloody bonkers fun!

I think the film’s strongest point are its main players. Vince Vaughn has a history with comedies, and he does a great job pretending to be teenage girl stuck in the body of a serial killer. It’s crazy how believable he is! Kathryn Newton, who’s had roles in Supernatural and Detective Pikachu, is essentially playing three different girls: shy girl, serial killer pretending to be a shy girl, and badass girl. It’s really cool to see her with that range.

In fact, the whole cast is great. They all have a great chemistry and even the least developed characters are quite likable thanks to their actors. Though I enjoyed seeing some of the assholes get their just desserts.

And from that, let’s move onto the horror. Well, I wasn’t exactly terrified. There’s not much atmosphere, and most of the scares come from jumpscares. That being said, there are quite a few inventive kills that I liked, and the more slasher-y bits of the film were a lot of fun. And in the slasher genre, if you can’t be scary, then being fun is a good second.

As for the comedy, it was kind of hit-or-miss. Most of the misses came from swearing and dirty humor, which I’ve come to think of as scraping the bottom of the barrel. “Ooh, we’re saying bad words and making references to a natural part of the human experience that society gets really uptight about! We’re so funny and edgy!”

Moments like this, where Vaughn makes the most of the premise, are where the humor shines.

The really funny parts come from Vince Vaughn making the most of his character’s situation. The theater was in hysterics whenever Vaughn was commenting on the oddities of being a man, or getting into situations where, out of context, would look totally crazy. There’s a scene involving Vaughn and the love interest in the back of the car that had me laughing so hard, my glasses fogged up (I was wearing a mask)!

Of course, Freaky isn’t perfect. As I said, the film has some misses in the humor department. Also, the method by which the characters magically switch bodies is oddly specific and leaves a lot of questions. Maybe they’re planning on answering those in a theoretical sequel (because of course that’s always a consideration with movies these days), but with just one film, it makes me raise an eyebrow.

On a scale of 1 to 5, I’m giving Freaky a 4.5. It’s a fun slasher film that makes the most out of its concept and has some good laughs. Even those who don’t like horror-comedies or horror in general should enjoy themselves.

Speaking of which, Abba: if you go see this film, give me a call afterwards and let me know what you think. I’m very curious to hear what you think.

That’s all for now, my Followers of Fear. I’m off to sleep and then work on my various projects. Until next time, pleasant nightmares!

Remember the other day, when I posted about how Sleepy Hollow may not be quite how you remember it, and some other surprising facts about America’s first “ghost story?” I mentioned that I would be working on a short story that was a sequel to the original short story by Washington Irving. I’m happy to announce that earlier today, I finished that short story.

Me at Center of the World, Ohio. Yes, it’s an actual place. In Ohio.

Officially titled Center of the World: A Sleepy Hollow Story, the story takes place in the community of Center of the World, Ohio twenty years after the events of the original story. There, Brom Bones meets the Headless Horseman again, and finds the events of twenty years ago, when both he and Ichabod Crane competed for Katrina Van Tassel’s hand and Crane disappeared, have a bearing on the events of his life now.

And before you ask, Center of the World is an actual place here in Ohio. It was founded by an eccentric investor in the 19th century with the hope that the name would make it suitable as a railroad hub, thereby making the investor and his community rich beyond their wildest dreams. It didn’t happen, however, and the only remnant of the community is a sign on a stretch of road, which I visited and filmed a short video of after leaving the Bellaire House a few weeks ago. Like I said, I don’t always post my YouTube videos on this blog.

Anyway, I ended up tweaking the details of Center of the World for this story. I set the found several years earlier than it would’ve been and made the investor’s reason for doing so a proposed canal system than the railroads. Had to do that in order to make the setting take place two decades after the events of Sleepy Hollow. Besides, the location was too much fun not to include it in the story.

Anyway, the story is around fifty-three hundred words, so it’s just short enough to fit the word count for a market I’m keeping an eye on. The market won’t be opening for a while yet, but that gives me plenty of time to edit and polish this story up. By the time submissions are open, it should be ready and maybe worthy of publication.

In the meantime, I’ll be editing another short story of mine to send out, and then I think I’ll start work on a novella. All that and more will helpfully keep me busy till New Year’s.

Until next time, Followers of Fear, happy November and pleasant nightmares. Remember, only 363 days and a few hours till Halloween 2021. I think we can make it.

What stories are you working on these days? How are they coming along? Let’s discuss.

I’ll admit, when I bought my ticket to see this movie in the theaters (yes, I went to a theater), I didn’t have high expectations. It had a good trailer, but plenty of bad films have good trailers. But I wanted to see some new horror, and who knows? It could surprise me.

Surprised, I was.

Come Play follows Oliver, a young, non-verbal autistic boy who is stalked by someone named Larry, who wants to be his friend. However, Larry isn’t human. He’s an entity, one that lives in the world of the digital and the Wi-Fi and interacts with our world through electronics. And he wants Oliver to be his friend, whether Oliver wants it or not.

First off, I thought Oliver ‘s actor did a great job playing an autistic character. As you know, I’m on the spectrum, and I recognized myself as a child and as an adult in Oliver. Stimming to stay calm, going to therapy, dealing with people who don’t understand what you’re going well. And I’ve been through the experience of kids pretending to be nice to me only to show a nastier side. Believe me, the struggle was (and in some ways, still is) real.

As for the film itself, it wasn’t half-bad. Jacob Chase, the writer and director, did a very good job of putting together a unique monster story. There were several moments where the atmosphere was tense and I was kind of afraid. And the jumpscares, while in another film would have been over the top, fit very well here. And I definitely didn’t see the final twist coming until it showed up.

The use of the villain Larry was also done very well. He’s not based on any sort of ancient mythology or anything, so points for originality. And yeah, the monster using a children’s book has been done by better films (*cough* The Babadook *cough*), but it’s given a different spin here, and the fact that Larry can only manifest through our ever-present devices and electronics added a certain element of danger you don’t normally see in these sorts of horror films. We also don’t see Larry that much, and when we do, he’s usually in shadow so we can’t make out all the details. Makes the fact that he’s basic CGI easier to handle.

Of course, the film does have its issues. While Larry was used well in the movie, I never felt entirely afraid of him. Also, the film relies on a lot of tropes we could get from a below-average Blumhouse movie, so it gets a little tropey and predictable at times. Especially the second half.

On the whole though, Come Play is good. It’s not great, but it’s not terrible either. On a scale of 1 to 5, I’m giving it a 3.8. All in all, I’m glad I went out to see it. And if you need a bit of new horror as well, maybe you will be too.

That’s probably it for October, my Followers of Fear. I hope you had as great a Halloween season as I did, despite the pandemic and all that went with it. Let’s hope November is good as well.

Until next time, pleasant nightmares and WATCH OUT FOR THAT TENTACLE!!!

“The Headless Horseman Pursuing Ichabod Crane” by John Quidor, 1858

Recently, I rewatched a movie inspired by The Legend of Sleepy Hollow that I first saw a teen. The movie was better in my memory, but it did get me interested in the original Washington Irving short story. Which, I realized, I’d never actually read. The closest I ever came was a version that had been updated for the 21st century and dumbed down for kids. As it was America’s first ghost story and I’m a horror writer from America, I figured I should correct that.

So, I read the short story. And then I did some research into the story’s background and influences, as well as some of the other adaptations (I will maintain to my death that the best version is the TV series Sleepy Hollow, and not the Disney cartoon or the Tim Burton film). And once again, following my interests has led me both down a rabbit hole and to an idea for a new story.

Still my preferred adaptation.

But first, let me tell you some things about The Legend of Sleepy Hollow that may surprise you. Turns out, there’s a lot about this story than most realize.

For instance, there really were two historical figures named Ichabod Crane and Katrina Van Tassel. Yeah, they were real people. Washington Irving liked to name characters after people he met. For Katrina Van Tassel, she was the daughter of a family Irving stayed overnight with, and was charmed enough by her to immortalize her in fiction. I wonder how she felt about her character being a flirty MacGuffin whose father’s fortunes and lands were more relevant than her appearance or lack of a personality.

As for Ichabod Crane, he was a colonel in the US Army who served for nearly five decades (yes, I believe that’s where the TV show got the idea to make him a Revolutionary soldier as well). However, his character was likely based on an actual schoolteacher, Jesse Merwin, who taught in Kinderhook, New York and came from Connecticut, like the fictional Crane did. So…yay for namesakes?

Speaking of Washington Irving, he’s buried in the real town of Sleepy Hollow. Yeah, that’s true. They even worked that into the movie I mentioned at the top of the post (though they left a lot of questions in their wake).

But the biggest surprise I found out about America’s first ghost story? It’s not a ghost story.

Now I know what you’re thinking. But hear me out: while it’s regarded as a ghost story by many, this is mostly because the Headless Horseman and his midnight chase of Crane has entered the public consciousness more than any other aspect of the story. In reality, the Horseman plays only a minor role until the story’s climax.

Disney’s Headless Horseman. Traumatizing children and contributing to the confusion over the story since 1949.

So what is The Legend of Sleepy Hollow, if not a ghost story? Why, it’s a somewhat comedic tale of two self-centered men vying for the hand of the local squire’s daughter and the cunning trick one uses to get ahead of the other.

In one corner, you have Ichabod Crane, the educated but superstitious outsider who uses his learning and guile to ingratiate himself into the town, feed his gluttonous appetite and maybe marry into a wealthy lifestyle. In the other, you have Abraham “Brom Bones” Van Brunt, the local tough who is more brawny than intelligent but is stubborn and cunning, and may be just as interested in Katrina Van Tassel as he is in her inheritance. Neither one is exactly likable, but it’s fun to see these two go to extremes just to marry Katrina.

And while most adaptations paint the Horseman as a supernatural entity, the original story strongly hints that Brom was dressed up as the Horseman to scare the superstitious Ichabod out of town, which is why the latter disappeared from Sleepy Hollow. In fact, the first feature film adaptation of the story, the 1922 silent film The Headless Horseman, explicitly shows Brom taking off the costume after Ichabod runs for his life for New York City.

As I said though, the Horseman, which is likely based on the Irish myth of the dullahan and other European myths of headless horsemen (trust me, there are a few, though the dullahan’s the most famous), is what made it into pop culture more than anything else, and may play a key role in why the story is still famous today. That, and the Disney cartoon, but mostly the Horseman.

In any case, all this has given me my own ideas for a sequel story to The Legend of Sleepy Hollow. And while I’m working hard on that, I thought I’d mention this all now. Because let’s face it, it’s all so fascinating. Also, I probably won’t have time to mention it in the post announcing the completion of the first draft. Might as well do it here.

But tell me, what’s your take on The Legend of Sleepy Hollow? Did you know any of this stuff? What’s your favorite adaptation? Let’s discuss.

That’s all for now. I’ll be at work on the story if you need me. Until next time, Followers of Fear, pleasant nightmares!

The Hunger, looking rather snug with my spices and seasonings.

After reading The Deep earlier this year, it was only a matter of time before I read Alma Katsu’s other book, The Hunger, which follows the Donner Party. Which, if you don’t know who that is, were a caravan of settlers who got snowed in the mountains of California in the winter of 1846-47 and had to resort to cannibalism to survive.* And this October, I made it part of my Halloween reading.

As I said above, The Hunger follows the Donner Party, a pioneering wagon train led by George Donner and his family as they head west to California. However, this isn’t a simple retelling of a horrific tale. Something’s following the wagon train, picking off members. As tensions rise and odd events pile up, it becomes clear that’s something afoot. And it could be human. It could be animal. Or it could be something man has never classified before. Whatever it is, one thing’s for sure: it is very, very hungry.

The Deep was good, but The Hunger was even better. It’s a slow burn, but what’s burning away isn’t just the plot, but the sense of ease. As you go further along in the story and more strange and terrible events occur, you start to feel this awful tension. You’re going to get to the inevitable, but it’s not going to be what you expected. And you have no idea what’s going to happen while on your way there.

Speaking of which, the twist on what the source of the terror was at the end was great. I wasn’t expecting it, which is saying something for me. And when I finally did get an idea of what it was, it left me extremely satisfied. As well as worried about what could happen if such a thing were to exist in this world, but I think that was what the author was going for.

I also liked the characters. Alma Katsu has a talent for taking these huge casts and giving the majority of them enough development to make you like them. George Stanton, trying to outrun his past; Tamsen Donner, suspected of being a witch, when all she wants is to fill a great void within her; Elitha Donner, who hears voices no one else does; Mary Graves, who wants adventure in the great wide somewhere; and Edwin Bryant, who knows so much more than he lets on. These, and others, are characters I came to care for, even as I knew what was likely to happen to them.

There were a couple of downsides to this novel. One was that there were chapters where the reader was taken to significant events in the characters’ pasts, events which likely had an effect on them joining the wagon train. Some of these were relevant to the story and fleshed things out, but a few, especially earlier chapters like this, felt unnecessary.

That, and if you’re here for the actual Donner tale, it should be obvious by now that The Hunger isn’t that. Not a downside, just a different kind of horror based on a real-life horror.

All in all, The Hunger by Alma Katsu is a deliciously terrifying novel. On a scale of 1 to 5, I’m granting it a 4.7. Grab a copy, order a steak dinner, and get ready for a slow ride across the US to the land of frights. Trust me, you won’t regret it.

*When I would describe this plot to people who asked me what I was reading, I would follow it up by going, “Om nom nom nom nom!” Totally worth the reactions I got.