Monday, April 29, 2013

The Appeal of Gore & Torture


Like all other genres of literature, film, and music, fans of the horror genre are extremely diverse. As mentioned in our discussion of the appeal of horror, differing perspectives among fans give way to various sub-genres in order to cater to individual tastes [and fears]. Some people prefer lighthearted b-horror movies, some people like slasher stories, some like movies with supernatural themes, some like gore, and some people like stories involving torture. With that being said, this lecture is about the attraction to violence; specifically gore and torture. It's perfectly understandable that many people—even die hard horror fans—don't care for excessive blood and guts; Some make comments along the lines of, "I just don't get it," so the purpose of this essay is to help those people understand [and maybe even appreciate] the allure.

We all know that conflict is what makes a story interesting; without conflict, books and movies would be no more captivating than our everyday lives... who cares about a story where everyone gets along and everything is just business as usual? I'm bored just thinking about it. Conflict—whether it is implied or explicitly stated—is what drives a story and gives it a beginning, middle, and end. We all know that, and I'm not going to ramble on about why conflict is important. In fiction and reality alike, the physical manifestation of conflict is violence. Actions speak louder than words. If we had never developed audio technology to accompany motion pictures, the natural progression for silent films would have been increased violence because violence is enthralling by nature. Throughout human history, we know for a fact that spectators have stood by to cheer on public executions (guillotines, gallows, crucifixions) as well as fights to the death. I'll spare you the complete lesson, but human history up this point has been bloody to say the least.

What could go wrong?
Why are we fascinated by blood and guts? It is because we learn so much about them in biology, and we know the basic principles of health, but [unless you're a surgeon,] we never get to see these miraculous organs in our entire lives? We're all aware of the fact that each of us is full of blood, guts, and bones, we know how vital they are to our conscious existence, we know what they look like and how they function, but we never see them or talk about them. Hey, stop giving me that "you're a fucking psycho" look, this is just theory. My point is that most everyone agrees that human biology is incredibly fascinating, but the only time entrails are ever discussed outside of a classroom is when something is horribly wrong. Colon cancer. Pancreatic cancer. Brain tumor. Bad liver. Gallstones. Kidney stones. Stomach ache. Aside from those people who regularly get colonics, hardly anyone starts a conversation with something positive about human organs. Because we speak of them so rarely, there is a natural fear attached to all that slippery stuff locked away inside of us, and so horror (specifically the "body horror," "slasher," and "splatter" sub-genres) capitalizes on that intrinsic fear. In "The Appeal of Horror," I previously stated:
Gore and violence—which are most everyone's greatest fears, really—are part of what makes a horror film a moving and emotional experience.

When we pair this last thought with the observation that seeing (or even talking about) blood and guts is an inherent fear that all human beings share, it becomes easier to understand the role of gore in horror. If violence is representative of conflict, gore represents the aftermath; it adds drama/ tension and often helps to carry the story. If we broadly define the horror genre as, "an exaggeration of conflict intended to produce tension," it makes sense why horror stories go to such extremes to trigger emotional reactions in the audience.

Some people say that gore is not art. Gore alone may not be an art form, it's the context and execution that makes gore in horror artistic (even with context aside, there are no shortage of movies and books which feature gory scenes that many do, in fact, consider to be of artistic value). In his essay entitled "The Attractions of Violent Entertainment," Jeffrey Goldstein of University of Utrecht writes:
Both the context of violent images themselves and the circumstances in which they are experienced play a crucial role in their appeal... Bloody images lose their appeal when there are few cues to their unreality. If the violent imagery does not itself reveal its unreality, the physical environment may do so. We are aware of holding a book, of sitting in a movie theater or a sports stadium, of manipulating a joystick or remote control. Without background music, awareness of the camera, exaggerated special effects, or film editing, images of violence are unattractive to both males and females...

To once again re-hash the previous lesson on "The Appeal of Horror," the fictional, controlled environment is what makes horror enjoyable. Some people insist that gore is uncreative, but that's a topic to be addressed another day.

So I'm a cat person; I have two cats, and I know that they will always be bloodthirsty animals no matter how much I "domesticate" them. They love raw meat. They love pretending to hunt and kill mice. They have loud, epic fights every day just because they're bored. If I were to drop dead in my home, I know those cute little bastards aren't going to wait very long before they start eating me. Every day I think about how ludicrous it is to willingly share the same apartment with carnivorous beasts... I know better than that!
As a society, we are not terribly different from cats. Several thousand years ago, early humans had to hunt for their food daily, and now we've reached the point where we've established infrastructure and basically domesticated ourselves. We work in offices, we buy packaged foods at grocery stores using coupons and credit cards, we use indoor toilets that relocate our excrement to who-knows-where, we watch one of a hundred TV shows about singing and call in to vote for our favorite each week... yet we still have traces of that killer instinct from 10,000 years ago, and we need nondestructive ways to release it. One minute my cats might look fat and bored, but when I give them a toy mouse, they eviscerate it and stare at me like, "who's next?" For humans, horror movies are the equivalent to the toy mouse.

"Audition" (1999)
A major inspiration for this essay is a common exchange I witness in horror forums on a regular basis: someone will bring up a gory horror film, then another horror fan says, "I never saw that one because I heard it was really gory. I don't care for excessive gore, or these torture porn movies like 'Saw' and 'Hostel.'" Every day, the same comment in every horror forum. Having just discussed the appeal of gore, I would like to now address torture. First, let me begin by saying that "torture porn" is a fairly accurate description of some very graphic horror films, as the appreciation for torture in film is almost like a fetish (not necessarily sexual), but the term "torture porn" is generally used by critics to be derogatory and dismissive of otherwise great works of horror. Takashi Miike's "Audition" is considered to be torture porn, but there's no torture until the last 20 minutes of the movie, so I think just "horror" is sufficient to describe it to someone who hasn't seen it (otherwise they might assume there is graphic torture throughout and discount the film entirely). Secondly—and I have said this in a forum once before—you may be doing yourself a disservice as a horror fan by dismissing a film as merely torture porn (especially in the case of "Hostel," which actually has very little torture and gore compared to the amount of plot and character development). In place of the term "torture porn," I would prefer to use "splatter film" as it implies extra attention to gore without immediately negating a movie by attaching the inaccurate stigma of "torture for the sake of torture."

The big question on everyone's mind is, "what is the appeal of torture? Why would anyone want to see that?"
My best guess is that the idea of being bound & tortured is another one of those universal fears we've picked up from years of watching spy movies and news broadcasts, therefore it is a fear that horror fans would like to face in a controlled, fictional environment. When a character in any other sort of horror film struggles for their life—like a victim in a slasher movie, for example—the audience tends to told its breath until they are given the cue that the character is dead. Once an audience member knows that the victim is dead, they resume their breathing as they become filled with a sense of hopelessness. In movies like, "Scream," where characters run from the villain for a few minutes before he wrestles them down and kills them, those fighting scenes which cause moviegoers to hold their breaths are rarely longer than 30 seconds. Alternatively, when the lights come up on a defenseless victim tied to a chair, the audience has no clue whether the scene will last a few seconds or several minutes, and that thought alone induces anxiety. From a strictly theatrical standpoint, depictions of torture are incredibly unnerving to watch because they force the audience to "hold their breath" longer, simultaneously playing off their fears of bodily harm, suffering, and the unknown. As for the people who enjoy watching torture scenes in horror films, I would say the appeal is a combination of that primal bloodlust that our species still hasn't let go of, and a sincere appreciation for special effects & makeup. Admittedly, I do enjoy a good torture scene, but even still, I almost always cringe in repulsion.

Simply put, torture is an extremely effective device to use in horror because it elicits a profound negative response (which, of course, is the point); some horror fans like the concept because torture scenes are a unique combination of action and suspense which raise the audience's level of terror.

Monday, April 1, 2013

Is Rape the Final Taboo in Horror?


Okay class, settle down. Take your seats.

Today we're going to be talking about an extremely touchy subject, but we are all in an educational setting Bobby! Put your phone away! You think I can't tell you're texting?!
...Anyway, we are in an educational setting so I ask you all to approach the subject as horror academics.

At the beginning of the course, we went over the appeal of horror, and we concluded that we enjoy horror because it allows us to experience our greatest fears in a controlled, fictional environment. Under this premise, horror can [and has] include virtually anything that induces fear: monsters, spiders, death, torture, disease, darkness, isolation, children, serial killers, the devil, confinement, and so on. There is one atrocity, however, that is still debated even among fans as being acceptable in horror: rape.

Despite the deep-seated terror and fear associated with the act which make it an ideal subject for a work of horror, many people are extremely uncomfortable with rape scenes in movies, and many horror publications specifically state that they will not accept submissions which describe rape in detail. When it comes to dramas, most people are willing to accept that some stories will involve rape, but even many die-hard fans of the horror genre find it in very poor taste to include it in a film.

Why is that?

We've all seen and read about all kinds of disturbing and depraved acts in horror before, like infanticide
BOBBY! If I see that phone one more time, it's going in my desk along with your fat little fingers!
...Where was I? Oh yeah; we've seen infanticide, necrophelia, and every kind of murder and torture imaginable, but we consider rape to be crossing the line. Arguably, it's distasteful to depict a rape when victims of the crime may be watching the film, but we've paid for and sat through movies based on actual murders a million times before... we weren't complaining, even though we knew the victim's families wouldn't appreciate the movie. That's horror! We use fictionalization to deal with dark, unsettling emotions that we sometimes have difficulty processing.

In an article titled "Beyond the Comfort Zone: Rape in Horror Films," one blogger wrote:
Many men have stated they find themselves angered by rape on screen. That is a desired effect of films that attempt to shock. So that film is then doing what it set out to do.
Most of the negative comments from women that I have come across seem to spring from a feminist viewpoint. They are pissed to see women portrayed in a weak fashion. However being the victim of rape does not make you weak. It makes you a victim. There is no shame in that.

The Last House on the Left (1972)
A very interesting perspective which makes quite a bit of sense. I can relate in that I (as a male) do get uncomfortable when I see a rape scene in any movie, but I know that means that the movie successfully triggered an emotional reaction in me. Rape scenes aren't meant to be fun to watch. The fact that both genders have a profound negative reaction to the subject would objectively imply that it is equally or more "effective" in a horror story than murder. When I saw the original version of "The Last House on the Left," I was aghast that there were multiple rape scenes, each more graphic than the next. When both of the girls were killed less than an hour into the movie, my immediate thought was, "These fuckers better get what they deserve, especially that asshole with the big nose." Tension builds and builds as the criminals cross paths with the parents of one of the victims. At the end of the movie, the big payoff is that the parents slay the deranged people who raped and murdered their daughter (and they save that prick with the nose until the very last minute of the movie). Seeing the feature in it's entirety, it's undeniable that the rape scenes effectively progressed the plot of the story and are part of what make it so chilling, memorable, and— key word horrifying.

Perhaps the question is tasteful portrayal; can rape be portrayed "tastefully?" Maybe the concern is that a film containing graphic rape scenes could be viewed as "rape porn" and encourage sadistic members of the audience to go out and harm someone. Understandable theory, but if access to [regular, non-violent] pornography only reduces the rates of sexually transmitted diseases, teen pregnancy, rape, and divorce, then it seems unlikely that a rape scene in a movie would have much more clout than an individual's own psychological factors. In Psychology Today, Michael Castleman wrote:
Why would social ills decline as porn becomes more widely available? No one knows. But the one thing porn really causes is masturbation. Internet porn keeps men at home one-handing it. As a result, they're not out in the world acting irresponsibly-or criminally.

When you keep your hands busy, you stay out of trouble; Idle hands are the devil's playground. One could theorize that if a film was, in fact, created with the intent to be distributed as "rape porn," we might even see a decline in actual rape as a result.

Obviously I do not endorse rape (I really shouldn't even need to say that at this point in the lecture), I don't think writers should include it in their horror movies if it doesn't add to the story, I'm just saying that it's very interesting that nearly anything is fair game within the horror genre except for one topic. As horror scholars, it's something I would like us all to contemplate.

That's all for today; class dismissed.

Bobby, for the next session I'd like you to bring a 4-page essay about why my horror lectures are a more valuable use of your time than tweeting skanks in bikini tops. That's right, I've seen your Twitter account.

Monday, March 25, 2013

Addict

Addict
A Bloodscape Original Short Story


After spending upwards of 50 long hours at the office each week, the tension that weighs down on my shoulders is extremely difficult to release. Reclining in my favorite chair at day's end, or even while laying on my overpriced Swedish mattress, the skin on my back feels like a rubber band that's about to snap. Skin as tense and leathery as a corpse's. Believe me. Work is a funny thing: it provides me with the income to pay for life's endless expenses, it gives me a reason to get out of bed every morning, and yet my job is one of the greatest sources of stress in my life. I work as an Accounting Manager at Steele Financial. In our department of 70-something people, 16 of them work directly under me. There are another three supervisors above me in my department alone, but at least I have the luxury of delegating any pressing tasks to my subordinates. Ah, management; it's little more than telling people what to do and expressing concern when a deadline comes dangerously close to being overdue. Moving around numbers and preparing financial statements isn't exactly my dream job, but I enjoy following the process. Debit this here, credit that there. Credit this here, debit that there. Aside from rare occasions that require a little extra time and thought, the process stays the same. Day in and day out. It's comforting to repeat the same process each day. Adhering to routines has kept me out of trouble throughout my life: never been fired, arrested, or seriously injured. Still, the predictability and monotony of my vocation causes my toes to curl and my teeth to clench.

Any job, regardless of how much you like it, leaves you drained and irritable at the end of the day. Life, under the most ideal circumstances, is stressful. Up until about three years ago, my weeknight dinners consisted of painkillers, muscle relaxers, and/or anti-anxiety pills. Even if my job wasn't a contributor to my stress, my back would still be stiff. My shoulders would still arch upward, incapable of relaxing. Since sophomore year of high school, a single desire has driven me to chew my nails down to the fingertips. When the other boys in my high school class hit puberty, their hormones drove them to hump anything that wasn't nailed down (hell, I've seen plenty of adolescent boys hump things that were nailed down too. Nothing is safe). Other kids my age were looking for warm bodies, but my thoughts were of the opposite. For whatever reason, my hormones didn't fill me with the wild sexual urges everyone else got. Must be some kind of a genetic defect. Instead, something in the deepest recesses of my body nags me to engage in an activity that society has always taught me was "wrong." It beckons to me, like a craving. Goosebumps cover every inch of my skin, and sensations of heat cause tiny droplets to bead on my forehead. Cold sweat trickles down the back of my neck. Sometimes my salivary glands go into overdrive. My heart beats with such intensity and ferocity that it feels like it's trying to break through my ribcage. Waking up in the morning, the thought is at the forefront of my mind. Throughout the day, the urge continues to badger me until I feel lightheaded.

In the beginning, relaxation techniques such as reading, taking hot baths, and drinking chamomile tea helped. To my own surprise, cooking at home became one of my favorite diversions. Though I still do all those things, they're not enough to suppress the yearning for good. Before long, the twisting sensation in my bowels made me feel faint and irritated, as if neglecting the instinct was causing me to self-destruct. Thinking about it, even for a moment, made my palms clammy and sticky. Each day in class, sweat would stream down the sides of my t-shirt as if my armpits were running faucets. I knew that it was necessary to find distractions for myself, otherwise the next person within reach would be leaving campus in a plastic bag.
If I sit down to build a model airplane, my mind won't be fixated on strangling my lab partner. If I fold a couple dozen cranes out of tie-dyed origami paper, I won't daydream about eviscerating my guidance counselor. Idle hands are the devil's playground.

Hobbies and other distractions helped for a while, but the urge only grew more intense over the years. In college, as many of my peers fooled around with drugs, I experimented with chemicals to either reduce the urges or drown them out completely. While the craving never really went away, marijuana helped to distract me from it. Certain strains would sedate me enough to keep me locked on my sofa at home, but occasionally there would be varieties which somewhat exacerbated the problem. Learning the differences between cannabis sativa and cannabis indica made me confident that two or three doobies a day would keep the dark thoughts at bay. Give me a bottle of medical grade Purple Kush, some Zig Zags, a couch, and a bag of Cheetos, then you may rest assured that this handsome fellow will not be out cruising for a victim tonight. When my college internship at Steele Financial segued into a full-time accounting position, the pressures of maintaining my composure in a professional work setting began to stir the dormant beast inside of me. With the help of some college buddies who were pharmacists (of sorts), mood-management solutions in the form of Oxycontin and Xanax became a part of my nightly ritual. On more than one occasion, my friends and I took the two-hour drive to the Mexican border and walked into Tijuana to stock up on pastillas from la farmacias. It’s fantastic; you just walk into one of the many pharmacies, ask for la Xanax or la Oxycontin, then hand over 20 American dollars and collect your prize. After each enjoying three of the best tacos you will ever eat for $1 and knocking back a bucket of Coronas, we walk back into the States with our pockets full of Mexican pharmaceuticals.

“Do you have anything to declare?”
“Nope.” And they believe it. Young people come to Tijuana to drink, not to shop.

Three years back, I was promoted to manager at Steele. Being a respected financial institution, the promotion was contingent on a drug test, so I had no choice but to stop smoking and popping pills. For weeks, I sat at my workstation and awaited the day my boss would set a plastic cup on my desk for me to take a piss in. Maybe a white armored truck would pull up in front of the building, and a fleet of armed nurses in gas masks would run in and handcuff my hands behind my back as I try to squeeze out a drop of urine. After the promotion, another two months passed without any mention of a drug screening. Had they forgotten? Was the drug test policy something I made up in my head? It wasn't clear whether or not it was safe to continue using, so I made the decision to stay clean. An occasional beer or scotch is OK to take the edge off, but no more weed or chemicals for me.

The urges returned, and going out for a jog wasn't doing anything to quell the cravings. Headaches were more painful than ever; my brain was an expanding balloon pressing against the walls of my skull. Clinical strength antiperspirants did absolutely nothing to prevent my underarms from gushing water like broken pipes. On top of my everyday stresses— and now, drug withdrawal— the hidden infatuation resonated deep within me and frayed my spine like a rope that was bearing too much weight. The sensations kept me debilitated, in an ongoing state of pain. Racing thoughts led to sleepless nights; my dry, bloodshot eyes could barely focus on anything the next day. Skin on my back and shoulders felt more rigid and leathery than ever. Enough was enough: ten years after it first began, I decided to give in to the urge. Only one time.

One Wednesday evening, after about a week of planning and purchasing supplies, I was ready to carry out my secret desire for the first time. The target needed to be a stranger so that police couldn't connect me to the crime (the majority of murders, as you know, are carried out by someone that the victim knows personally). In preparation, I packed a backpack containing:
  • A pair of black leather gloves
  • A black hooded sweatshirt
  • A ski mask from the sporting goods store down the street
  • A pair of nylon stockings
  • A fistful of zip ties that I stole from the IT department
  • A ball gag, from a sleazy sex shop
  • A Taser gun I took from my uncle's house
  • My favorite kitchen knife (as seen on TV)
In addition to those items, I packed a change of pants, a clean jacket, and an extra pair of shoes in a grocery bag. After loading everything into the trunk of my car, I drove downtown.
A drunk leaving a bar at last call sounded liked an easy target, so the venue was some shithole dive off the 101 with a dimly-lit parking lot. Place was called Los Palla-something. The grungy sign above the door looked as if it had never been washed, and the same could certainly be said about the metal front door which felt greasy to the touch. This particular bar seemed well-suited to my purposes because it wasn’t crowded, but it wasn’t slow enough for me to stand out in. Upon scouting this place out sometime the week before, I identified two scrubby-looking men in trucker hats who sat at the bar until they couldn't walk straight. Judging by their familiarity with the bartender (who knew them both by name) the assumption was made that these gentlemen must be the regulars.

I went inside and ordered a beer, just to make sure that the regulars were there drinking at the bar. They were. Both were clearly drunk, but not quite belligerent yet. With plenty of time to spare before last call, I left the bar to go waste some time. A Tommy Burger down the street made for a satisfying dinner. Kind of a shame though, considering all the ingredients for chili cheeseburgers were in my fridge at home. Following recipes and preparing meals for myself is much more fulfilling than going out for fast food, but sometimes you have to do what's convenient.

After dinner, I went to a nearby movie theater to catch a flick. The title of the film escapes me... it was one of those dumb slasher films where a guy in a mask chases eight teenagers around a house. I think it was a sequel to another shitty 'teen scream' from a few years before. The dialogue was just embarrassing; campy lines like, "hey, I love you, girl," and, "you scared the bejeezus out of me!" One of the more memorable scenes in the movie involved a blonde girl sitting at a vanity, so entranced with the way her hair, makeup, and clothing looked particularly good that evening. Even while her friends downstairs are running for their lives, she's too busy adoring her own face to notice. As the camera angle reveals that the killer is standing behind her, she finishes touching up her mascara and says, "perfect," just before a computer-animated knife bursts through the front of her neck and spatters cherry-red blood all over the mirror. Scenes like this one made my leg twitch in anticipation. Before the night is over, I will know how it really feels to be the man in the mask.

The movie ended around midnight, and I returned to my car. Removing the backpack and grocery bag from the trunk of my BMW, all the supplies were placed in the passenger seat next to me. My heart began to beat faster, and the inside of my throat felt dry and lumpy as if it had been stuffed with cotton. Pulling the hoodie over my head, I slipped the gloves over my clammy hands and put the ball gag, stocking, and zip ties in the sweater pockets.

As last call approached, I wrapped the Taser in my ski mask and knelt behind a dumpster which one of the drunkards had parked his car next to. Waiting patiently, I held my breath as the two patrons stumbled out of the bar. The men sloppily bid each other a good night and went off in opposite directions. With the mask now concealing my face, I laid still, Taser in hand, as the target approached his rust-ridden El Camino. When he was within reach of the car door, I peeked from behind the dumpster and fired the Taser at his back. His body went rigid, collapsing forward onto his car and sliding down to the dusty asphalt. Crouching as low as possible, I put the gag in his mouth and closed the buckle to secure it to his head. I zip-tied his hands together, and then did the same to his convulsing legs while his shoes involuntarily bounced off the pavement. As I was stretching the stocking over his head, the Taser timed out. Evidently, it takes me longer than 30 seconds to tie up a high-voltage alcoholic. Fortunately, the barbs were still firmly implanted in my victim, so squeezing the trigger again sent another debilitating wave of electricity through his body. After several embarrassing attempts to carry the man, I managed to load him into the trunk of my BMW and remove the Taser bolts from the skin of his back. Suddenly a gym membership seems like a great investment.

Behind the wheel of the car, I took off the ski mask but kept the gloves on. Taking a deep breath, I wiped the sweat off my neck and forehead with the mask, then pulled out of the unlit parking lot. There were practically no cars on the freeway at that hour. With the radio off, the only sound that could be heard was the consistent treading of 4 rubber tires rolling along the concrete pathways. Every few minutes, the silence would be broken by the intermittent thumping of my guest in the trunk. Yellow-tinged street lamps illuminated the green traffic signs like the gentle glow of a candle. Pairs of red brake lights ahead of me and white headlights in the opposite lane floated tranquilly along the dim highway like Chinese lanterns. I can't recall a time when the freeway was this peaceful.

Several exits later, I pulled my car over in a secluded corner of Griffith Park. The world was so dark and quiet. I'll never forget that moment; it was beautiful. So serene. Having removed the knife from the bag next to me, I popped the trunk and stepped out of the car. Smiling down at Roberto— I call the guy Roberto because I never bothered to learn his real name— I dragged him out of the trunk and across the dry grass, setting him behind a large bush about 20 yards off the road. In the distance, the dull glow of downtown's skyscrapers provided the only source of light. Roberto squirmed, but he was too drunk and worn down for his movements to have any effect. The silence of the surrounding night was deafening. Inside my head, behind my ears, the only sound that could be heard was my own heart pounding. Loud thumping noises echoed in my skull, getting faster with each passing second. This is the moment I've been waiting for. This is what's kept me awake for so many years. A decade of resisting an inherent craving, a decade of distraction and self-sedation has led up to this moment. On my knees now, I braced the handle of the knife in my gloved fists. Only a week ago, I used that same knife to chop vegetables for an Alton Brown recipe. Raising the beloved kitchen utensil above my head, I took a slow, deep breath. Exhaling, I plunged the blade straight down into the boozer's chest.

Despite aiming for his heart, the knife stuck about half an inch above where his right nipple should be. As he thrashed about, I pulled the stocking off his head (which was only there to prevent loose hairs from getting all over my trunk) and gazed into his panicked eyes. Though I savored the moment, it still wasn't clear if the one stab would be enough to end Roberto. My gloved hand gripped the rubbery texture of the knife handle and pulled it out. Looking down at the soft rubber grip in my hand, I glanced back to see the shining steel blade sill tightly lodged into the wriggling drunk's torso. The slender piece of silver metal stood tall like a flagpole, spraying tiny drops of crimson as the man continued to flail as much as his bound appendages permitted. On the upside, the cumbersome rubber ball in Roberto's mouth muffled his screams quite effectively. With anxiety setting in, I pressed my right shin just below his throat and used both hands to pry the broken, speckled blade out of the deep wound in his pectoral muscle. As the cold metal slid out, warm blood spurted from the gash and spilled all over Roberto's dirty white t-shirt. Dead grass beneath him grew wet and sticky in the darkness. Not wanting to leave without being absolutely certain that he won't live to describe my face, I slid the flimsy rubber handgrip back onto the kitchen knife and readied myself for the next blow. With my left knee pinning down his chest, I gently pressed the tip of the knife to the side of his throat and applied pressure until just the point sank into his flesh. A single maroon marble blossomed where the steel pierced his skin. After scoring his windpipe, I leaned back and watched expectantly as the red line across his Adam's apple split open and gushed hot, tequila-soaked blood. Roberto's eyeballs rolled back into his head, and an earnest sense of relief washed over me. It was all over. The tension in my back and shoulders melted and dripped off my body. The night's cool wind felt soothing against my skin, particularly the parts which were beaded with sweat. With every breath, I could actually feel the cold oxygen filtering through my lungs and into my bloodstream. Incessant screaming in my head, for the first time, fell completely silent. Stabbing pains in my bowels disappeared, feeling as if my guts had been knotted for years and then suddenly untied. Even in the low light, watching the fluid ooze from his lifeless body was far more satisfying than I could have imagined. In that moment, I was more relaxed than I had ever felt in my life.

Subsequent to wiping the blade off on the stocking, I removed the ball gag from Roberto's mouth and bid him a good night before parting ways. After putting the tools away and removing the gloves and hoodie, I changed into the clean pants, shoes, and jacket. The feeling of peace stayed with me for the duration of the drive home, and I had the best sleep of my life that night. The next day, though I fully expected to be dragging from my late night of mayhem, my body felt completely rested. It was actually a very productive day at work; I was on fire. Some of my co-workers even noticed how rested I appeared, to which my response was, "Yeah, I got a new pillow!"

My relaxed state from that first kill lasted for about a month. At the time, a future hunt wasn't something that I had consciously considered, but I did know that it would happen again. And again. Knowing that my cutlery wasn't built with my intentions in mind, I set out to find a blade that was. The main problem with my last weapon was that it wasn't strong enough to be withdrawn from a torso, so my ideal weapon would be built to tear through tough flesh. Researching hunting knives led me to combat knives, as in knives that are specifically designed with humans in mind (often produced for the military). Among combat knife enthusiasts, there is something of a debate regarding "blood grooves." Some knife manufacturers refer to a valley in the sides of a blade as blood grooves, triggering the question of, "what is a blood groove for?" Plenty of war veterans will swear up and down that the manufacturer of their military-issued knives put the blood groove there to help bleed out their enemies faster. Furthermore, some of these veterans and war buffs say that the blood groove prevents suction, making it easier to withdraw the blade after thrusting it into someone. Skeptics say that "blood groove" is merely a marketing buzzword, a misleading moniker for what should be called a "fuller." Running lengthwise down the center of a sword, the purpose of a fuller is to add rigidity to a blade; instead of one spine, a fullered blade has two. Unable to understand why a fuller wouldn't help to bleed out a target, the knife I ultimately purchased featured a pronounced blood groove. To suit my purposes, I bought a 12-inch leather-handled dagger with a non-reflective black powder coating. Equipped with a sharp spike pommel at the tip designed to make indentation fractures in a human skull and dual serrations near the base of the blade for tearing open wounds, this knife is practically made for me. A reviewer online said he used the same dagger during his time in the Marines and specifically stated:

Make no mistake, this knife is not good for ANYTHING but killing. It has a thick, flattened diamond cross section, and while it is extremely sharp, the geometry prevents it from cutting well. It's made to do one thing: stab deeply into another human being and rip them wide open. I only had to use it for its intended purpose once, but wow it sure does that well.

Can't argue with that.

Four or five payment periods passed before I made plans to hunt down my next victim. I began taking "excursions" every couple of months. The routine typically went as follows:
  1. Rent a car
  2. Drive out to some podunk town in the middle of nowhere
  3. Pop into a dive bar to get a head count
  4. Order a drink, if the mood strikes me
  5. Exit the bar
  6. Position myself to disarm the last customer who leaves
  7. Transport the target to a secluded location and slaughter him

In order to prevent getting caught, I established some ground rules:

Rule One: Use different methods to disarm and kill each victim. Avoid repetition.
If hunting were that easy, a Taser and a knife would probably be my go-to weapons. The problem is that cops are always checking for patterns among homicide victims, so it would take them longer to find me if they didn't suspect my murders are connected. The only aspects which stayed the same were the use of a stocking to keep damning evidence out of the car, and my use of a ball gag to muffle any screams for help, but those items never stay at the crime scene. If zip ties or ropes were used, I would cut them off and put them in my supply bag before leaving the scene. In adherence to my first rule, some of my victims were subjected to brutal overkill in an attempt to convince the police that those victims were slain by someone they knew personally.


Rule Two: Only kill the drunkest, most lonely patron of the seediest-looking bar in town.
It was sometimes tempting to wait around and kill the bartender or hostess, but bar staff is more likely to have friends or family that would report them as missing. The goal was to go after bottomfeeders who would be presumed to be face-down in a storm drain somewhere.


Rule Three: Only drive rental cars, using a different make and model each time.
Should there be any eyewitnesses to an abduction, their description of the vehicle won't be connected to me. Even if they were to take a photo of the license plate number, the only information the rental agency would have is the phony name I used (and possibly surveillance footage of me picking up the car in a fake beard sunglasses).


Rule Four: Never stay in a hotel.
Hunting is not only high risk/ high reward, it's incredibly wearying and labor-intensive. It would be fantastic to crash at a motel after dumping a body, but the danger in getting a room is that checking in leaves evidence. Giving a fake name and paying in cash are options, but any witnesses who see and report the rental car would lead police right to my motel room. The best chance to leave as little evidence as possible is to drive out to a small town— which could take 2 to 4 hours each way— take care of business, then head right back home. While the sport gives me a rush in one sense, it also relaxes me to the point of feeling sleepy. In dire situations, I would stop at a convenience store to buy an energy shot, but always wear a hat to hide my face from security cameras.



One night, while channel surfing at home, a TV show about a serial killer caught my attention. The lead character, a Miami forensic investigator named Dexter Morgan, murders criminals in order to satisfy a deep-seated urge to kill that he has had since childhood. Clearly, this character is someone I can relate to eerily well. During his childhood, the character's father noticed his tendency towards psychopathic behavior and taught him a code of only killing to serve a purpose. His dad teaches him to never harm innocent people, otherwise, "it's just murder." Even years after his death, Dexter follows his father's code of only killing vicious criminals. He claims that he controls the cravings and doesn't let the cravings control him.

I call bullshit.

Assuming this character has the same intrinsic craving as me, and his entrails sting each day with the burning desire to snuff someone out, there is no— and I mean NO— possible way that he could stand the internal torment long enough to perform a full investigation on every one of his prospective victims. My innards constantly ache as if someone bashed them up with a mallet and stuffed them back inside of me. Pressure on on my temples makes them swell like a metal clamp is tightening around my skull, and the top part of my head burns as if a white-hot cleaver is scalding a line between my eyes. If he lives through this hell every day, and he knows that the only thing that can ease that pain is to take someone's life, he would know that the situation has nothing to do with morals, crime, or justice. Do you think I fucking care if my targets are "innocent" or not? That's not for me to decide; I'll execute who I please and let your god sort them out. My kills don't have anything to do with the victims, they're for me. Some people go fishing, some people dance, and some people play basketball; I hunt. Really though, it's not so much a hobby as it is an addiction.

I hunted well into the next fiscal year, traveling to all sorts of sad-looking towns across California (and even a couple of places in Nevada). Constant journeying across the Golden State became exhausting and irritating. Every city between Los Angeles and San Francisco is worthless. Well, Monterey is actually nice. And parts of Santa Cruz aren't bad. Let me rephrase, then: every town in the "Great Central Valley" region— like Bakersfield or Fresno— is shit. Still, police never came to my house to question me, and the news reports never said anything about a killing spree across California, so the Central Valley has indeed been "great" to me.

Knowing that my procedure was effective, I continued the same routine until one instance suddenly changed everything. Recognizing an opportunity, the decision was made to pick up a homeless man one night instead of doing the usual bar stakeout thing. Spotting the lone vagrant wrapped in a sleeping bag behind a liquor store, I figured there was little harm in deviating slightly from my usual process to pursue a different type of easy target. Pulling over in a dark alley on the other side of the store, I approached the man with a metal baseball bat in my hands. After knocking him out and taking him to a barren desert somewhere outside of Victorville, I hacked the transient to pulp with a machete. As the 17-inch blade tore through his flesh, blood splashed my face. Warm liquid dripping down the side of my nose and cheek felt therapeutic, easing the underlying muscles the way a hot tub loosens up your tendons. I could taste the saltiness in my mouth. Engulfed in the moment, without thinking, I licked it off my lips. There was something satiating about it, and it wasn't just the briny, metallic flavor. Running my fingers down the side of the dripping steel sword, I slid my scarlet-coated digits into my mouth and massaged my tongue. The sport of homicide was already rewarding in itself, and imbibing the salty cruor of this victim was the single most profound moment of my life. The feeling was almost sexual, or spiritual (I'm guessing). No drug or life experience can compare to the sensation. It's the combination of the ultimate high, the ultimate orgasm, and godlike transcendence. I'm not the superstitious type, but the effect of drinking blood is practically supernatural; the surge of self-assuredness makes me stride like the most powerful man in the world. Confident. Focused. Full of energy. You feel unstoppable. By day, I'm no discernibly different than anyone else; by cover of night, the Earth is my private garden, and people are merely fruit to be picked. Consuming plasma has nothing to do with being young forever or restoring life force: blood is concentrated power in liquid form. The elixir of omnipotence.

Hunting had already taken over my life, and my appetite for more blood only made my original craving stronger and more frequent. Following the same general rules, I took a road trip every few weeks and brought a stainless steel mug to drink out of. Using my dagger as a tap, I would sometimes jab it into a target's abdomen and sip directly from the groove in my knife. Regardless of whether or not the fuller was designed to bleed people out, it does the job well. Despite careful handling, however, tapping blood tended to be a messy activity; it only took one more victim for me to realize that it would be a good idea to start wearing clothes that can be disposed of. Thrift stores never appealed to me before, but visiting them to shop for clothes became more of a necessity. After shopping one day, I stopped to get my hair cut. Next to me, a barber accidentally dripped some hair dye on his customer's shirt. Surprised when the stylist sprayed both sides of the stain with hairspray and successfully removed it, the man told me that this old barber's trick also works on blood. Not that I would save clothes with obvious blood stains; it's just a household tip worth sharing. Instead, any tarnished clothing was gathered into a black garbage bag and disposed of in dumpsters behind random restaurants in the area. The juice is better when it's fresh from the source; bottling up fluid for later use crossed my mind periodically, but I always shot the idea down since it involves storing DNA evidence in my home, and also because spillage in the car is too great of a risk.

Since the episode with the homeless man, Steele's 2nd and 3rd financial quarters had come and gone. Now fully engrossed in blood-hunting, it shocked me how quickly the time had passed. Days that used to drag on, where every pore of my physique ached at the office, where racing thoughts kept me from sleeping most every night, now just flew by. As long as I got out of town every few weeks, my world was full of enlightenment. Nirvana. My body felt brand new each day, and stresses of work were faced with a new sense of flow. I felt like a goddamn zen master. Buddha reincarnated. Part of me wonders how productive and collected I may have been had I started hunting and drinking years ago. Part of me wonders if this vice is really any worse than the old ones. My body was as weightless as a cloud, yet the physical nature of blood-hunting became habit-forming in itself. Becoming somewhat unsatisfied with the amount of hours and labor it took to procure a generally modest dose (it takes a total of 5 to 9 hours to drive out to the middle of nowhere and back, just for a taste), my focus turned to acquiring more blood by any means necessary. If I were to achieve this goal, the fluid would probably need to be warmed up in a microwave, which is certainly not my preference, but it's not terribly different from heating up a frozen entree or going out for fast food. Sometimes you have to do what's convenient. My options were to commit a high-profile mass murder, or steal from medical facilities. Believing tubes of vital fluid to be anonymous, storing them at my place is less of a risk than bringing home the lifejuices of people I've killed. The idea of wasting several targets at the same time was still thrilling to me, but it would be less conspicuous to somehow steal blood from a hospital. Just last week, the answer came to me at work when a subordinate hung up a flyer:

This Christmas, give the gift of life:
DONATE BLOOD

Saturday, December 22
10am to 1pm
East Los Angeles Church of God in Christ

GOD BLESS

Saturday morning, I disguised myself by wearing a fake mustache and goatee I got from the local costume shop, along with a black hairpiece and brown contact lenses to help mask my green eyes. Dressed in my "Sunday best," (which is basically the same getup I wear to work every day), I packed my leather shoulder bag with supplies and stepped outside to catch my taxi. Arriving with 40 minutes remaining until the bloodmobile left, I took my place in line behind four other donors. In queue, daydreams of hijacking the bloodmobile kept me entertained. What an exciting prospect it would be to knock out the driver and speed off in the mobile lab with all the goodies on board. I actually began to reconsider my initial plan in favor of this one, but the idea was not logistically sound; within minutes, the mission would probably escalate into another classic high-speed chase. The eyes of every man, woman, and child in the greater Los Angeles area would be glued to their TV sets as reporters in helicopters narrate the scene from high above. Ultimately, like the overwhelming majority of police chases, the city will look on as LAPD blows out my tires with a spike strip and surrounds my stopped vehicle from every angle. Fuck that. It's in my best interest to be as discreet as possible.

Sitting in a patient's chair aboard the small bus, I watched as the nurse tied a rubber tourniquet around my arm. Navy blue text embroidered on her scrubs revealed her name as "Cybill," which I only remember because she was the first Cybill I've ever met. Outside the driver's side window, a stocky female coworker hollered that she was going to take down the signs and pack up. Just as the nurse turned around with a needle in her hand, I pointed my Taser at her and asked her to sit down in the chair across from me. Keeping the weapon aimed at her chest, I removed my gloves from the bag and slipped them on. Using some zip ties, I bound her hands behind the chair. She fidgeted in discomfort as a wad of gauze inside her mouth was being taped shut, but pressing the cold iron of the Taser barbs into Nurse Cybill's neck served as an effective reminder of what would happen should she cause me any difficulties.
Barely a moment after tying the nurse to the chair, the other co-worker returned. Carelessly, she opened the door and sat down in the driver's seat, her hands and eyes preoccupied with a stack of clipboards, manila folders, and paper. Sliding the main door of the van shut, I pointed the Taser at the woman in the driver's seat and told her to drive exactly where I tell her to go unless she wants to join her coworker in the back. Seeing Cybill secured in the chair next to me, she made no attempt to defy me and simply responded, "Where to?"

As the bloodmobile merged onto the freeway, I removed the tourniquet from my arm and asked the driver where the goods are stored. She explained that the donations are kept in locked cabinets onboard. Slipping off the lanyard of keys from around the nurse's neck, I unlocked the cabinet door and began packing vials of hemoglobin into my shoulder bag. The total amount of blood was considerably less than expected, but the 30-something tubes would be enough to satisfy my craving for another month or two. Each sample had a printed label with the donor's name and blood type, which all needed to be disposed of immediately. Simultaneously peeling off stickers while keeping an eye on the pink-faced lady behind the wheel, I finished stacking the rows of plastic tubes in my leather pack. Arriving at our destination a half-hour later— a Walmart parking lot outside of Inglewood— I asked the driver to slowly walk to back of the vehicle and sit down in the empty seat. Trembling as she unbuckled her seatbelt and made her way to the back of the custom-made van, she lowered her pudgy behind into the chair next to Nurse Cybill. As I zip-tied her hands and feet, her eyes began to well up. While taping her gauze-stuffed mouth shut, a single tear rolled down her cheek and dripped onto my hand. With a grin, I thanked her for her cooperation, and pulled a black garbage bag over her head. Stretching out a long strand of silver duct tape, I looked on as the lady squirmed in her chair, dreading what might happen next. Now standing behind the stocky woman, I caught Cybill's eyes widen in terror before I wrapped a few layers of duct tape around her colleague's plastic-coated neck. Muffled shrieks escaped from both women as I dressed the nurse in a matching black mask and silver necklace.

Watching with my back pressed against the rear of the van, the two medical workers thrashed in their chairs as they struggled to breathe. Having strangled a victim once before, I knew it wasn't my usual preference when taking a life. This was my only chance to savor the moment, but watching them suffocate didn't give me the same satisfaction as cutting, or even bludgeoning victims. It took all of my willpower to resist draining their blood, but the risk of getting it all over my clothes in broad daylight was enough to motivate me to get the hell out of there. Executing targets would have been preferable to merely killing witnesses, but that's what the situation called for. The driver's body went limp, and Nurse Cybill's followed suit after another 40 seconds. Removing my hairpiece, contact lenses, and facial hair, I shoved them into my bag and left through the sliding door. After exiting the parking lot, my last memory was waiting for the light to change at the crosswalk so I could get to the bus stop. My mind regained consciousness as two paramedics were strapping me into a gurney and loading me into an ambulance. Unable to move my head, I overheard a woman in the background saying she called 911 after witnessing an SUV mow me down in the crosswalk. Apparently the car ran a red light.

So that brings us here, Hollywood Medical Center, where I lay before you with two fractured ribs, a broken arm, and a broken leg. Before last weekend, I've never needed to go to the hospital for any reason. Ever. Wouldn't you know it, they told me a few days ago that I have an extremely rare and destructive blood disease. Judging by how far it's progressed, I'm certain I caught it from that homeless man. Have you heard of sickle-cell anemia? Well, they said what I've got is like a mutation of that, and it's far more deadly. Little red ninja stars in my capillaries are blocking up passageways, preventing blood cells from going where they're supposed to. They give me less than 6 months to live.

So there you have it, officer. There's your confession. Hold that tape recorder closer to my face and I'll say it nice and clear to make your job easy: I, Jacob Dorian, hereby confess to carjacking, robbery, assault, abduction, and more instances of first-degree murder than I can count... and I'm a fucking accountant. So now what? Where do we go from here? Are you going to handcuff me to the bed? You'll be lucky to get me in court within a year, and my carcass would have already been used for research and tossed aside by then. There's no use in me lying to you because my death has already been marked on the calendar for this year. I have nothing left to lose.

Now, could I trouble you to pass me that leather bag under your chair?


© Copyright 2013 Ramsey Doudar. All Rights Reserved.

Friday, March 15, 2013

Where Is Horror Going?


A friend of mine, a film buff, recently proposed an interesting question: where is horror going? Various ghost stories have been popular in the last few years, though they are not necessarily indicative of the future of the genre. To be clear, horror films always have been and will always continue to be diverse, but some sub-genres of horror gain greater popularity for periods of time. For example, slasher flicks have been generally popular between the 70s and 90s, cheesy b-horror movies were trendy in the 80s, and zombie films made a big return in the 2000s; the question is, where will horror continue from here? What is the modern man afraid of?

If you haven't seen Twilight: don't.
It's practically basic human knowledge that the way to kill a vampire is to drive a wooden stake through its heart, and knowing that is a comfort you can mull over when driving home from a late night vampire feature. Part of the reason stories about vampires and zombies are so popular are because the cultures surrounding those stories provide clear-cut solutions for the protagonist and viewer's own personal safety. By now, every American between the ages of 6 and 60 should be able to tell you that the way to kill a zombie is to remove the head or destroy the brain; someone with extended knowledge of zombies could tell you that the ideal weapons to defend against reanimated corpses, on a basic level, are a machete and a titanium crowbar (as opposed to a shotgun, mainly because blades don't need reloading). Many horror films don't provide "tools for survival," arguably because clear solutions could reduce tension, but these types of stories have a wider appeal to audiences who may not have otherwise been interested in horror movies.

Despite our surviving the great Mayan apocalypse of 2012, my prediction is that apocalyptic themes will become more popular in years to come. With anxiety-inducing reports of global financial crises in the news each day, whispers of a severe recession-- or worse, a complete economic collapse-- seem to be new sources of fear. Continuing in the popularity of the zombie sub-genre, movies in the next 10 years may place heavier emphasis on themes of survival. Aside from the undead, some topics one could expect to see may include viral outbreaks, post-government society (state of anarchy), extraterrestrials (alien invasions, experiments, & conspiracies), and devastating natural disasters. Many will still flock to the cinema for a good fright, but future moviegoers will be attracted to the idea of seeing [generally] realistic solutions demonstrated in an entertaining way.

Thursday, February 7, 2013

The Appeal of Horror


There are many people who are unable to understand the appeal of the horror genre, in spite of the fact that horror has a substantial fan base all over the world. To clarify, I define horror as any type of story (movie, novel, song, etc) written to induce fear and discomfort in the audience for the sake of their entertainment. These critics tend to perceive horror as an excuse to portray senseless acts of violence with excessive amounts of blood and gore. Furthermore, many are of the belief that horror has no artistic or literary value, so any fan of the genre must be a sociopath who's hiding homicidal tendencies.
It's easy to see why one may feel that way, especially when many of these critics don't make it a habit to watch horror films to try and understand the appeal. On the one hand, I agree that horror can and does appeal to the darkest desires hidden deep inside of some individuals, but on the other hand, there are many fans of the horror genre, and with good reason. Horror has the potential to provide value to anyone who embraces it; it doesn't exist simply to profit off the psychopaths among us.

There are a great deal of horror films which focus on the fear that there are highly intelligent and reputable people in our own lives who are capable and willing to do terrible things (and this is one of my favorite concepts in horror), but horror films can be about any subject matter that makes the audience frightened or uneasy. Like any story, every horror story must have been inspired by a concept or idea; most horror exists to make a point, even if there is no clear or strong stance on what that point is. These stories exist to encourage us to face our greatest fears, and evolve. Like any good piece of literature, horror is meant to provoke thought.

Of course, individual fans of horror consume horror differently from one another; they differ in their personal tastes as well as the benefit they gain from reading a horror story or watching a horror film. To give an example of how tastes may differ, let's talk about porn. My understanding is that men and women consume pornography in different ways: women appreciate the sex & nudity, but what really gets them off is the storyline (who are these people and why are they boning in the back of a minivan). I can say from personal experience that men just fast-forward through all the context and dialogue to get to the sex & nudity.
I find that I watch horror films similarly to the way that women watch porn: I enjoy seeing all the gore, but what really gets me off is the story (who are these evil people and why are they terrorizing these victims).

Again, not all fans of horror share my perspective: some people like horror films just because of the scenes that make the audience jump. If many fans of horror share this sentiment-- and I theorize that many fans, in fact, do not view horror the same way I do-- then the appeal of horror could be explained much more simply: it's fun, like a roller coaster. Fear of the unexpected triggers spontaneous emotional responses. This is a valid perspective, as many people (myself included) enjoy watching action or comedy movies as a fun distraction. Nothing wrong that, but I'm of the belief that horror can and should be analyzed.

Saw (2004)
In opposition to the genre, some critics point the finger at horror films such as the "Saw" series and claim it is tasteless gore with no value. In addition to the fears it portrayed, the first "Saw" had a clear point: the Jigsaw killer believes that those who are incapable of appreciating their lives do not deserve to live. However, I am personally unable to defend the other 72 "Saw" movies as having a point, because those were just pandering to the audience. Personally, I am not a fan of the "Saw" series, though I have nothing against the films and I understand their attraction. Gore and violence-- which are most everyone's greatest fears, really-- are part of what makes a horror film a moving and emotional experience. However, gore alone does not always make a movie worth watching, even for hardcore fans like myself.
The "Saw" films are the perfect example of "torture porn," which is a sub-genre of horror. Torture porn, also referred to as "splatter," simultaneously caters to the viewer's fears and primordial desires, and therefore entices a different audience than "general" horror (think of the way people of history have gawked as fellow humans were beaten, beheaded, stoned, crucified, or burnt at the stake). The reason I bring up "Saw" and torture porn is because it's not accurate to assess the entire horror genre from just this sub-genre; that's like someone making the assumption that Black Sabbath is aggressive and heavy-handed after hearing music from two bands in the death metal sub-genre. It's like forming an opinion on the TV show "Friends" after watching a few episodes of "Joey."

To conclude, the general appeal of horror is that it encourages the audience to face their greatest fears directly, in the safety of a controlled, fictional environment. The viewer has the benefit of witnessing their greatest fear, seeing how the protagonist overcomes (or attempts to overcome) that entity/ situation/ event, and walk away thinking about how they may react under similar circumstances. Ultimately, the viewer grows as a human being when they watch a quality horror movie. Horror is meant to be an active movie-going experience, not a passive one.

Sunday, February 3, 2013

Bad Guy


"The bad guy." On the playground at my elementary school, no kid ever wanted to play "the bad guy." If the game was cops and robbers, nobody ever volunteered to be a robber. When "Mighty Morphin' Power Rangers" first came out, all the kids would want to be Rangers (sometimes settling for Alpha or Zordon), but no one would ever want to play Bulk, Skull, or Rita. There was an unspoken dread that anyone who plays the bad guy is actually a bad guy.

Aladdin (1992)
In first grade, after seeing Disney's "Aladdin" at the movies, my 6-year-old brain wrestled with strange thoughts that made me feel frightened and confused. The protagonist, Aladdin, didn't mean shit to me. He was, after all, a goddamn street rat. The Genie was amusing, but even he wasn't my favorite character. The one who commanded my attention, above all others, was Jafar. "The bad guy." He wore a cool black robe, he had a golden staff that hypnotized people, he was taller than everybody else, and his pet spoke English. Jafar is a badass. During the climax, when he takes possession of the magic lamp and wishes to become an all-powerful genie, my body became covered in goosebumps and my heart pounded in anticipation. All over my skin, transparent peach fuzz stood on end. My knuckles turned white as they gripped the armrests beneath them. Despite feeling Aladdin's fear as he was being smothered by a 400-foot cobra, I wanted to see Jafar prevail. I realized then that I had been rooting for the bad guy all along... which must mean that I am also a bad guy. If the other kids find out that Jafar is my favorite character, nobody would like me or trust me anymore. They can never find out. Even when we played "Aladdin" during recess, even if they asked me to be Jafar, they could never know my secret. So many movies and shows tried to teach me otherwise, but it seemed clear to me that the villains in stories have the most fun.

Horror speaks to me. It's a genre which allows [and often encourages] a story to focus on the villain/ antagonist with as much detail as desired. Whereas antagonists in action films, for example, are often one-dimensional characters, a horror film reveals enough of the antagonist's character so that the audience not only understands why the antagonist is a threat, they feel threatened themselves. Some people like to see movies because it makes them comfortable, but my kind of films are ones that cause me discomfort. That moment where you're sitting in a dark theater and panicking along with a character on screen, when all your body hair sticks up. When you feel like ice cold water is running down your back, where your only comfort in the world is knowing that it's only a movie: that's horror. That's what I live for.

Having been wanting to write about seriously sadistic shit for years now, my insecurities from childhood resurfaced in a new way and prevented me from writing horror. In adulthood, my worry is that that the subject matter of my writings would merely be viewed as a cry for help. It would fucking suck if I spent my time and energy writing horror stories, then some friends and family come across my little writing project and view it as cause to have me confined. Under section 5150 of the California Welfare and Institutions Code, they could hold me involuntarily for 72 hours to perform psychiatric evaluations. Or worse still, maybe a prospective employer will read my words and dismiss me from consideration on the merits that I'm a creep.

Other writers in the horror genre are able to convince their colleagues that they're generally sane people who are not a danger to themselves or others, but how they manage to do that is beyond me. Rest assured, my intention is simply to tell stories; perhaps even to entertain. Horror stories, in my view, are much more than cheap attempts to shock and scare an audience with as much gore as possible; they should provoke thought. They should remove the audience from their comfort zone and stir up raw emotions of fear, anxiety, and survival. The horror genre will be further discussed in the next blog article, titled "The Appeal of Horror."

A good portion of horror stories (mainly films) end with a sense of release and closure; often a sole survivor conquering the villain. Even in horror, the "good guy" usually wins. Now here's my problem: I don't care for happy endings. Being someone who aspires to be a good writer, my aversion to happy endings could be a problem because some people will not like my stories for that reason alone. Many feel a sense of relief when a story ends on a positive note, but having everything wrap up nice and clean doesn't always do it for me. I'm still not sure why, but it could be due to any one of these reasons:
  • Maybe I'm evil. 
  • Maybe I'm just a cynical asshole. 
  • Maybe I like unhappy endings and unlikable protagonists because they sort of rebel against good story structure. It's possible that I'm the only person who likes stories to end in favor of "the bad guy," or on a note of hopelessness and futility. In that case, this blog is merely a learning experience for me. 
  • Maybe I'm an optimist who just wants to make everyone happy. Stay with me. My stories might make some readers uncomfortable, upset, or even depressed, but when they finish reading, their real lives will seem like fairly tales by comparison. 
Bloodscape is my first public blog established for the purpose of sharing my stories and essays with the world, let alone for fans and critics of the horror genre. Your comments, critiques, and suggestions are always appreciated.

Enjoy. You've been warned.


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