Illusory Danger In Fiction – A Ramble

Well, I thought that I’d talk about the subject of illusory danger in fiction today. This was mostly because I had a dream the night before I wrote this article that was filled with illusory danger.

Fairly early during the dream, I realised that I was in no actual danger and it changed the entire emotional tone of the dream (eg: it went from being a nightmare to being some kind of weird dark comedy).

So, naturally, I was fascinated by the subject of illusory danger and I thought that I’d talk about how it can work in fiction.

Most of the time, clearly signposted illusory danger is used to make stories more thrilling. If the audience know that the main character is going to survive, then this lightens the emotional tone of any danger that they face and turns it into harmlessly thrilling suspense that is meant to be enjoyable. This is something that is so common in fiction that audiences are often willing to suspend their disbelief fairly easily and just “enjoy the journey”.

However, this can lead to boring fiction when taken to extremes. The superhero genre is a classic example of this – it is impossible to create any real sense of suspense and tension when the main characters are clearly shown to be immortal superhumans. A non-superhero example of this can be found in the fifth “Die Hard” movie, where the main character is shown to survive things like falling large distances and crouching next to an explosion with barely even a scratch.

The classic way to add a bit more tension to this type of illusory danger is to ensure that only the main character is immune to danger. In other words, to tell stories where the supporting characters can still die or be seriously injured. A more sophisticated way to do this is to have lots of main characters and to keep the audience guessing about exactly who the “immortal” main character is (both “Game Of Thrones” and the G.R.R Martin novels that it is based on spring to mind here).

But, illusory danger is much more interesting within the horror genre – since it can affect how the audience feels after they’ve finished reading or watching something in the horror genre.

If the illusory danger is shown to be something clearly unrealistic and fantastical (eg: zombies, vampires, monsters etc…), if there’s lots of dark humour and/or if it is shown to be limited to one particular fictional location (eg: a haunted house), then the horror is unlikely to linger once the audience have finished reading or watching. This makes these works in the horror genre a lot more fun to read or watch, since the audience can enjoy a scary story and feel like they’re brave or tough because they don’t feel afraid afterwards.

However, if the illusory danger in a horror story either taps into more realistic fears (eg: death, crime, disease etc..), if the danger is less illusory (eg: the main character dies), if the emotional tone is more serious and/or the illusory danger isn’t limited to a particular location, then the horror is more likely to linger in the audience’s minds long after the story is finished. Whilst this may ensure that the audience won’t forget your story, it does lead to a less enjoyable experience.

So, yes, illusory danger can make stories more suspenseful, dramatic and thrilling. When used in the horror genre, it can also make the audience either feel brave or even more scared. However, if the illusory nature of the danger in your story is too obvious, then it can ruin the story.

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Anyway, I hope that this was useful 🙂

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Three Things To Do When You Can’t Make A Horror Story Too Gruesome

Well, I thought that I’d talk about writing horror fiction today. This is mostly because I originally wrote this article whilst I was busy preparing last year’s Halloween stories (and this article will contain SPOILERS for the first two of them). In particular, I’ll be looking at the topic of gruesomeness.

This is mostly because, although most of my early literary influences from the horror genre were the old second-hand 1980s-90s splatterpunk novels that I read when I was a teenager, I felt somewhat wary about making last year’s Halloween stories too gory.

In part, this was because my sensibilities had changed somewhat but it was also because I wasn’t sure whether I could get away with posting ludicrously gruesome 1980s-style horror fiction here.

So, what can you do if you want to write some horror fiction but – for whatever reason – can’t make it too gory? Here are a few tips:

1) Take influence from other aspects of gruesome horror: Horror stories that focus on gore, and gore alone, often aren’t that scary.

Gruesome horror stories, movies and games that have scared you enough to be a literary influence on you will often have some other element which is just as creepy – or more creepy – than the actual gore itself.

For example, one of the influences on the series of short stories (this one and this one in particular) that I wrote for last Halloween was my vague memories of a short story by Clive Barker called “The Forbidden” (from volume five of “The Books Of Blood”).

Although Barker’s story has some gruesome moments, the things that really make it memorable aren’t these parts. Instead, the creepily memorable parts of the story include things like the grimly bleak urban environments, the tension between curiosity and danger etc…

Likewise, another influence on last year’s Halloween stories was the fact that I’d re-played “Silent Hill 3” a few days before I wrote the stories.

Although the first story includes a couple of subtle “Silent Hill” references, the main inspirations that I took from the classic “Silent Hill” games weren’t to do with the series’ copious use of blood and guts. After all, the classic “Silent Hill” games are truly terrifying because of their focus on things like suspense, the visual theme of disease/decay, ominously dark environments, psychological instability, eerily malfunctioning technology etc….

To give another example, horror novels like “Audition” and “In The Miso Soup” by Ryu Murakami are shockingly horrific because they’re less gruesome than the average modern horror novel. Or, more accurtely, Murakami’s novels handle gruesome moments in a really clever way.

Many of Ryu Murakami’s horror stories only include one relatively brief grisly scene. However, these scenes are much more shocking than the average splatterpunk novel because Murakami spends almost the entire novel building up to them. So, devoting 80-90% of your story to building up suspense can be a way to make even relatively mild scenes of horror seem ten times more horrific.

So, if you can’t write a ludicrously gory horror story, then look at the ludicrously gory horror stories that have inspired you and see what else they do to scare or shock the reader.

2) Replace the gore with something else: One interesting thing that I noticed when writing the first two stories in last year’s Halloween collection was that there was something of an emphasis on bones, skulls, skeletons etc…

This was mostly because it was a way to imply that grisly events had happened, without including too much in the way of blood and guts. It also allowed me to emphasise things like the ferocity of various monsters and the passage of time too.

Plus, in the first story especially, I tried to write about the desolate and grim setting of the story in the same way that a splatterpunk writer might describe something grisly or gruesome.

For example, the story’s monster is described as having “a mouth like a slashed bin bag“. This is horrific because of the focus on decay (eg: a bag of rotting rubbish) and the implied violence (eg: slashing), but there isn’t a single drop of blood in this scene.

So, if you are worried about censorship, then you can replace the gore in your horror story with something equally grim or disturbing – but completely bloodless.

3) Implication:
This is the oldest trick in the book, but it works. If you leave the grisly events of your story to your readers’ imaginations, then your audience will probably make these scenes more horrific than you can.

For example, my second Halloween story ends when the main characters realise that they’ve entered somewhere that they probably won’t be leaving alive. The presence of a skeleton, the possible sound of a door locking and an ominous message scrawled in (what is implied to be) dried blood tell the reader that the characters are in mortal danger. But, the details of that mortal danger are at least partially left up to the readers’ imaginations.

In addition to all of this, another way to make sure that implied horrific events have an impact is through the location descriptions throughout your story. If you can fill your story with mildly creepy descriptions of everyday things (eg “dead radios”, “squealing” machinery etc..) , then this is going to put your readers in a frame of mind where they are going to imagine the worst when you don’t show something.

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Anyway, I hope that this was useful 🙂

Today’s Art (28th July 2018)

Well, after spending several days making a webcomic, I was eager to return to making some gothic horror art – especially since I re-played the delightfully disturbing “Silent Hill 3” recently. And, although this digitally-edited painting didn’t end up being as creepy as I’d hoped, I still quite like how it turned out.

As usual, this painting is released under a Creative Commons BY-NC-ND licence.

“The Curious Cabin” By C. A. Brown

Review: “Silent Hill 3” (PC Version) (Computer Game)

A few days before I originally wrote this review, I was in a nostalgic mood. In particular, I was nostalgic about a game that I played on the Playstation 2 when I was about sixteen – the one and only “Silent Hill 3”. But, since my PS2 sadly no longer works, I realised that it would be best to re-play this game on the PC.

But, although I’d found a demo of the PC version of this game on the internet a few years ago, copies of the full version were slightly on the pricey side of things. Not only that, at the time of writing, the game seems to be on neither GOG nor Steam. The only way to get this game is on DVD.

This DVD to be precise. Still, it’s good not to have to wait ages to download game data.

So, when I noticed that a second-hand copy of the game was going for about £13 (plus postage) on Amazon, I decided to splash out on it. So, let’s take a look at the PC port of “Silent Hill 3”:

Before I go any further, I should warn you that this review may contain some mild SPOILERS and GRUESOME/DISTURBING IMAGES.

Even the game itself warns you about this!

“Silent Hill 3” is a survival horror game from 2003. Although it can theoretically be played on it’s own, it is a direct sequel to the first “Silent Hill” game and the game’s story will make more sense if you’ve played that game.

Anyway, “Silent Hill 3” begins with a teenage girl called Heather finding herself trapped inside a rusty old fairground filled with nightmarish monsters. As she tries to escape the fairground by climbing a rollercoaster track, she is promptly run over by a carriage.

Waking up in a cafe in her local shopping centre, Heather is relieved to discover that it was nothing more than a nightmare. But, since it is getting late, she calls her father and begins to walk home – when she is startled by a rather dishevelled and dodgy-looking man who wants to talk to her.

After running away and hiding in the bathroom, she climbs through a window into a nearby alleyway and prepares to go home – only to discover that the alleyway has been blocked!

Luckily, a backdoor to the shopping centre is still open. So, she goes through it – only to notice that the centre is completely deserted and slightly gloomier than usual. Still, after a bit of searching, she finds a shop that is still open.

Well, that was lucky! I’m sure there’s nothing horrible in HERE!

When Heather enters the shop, she finds an unearthly monster feasting upon a mysterious corpse. Shocked and horrified, she looks around for a weapon and finds a mysterious pistol lying on the floor. Picking it up, she kills the creature and begins to explore the rest of the shopping centre. But, something isn’t right….

Oh right! This is a “Silent Hill” game! How could I forget?

One of the first things that I will say about “Silent Hill 3” is that it is a lot scarier than I remember! It could be because I’m less familiar with the horror genre than I used to be, or because I was playing it on the PC with headphones (rather than on a tiny TV screen) or even because I’m not comparing it to “Silent Hill 2“. But, this game is scary! It is a game that will make your heart pound at a hundred miles an hour and it will make you feel slightly jumpy for a while after you’ve finished playing.

The game’s horror works on so many levels. Not only is Heather a somewhat vulnerable character who has limited weapons, but the game has a uniquely dark and creepy atmosphere.

And this is one of the “safer” areas in the game!

Add to this all of the symbolism inherent in the monster design (more on that later), the game’s pacing, the sheer sense of bleakness throughout the game, the claustrophobic camera angles, an utterly terrifying soundtrack, some grisly location designs, some disturbing set pieces and a few well-placed jump scares and this is the kind of game that will leave you feeling at least mildly traumatised after you’ve played it.

But, the game’s main source of horror is probably suspense. A lot of the game will be spent nervously exploring dark buildings (and methodically checking everything in sight), with the camera carefully positioned to ensure that you never quite see everything around you at any one moment.

Not only that, when there’s a monster in the general vicinity, the game’s soundtrack changes slightly (with the creepy music varying depending on the monsters). So, you know that something is there, but you don’t know where.

So, there’s a lot of suspenseful running and/or nervously waiting for monsters to appear.

The game’s monsters are all suitably disturbing too. A lot of this has to do with the symbolism inherent in the monster design. Many of the monster designs revolve around the theme of disease – such as undead nurses, mosquito-like creatures, bandage-covered zombie dogs, giant tumour monsters etc..

This is pretty creepy in and of itself. But, more than this, at least a couple of the monsters in the game also have a somewhat phallic appearance – which adds an extra level of disturbing symbolism to the game.

Another thing that makes the monsters scarier is that you can’t fight them all. Not only does the game carefully ration the amount of ammunition it gives you, but even the game’s array of melee weapons aren’t that powerful (and you’ll probably end up getting hurt if you use them).

Since Heather isn’t a soldier or an action hero, the combat in the game reflects this fact by deliberately being slightly clunky and imprecise. So, expect to flee in terror more often than you draw your gun.

And, this emphasis on fleeing in terror is one reason why the classic “Silent Hill” games are scarier than the classic “Resident Evil” games are.

Unlike the open-world design of the previous two “Silent Hill” games, Silent Hill 3 has more of a level-based structure. However, since the levels themselves are non-linear areas that require exploration and puzzle-solving, this change doesn’t feel too limiting.

Not only that, this structure also helps to keep the game slightly more focused too. Even so, you do get to explore the town of Silent Hill a little bit in one later part of the game.

Ah, ominous fog! I’ve missed you! 🙂

The game’s puzzles are also reasonably sensible too – and they never quite reach “point and click game” levels of randomness (although they occasionally come close).

Best of all – if, like me, you’re terrible at puzzles – then the game even has separate difficulty settings for combat and puzzles. For the most part, I was able to solve the puzzles on my own – although I had to consult a walkthrough about five times whilst playing.

In terms of the lighting and location design, this game is magnificent! In addition to wonderfully gloomy lighting that is shadowy enough to be ominous, without being too dark to see anything – the game’s location designs are exquisitely creepy. As you would expect from a “Silent Hill” game, many of the locations appear in both a “normal” form and a dark, rusty, nightmarish, diseased and grisly “otherworld” form.

This is probably one of the least disturbing parts of the “otherworld”.

Plus, in addition to lots of nightmarish interior design, there are beautiful paintings too!

As always, this is absolutely terrifying. Not only that, like in previous “Silent Hill” games, even the “normal” versions of various locations will still feature creepy background details in order to ensure that there is little respite from the game’s unnerving terror.

For example, this place has seen better days!

One particularly outstanding location in this game is the “Boreley Haunted Mansion”. This is a carnival ghost house with a bit of a macabre twist to it, and a Vincent Price-style narrator who manages to be both hilarious and terrifying at the same time. Seriously, this small segment of the game is a perfect blend of old-school horror and more modern horror. However, it is followed by a somewhat frustrating running-based segment (but, more on that later).

Seriously, it’s only a small part of the game but it is brilliant! It’s classic 1950s-style horror with a grisly modern twist!

Although I don’t want to spoil the game’s story too much, I will point out that this game is a direct sequel to the original “Silent Hill”. But, the themes from that game are explored in a slightly different – and creepier way – with more emphasis on the horrors of religious fanaticism, more emphasis on the series’ backstory and a darkly memorable scene featuring a character from the first game.

On the plus side, there are some cool little references to the first two games, like this “Silent Hill 1”-style notebook.

The game’s writing and voice-acting is fairly good. Although some of the dialogue is a little bit on the melodramatic side, this works well with some of the game’s creepier characters (Vincent and Claudia spring to mind). However, some of the in-game text is slightly clunky – but in an endearing way. The voice-acting is surprisingly good too, with no glaring examples of “bad voice acting” or anything like that.

And, yes, the conversations with Claudia can be ridiculously melodramatic!

In terms of the controls, the PC port allows you to configure them to your own liking. Plus, it also contains two alternative movement schemes, with the “2D” option being very similar to the movement scheme in the classic “Resident Evil” games.

Yes, the movement in this game can take a bit of getting used to if you’ve never played a survival horror game before – but the slightly unwieldly controls and unusual camera angles are designed to impart a feeling of vulnerability and confusion. Most of the time, this works really well – although it is annoying as hell when you have to outrun a cloud of mist through a series of narrow corridors at one point in the game.

Seriously, it took me about seven attempts to get past this part of the game!

Best of all, the PC port of this game also includes a proper saving system. Although the save points from the original Playstation 2 version of the game are still there, the people behind this port have realised that this is a computer game and, in a good computer game, you can save (almost) anywhere. Seriously, this tiny change makes the game so much better!

Ha! I don’t need YOU any more, save point! You’re nothing more than a source of mood lighting now!

Another cool feature of this game is that, after you complete it, an “Extra New Game” mode is unlocked (which, depending on how well you play the game, can include extra weapons).

In addition to this, completing the game also unlocks an option to enter codes that allow you to unlock an array of alternate costumes – some of these codes can be found in-game, but there are also lists on the internet. Surprisingly though, some of the codes from the PS2 version (eg: the OPS2 magazine T-shirt code etc..) don’t seem to work in the PC version. Plus, you can also unlock an extra options menu that allows you to do things like change the blood colour, give yourself extra ammo etc.. So, this game has at least a slight amount of replay value.

Finally, I should probably mention the game’s amazing soundtrack. As I mentioned earlier, the game will play a different piece of disturbing music depending on which monsters happen to be nearby (eg: when zombie dogs are nearby, the music will include howling. When giant mosquitos are nearby, the music will include buzzing etc..).

This in-game music is, in a word, terrifying. It is also beautifully counterpointed with some hauntingly relaxing acoustic music during a number of cutscenes too. Seriously, the soundtrack in this game is an integral part of what makes “Silent Hill 3” so incredibly creepy!

All in all, this is pretty much a perfect horror game! Yes, there are a couple of slightly frustrating segments but the game is overwhelmingly brilliant. Best of all, the PC port is surprisingly well-made and runs really well on an ancient computer like mine, although I don’t know how it would handle on more modern PCs. Yes, this game is a little bit difficult to find these days – but it is well worth doing so! Just remember, don’t play it at night!

If I had to give it a rating out of five, it would get six hundred and sixty six.

Three Reasons Why Things In The Horror Genre Can Be Scarier Than You Remember

Shortly before I originally wrote this article, I had a rather surprising experience. My second-hand copy of the PC port of “Silent Hill 3” had finally arrived in the post and I was eager to re-live some nostalgic memories of playing the game on my old (and sadly no longer functional) Playstation 2 when I was a teenager.

Plus, when I found and played a demo of the PC version of “Silent Hill 3” a couple of years ago, I’d felt nothing but wonderful nostalgia. So, I was expecting a lot more of this from the full version of the game. But, after I’d finished the introductory segment from the demo…

…The game was about ten times scarier than I remembered! I’d always thought of “Silent Hill 3” as the least scariest of the classic “Silent Hill” games, yet I could feel adrenaline coursing through my veins and an icy shard of fear in my chest. Nervously, I found myself torn between the urge to explore more of the game’s nightmarish world and the urge to just find a monster-free area and hide there because I did not expect to feel actual fear whilst playing “Silent Hill 3”.

This is a screenshot from “Silent Hill 3” (2003). A game that is scarier than you might remember it being!

This naturally made me wonder about time, nostalgia, memory and the horror genre – since this experience just didn’t make any logical sense. I’d played the whole game before when I was younger. Surely, if I was going to be scared by it, it would have happened back then. Yet, my only memories of the game were nostalgic ones of how cool I thought it was and how it was associated with rose-tinted memories of my youth.

1) Perspective and maturity: One reason things in the horror genre can be scarier when you revisit them at an older age for the simple reason that you’re more likely to actually think about them deeply. You’ll have had more life experience and be at least marginally more mature, and this will influence how you think about horror games, movies, novels etc..

I mean, when I played “Silent Hill 3” at about the age of sixteen, I probably just thought “Cool! It’s a gruesome horror game with monsters. AND it isn’t as utterly terrifying as ‘Silent Hill 2’ 🙂 “.

But, when playing the shopping centre-based parts of the game a while before writing this article, I actually found myself thinking more deeply about the events of the game and wondering what actually being in a situation like that would be like. I started thinking about it less like a “game” and more like a story.

Likewise, I also started to wonder about the parts of the game’s nightmarish “world” that aren’t shown to the player. What lurked behind the myriad locked doors that are everywhere? How did that mysterious bloodstain end up in this room I’m hiding in? Why are there monsters lurking in the shopping centre, and how creepy would it be to go shopping and suddenly find that the shopping centre was abandoned?

So, gaining the capacity to think about things more deeply can be one reason why things in the horror genre can be scarier than you remember.

2) Practice: Another reason why things in the horror genre can be scarier when you are older is because your tastes tend to widen with age. I mean, when I was a teenager, I was absolutely fascinated by the horror genre. I used to love reading splatterpunk novels, watching late night horror movies etc…. It was a genre that was rebellious, emotionally cathartic and considerably more “cool” than anything else.

But, as time has gone on, I’ve found other genres that interest me. And, as a result, I’ve got somewhat “out of practice” with the horror genre.

So, a relative lack of exposure to “serious” things in the horror genre over the past few years can also explain why things in the horror genre can be scarier than you remember.

3) Fan culture: If you haven’t directly experienced a particular work in the horror genre for a long time, then you can sometimes end up remembering the affectionate fan culture that surrounds it than the actual film/game/story etc… itself.

It’s easy to get dazzled by nostalgic references on the internet and adoring odes to games/films/novels etc.. from fans on the internet.

Because fan culture often tends to include a lot of humour and a lot of focus on the more stylised elements of something (eg: Freddy Krueger’s glove, the crackly voice from the “Saw” films, the mask from the “Scream” films etc..) , then it can be easy to mistake this for the actual work in question. Since fan culture exists to celebrate things, then it is going to focus on instantly-recognisable things that provoke feelings of warm affection.

So, fan culture isn’t going to reflect that moment in a horror game when you’re walking down another gloomy corridor and can hear something lurking nearby. Fan culture isn’t going to focus on that really bleak moment in a horror movie when a character realises that all hope is lost etc….

So, yes, confusing fan culture with the actual work in question can be another reason why something in the horror genre might be a lot scarier than you remember.

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Anyway, I hope that this was interesting 🙂

Three Basic Tips For Making Lovecraftian Art

First of all, if you’ve never heard the word “Lovecraftian” before, it simply refers to things in the horror genre that have been influenced by the fiction of an early-mid 20th century author called H.P.Lovecraft.

Although Lovecraft himself held some fairly terrible opinions, his influence on the horror genre is undoubtable and he pioneered a distinctive style of sci-fi influenced horror fiction that focuses more on things like atmosphere, implied horror, mysterious cosmic events beyond the comprehension of humanity, the limits and misuse of science, unreliable first-person narration etc…

However, since Lovecraft was a writer rather than an artist (although he did make this sketch), knowing how to translate Lovecraftian horror into art can be somewhat confusing for novice artists. So, I thought that I’d offer a few tips.

1) Read the original stories: This is pretty obvious, but it’s important to take a look at the original source material in order to get a deeper understanding of what sets Lovecraftian horror apart from other genres of horror. Luckily, this isn’t as much of a time-consuming or costly task as you might think.

First of all, due to the state of the publishing industry at the time Lovecraft was writing, he mostly wrote short stories (in addition to one novella). Although some of his short stories contain an over-arching mythology and/or a few common features, they can be read in any order. As such, you also don’t need to read literally all of them if you don’t want to.

Likewise, all of Lovecraft’s works are out of copyright in both the UK and mainland Europe (since 2008). So, if you live here, you can legally read them all for free on the internet or find inexpensive “classics” reprints of them. However, if you live in America, then things are a bit more complicated.

From what I understand (and I’m not a copyright lawyer), any of Lovecraft’s stories that were published before 1923 are out of copyright in the US – in addition to several post-1923 stories whose copyright was not renewed properly under the system in place at the time.

But as easy as it is to get hold of the works of H.P.Lovecraft, it can take a while to used to his narrative style – which deliberately imitates the more formal, complicated and verbose styles of 19th century fiction. Even so, after you’ve read a few stories, you’ll probably get used to his slightly old-fashioned writing style.

2) Visual style: Generally speaking, most things that take visual influence from H.P.Lovecraft tend to have a few common visual features. These include things like gloomy lighting, old buildings, tentacles, slimy monsters, old books, bleak landscapes, rural and/or coastal locations etc…

Although Lovecraftian horror-themed artwork can include gruesome elements, these should be kept relatively subtle (eg: trickles of blood, bloodstains/ pools of blood etc..) and should focus more on blood than on gore. Still, if you are going to include gore in Lovecraftian horror artwork, then it must also have some other underlying element that makes it disturbing (eg: the gore itself shouldn’t be the main source of horror).

The general emotional tone that you want to go for in “proper” Lovecraftian horror artwork is one of gothic bleakness, infused with a foreboding sense of mystery. As such, your colour palettes should include things like muted browns/reds, cold blues and eerie greens.

Although Lovecraftian horror art has traditionally favoured a more realistic style, there’s certainly something to be said for fun, cartoonish art that uses the main features of this style. Not only is the juxtaposition of cartoonish art with “gloomy” horror inherently amusing, but there’s also a certain knowing geekiness to making Lovecraftian art in this style. Like in this upcoming painting of mine:

This is a reduced-size preview. The full-size painting will be posted here on the 18th July.

3) Add other stuff: One of the best and most creative ways to make Lovecraftian art is simply to blend it with another genre. For example, the picture I showed you earlier also includes elements from the film noir genre too.

Although blends of Lovecraft and film noir are quite common, Lovecraftian horror can be blended with pretty much any type of art. The only real limit is your own imagination and creativity. But, a good way to learn more about this is to see things that include some elements of Lovecraftian horror whilst also fitting into another genre.

For example, the movie “The Thing” includes some Lovecraftian elements (eg: unknown horrors, desolate arctic locations etc..) whilst also including relatively more modern-style science fiction and horror elements.

Likewise, the movie “Alien” is a blend of Lovecraftian-style horror (eg: mysterious alien civilisations, unearthly monsters etc..), futuristic science fiction and traditional gory horror. Then there’s “The Evil Dead” which blends ludicrously gruesome dark comedy and some vague elements from the zombie genre with more traditional style Lovecraftian horror.

In terms of games, the classic computer game “Quake” uses some vaguely Lovecraftian-style settings, monster designs etc… whilst avoiding the slow, implied, psychological horror of Lovecraft’s stories in favour of thrilling, fast-paced gory combat-based gameplay. Another good gaming-based example is “The Last Door” which adds some surrealist and Edgar Allen Poe-style elements (in addition to a few modern-style jump scares) and 1980s/90s-style pixel art to it’s Lovecraft-influenced story.

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Anyway, I hope that this was useful 🙂

Today’s Art (2nd July 2018)

Well, due to uninspiration and time-based reasons, today’s artwork ended up being a somewhat random digitally-edited drawing instead of a painting. Still, for something that I made hastily, it turned out surprisingly well 🙂

As usual, this picture is released under a Creative Commons BY-NC-ND licence.

“The Garden Of Scribbles” By C. A. Brown