Agent of Chaos

‼️cw: blood, horror art

"out of all the grimwalkers, you looked the most like him."

who up washing they mouths [proceeds to experience one of the most horrifying stories ive ever seen, changing me fundamentally as a person and plunging me to deeper depths than i have ever known or will ever know again]

Vincent Price at the opening of The Tingler (1959)

I assume people are aware of what the gimmick was with "the Tingler" and I don't need to explain it

Please educate me on what "the Tingler" did. I am very curious

The Tingler is a B grade horror film made by William Castle. Now what you need to know about William Castle is the dude liked to put on a SHOW. (If the first sentence in his bio on Wikipedia doesn't make you interested in him nothing will.) He made around 15 movies but the one's he's most remembered for had some or other "gimmick" when you went to go see them in theaters during the 50s and 60s.

A famous one was for "The House at Haunted Hill" (also starring Vincent Price). At a pivotal scene in the movie, a skeleton with red glowing eyes would swoop out over the movie theater audience on a wire.

Now the Tingler had a much more unique concept.

The story of the Tingler is already insane. In the movie, Scientists discover that all human beings are born with a parasite in their spines called a "Tingler" that feed off of human fear. Called "The Tingler" for how you feel a rush run down your spine during extreme fear, which turns out to be the feeling of the parasite growing. Tinglers grow and will slowly curl in on themselves and will eventually crush the human spine it's wrapped around. Humans have evolved a natural defense mechanism, which is screaming when they get scared. Screaming weakens the growth of the Tingler, and prevents it from reaching a lethal size.

A scientist discovers this creature after a movie theater owner's wife, who was deaf and mute, died because she could not scream when frightened. Turns out he had murdered his wife by purposefully terrifying her, allowing the Tingler to grow to a lethal size.

So here's the gimmick. It's simply but ingeniously effective, as the entire movie was basically written to "sell" the gimmick.

William Castle had buzzers installed under the theater seats. This caused the seats to, at specific points in the movie, vibrate against the movie audience's backs.

There was also some live action sequences I'm just gonna copy paste from the wiki

There were also nurses stationed at the theater doors and planted "Screamers and fainters" who would be gurneyd out of the theater and "whisked off to hospital" past the audience, who would then come back and repeat the process for the next showing.

And that's the story of the movie "The Tingler".

I recommend looking up Willaim Castle and his movies further.

Also this is what a Tingler supposedly looks like

Edit: oh it was also the first movie to ever show someone take LSD. Since LSD was legal at the time.

Inktober Day 11 - Snacks

mouthwashing spoilers because im thiiinkiiiing

Psychopomp GOLD is here.

Return to the world of Psychopomp. Delve Deeper than ever before.

New worlds, New Endings, New Horror.

Coming October 25th.

Wishlist the game on Steam!

it’s a pretty well-known phenomenon that you only get a couple seconds with your horror creature fully visible onscreen before it gets “chuckied,” a term coined by yours truly referring to the shift between the first and second acts of child’s play (1988) as the audience gets used to seeing the little chucky puppet moving around and consequently can no longer buy into the film’s serious slasher tone in the absence of the horror of the unknown. the tuunbaq in the terror and the dogomorph in alien 3 (1992) are also famous victims of chuckying—just like how lovecraftian horror usually falls flat on the screen, too much visibility and your scary, amorphous creature will become a very morphous puppet or cgi’d in picture. the easiest way to combat this is of course to keep the creature obscured for as much of the piece as possible; for instance, despite their oppressive presence throughout their respective works, the beast in over the garden wall is shown for less than six frames and the eponymous kaiju of cloverfield (2008) is never properly shown, allowing each to retain their mystery and danger. another route is to simply lean into the campiness of it, like the later child’s play franchise and alien resurrection (1997). in the case of the blob (1958) a mere satirical title sequence song is enough to completely transform a fairly standard creature feature into an enduring masterpiece of hokey fun. the third option to combat chuckying is for the horror creature to constantly transform—the thing (1982), the fly (1986), and aliens (1986) show their creatures in loving detail, but there is always something the audience hasn’t seen yet, something they don’t know to brace themselves for. it’s a fine line to walk, of course, but that’s the nature of the game when you want to turn the concept of the unknown into something knowable enough to bite you

Artwork by: Gusfink🖤

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Intruder

https://nationalpost.com/news/canada/theyre-not-human-how-19th-century-inuit-coped-with-a-real-life-invasion-of-the-walking-dead

Indigenous groups across the Americas had all encountered Europeans differently. But where other coastal groups such as the Haida or the Mi’kmaq had met white men who were well-fed and well-dressed, the Inuit frequently encountered their future colonizers as small parties on the edge of death.

“I’m sure it terrified people,” said Eber, 91, speaking to the National Post by phone from her Toronto home.

And it’s why, as many as six generations after the events of the Franklin Expedition, Eber was meeting Inuit still raised on stories of the two giant ships that came to the Arctic and discharged columns of death onto the ice.

Inuit nomads had come across streams of men that “didn’t seem to be right.” Maddened by scurvy, botulism or desperation, they were raving in a language the Inuit couldn’t understand. In one case, hunters came across two Franklin Expedition survivors who had been sleeping for days in the hollowed-out corpses of seals.

“They were unrecognizable they were so dirty,” Lena Kingmiatook, a resident of Taloyoak, told Eber.

Mark Tootiak, a stepson of Nicholas Qayutinuaq, related a story to Eber of a group of Inuit who had an early encounter with a small and “hairy” group of Franklin Expedition men evacuating south.

“Later … these Inuit heard that people had seen more white people, a lot more white people, dying,” he said. “They were seen carrying human meat.”

Even Eber’s translator, the late Tommy Anguttitauruq, recounted a goose hunting trip in which he had stumbled upon a Franklin Expedition skeleton still carrying a clay pipe.

By 1850, coves and beaches around King William Island were littered with the disturbing remnants of their advance: Scraps of clothing and camps still littered with their dead occupants. Decades later, researchers would confirm the Inuit accounts of cannibalism when they found bleached human bones with their flesh hacked clean.

“I’ve never in all my life seen any kind of spirit — I’ve heard the sounds they make, but I’ve never seen them with my own eyes,” said the old man who had gone out to investigate the Franklin survivors who had straggled into his camp that day on King William Island.

The figures’ skin was cold but it was not “cold as a fish,” concluded the man. Therefore, he reasoned, they were probably alive.

“They were beings but not Inuit,” he said, according to the account by shaman Nicholas Qayutinuaq.

The figures were too weak to be dangerous, so Inuit women tried to comfort the strangers by inviting them into their igloo.

But close contact only increased their alienness: The men were timid, untalkative and — despite their obvious starvation — they refused to eat.

The men spit out pieces of cooked seal offered to them. They rejected offers of soup. They grabbed jealous hold of their belongings when the Inuit offered to trade.

When the Inuit men returned to the camp from their hunt, they constructed an igloo for the strangers, built them a fire and even outfitted the shelter with three whole seals.

Then, after the white men had gone to sleep, the Inuit quickly packed up their belongings and fled by moonlight.

Whether the pale-skinned visitors were qallunaat or “Indians” — the group determined that staying too long around these “strange people” with iron knives could get them all killed.

“That night they got all their belongings together and took off towards the southwest,” Qayutinuaq told Dorothy Eber.

But the true horror of the encounter wouldn’t be revealed until several months later.

The Inuit had left in such a hurry that they had abandoned several belongings. When a small party went back to the camp to retrieve them, they found an igloo filled with corpses.

The seals were untouched. Instead, the men had eaten each other.

I, reading this for the first time, have the look on my face right now.

honestly, i desperately want to see horror media based on these real accounts. you wouldn't even need to add any kind of supernatural element, just the cold, bare reality is enough.

part of the fun of the original alien is the horror of the nostromo itself imo. it’s a cell of corporate greed ferrying narrowly-trained workers across barren space. it’s huge and yet claustrophobic, cockpits crammed with machinery giving way to yawning berths dripping chains and water. the supercomputer is named mother in a stroke of human anthropomorphization, but instead of providing comfort or protection, it’s only a courier between its creator and its wailing brood. ripley yells “mother! mother!” at a matronly-voiced computer that speaks calmly over her helplessness. the ship is full of endless details and patterns and unlabeled buttons and dials the audience can’t entirely make sense of; to do anything on the ship is a rigorous, technical process, and we must depend on the characters to know it. the internal mechanics of the ship are so alien that a literal alien can hide among the bits and bobs and not be noticed. it’s great.

I'd like to add the appearance of the craft for anyone that hasn't seen it

Look at that thing. We get used to sci-fi where the spaceships try to look aerodynamic and cool, and the Nostromo went in the exact opposite direction. It is an entire industrial refinery floating through the void, matching the interior of overly complex panels, cramped spaces and chimneys dripping with water, chains dangling and clinking in the factory shafts.

It's enormous. It gives the impression of being understaffed by its sheer size - it doesn't seem to fit that a crew of seven, only two of whom are engineers, can be responsible for this towering manufactory, an implicit reference to the corporate mishandling at the core of the story.

It takes the symbol of antihuman greed - the factory with its barely paid, unsupported, physically endangered workers - and slaps it directly into space. It tells you that Weyland-Yutani did not invent exploitation, but is part of a repeating cycle that never ended even once we commodified travelling to the stars.

Its labyrinthine layout, exposed piping, its ridiculous size, it all gives the alien a perfect place to hide and hunt the crew, as if the alien turns the very ship against its passengers, which Ripley then discovers was an intentional collaboration from the start. Even the vent shafts they believe they can corner the alien in have an unforseen advantage in the alien's favour.

The alien doesn't want them, their employer doesn't want them, even their very ship doesn't want them, and it's the only thing between them and the vacant hostility of space.

Linus’ first encounter with the new farmer

10 Body Horror Films To Consider For October/Halloween

Childhood can be scary.

A collection of some of my hand-drawn horror looping animations!