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
#does this phenomena include haunted houses or creatures such as vampires or werewolves?#likewise zombies and their now proliferation? (via @levaagrace)
good question! i would say: it depends. the chuckying phenomenon is primarily relevant to creatures based on the horror of the unknown, creatures that are horrifying because neither the audience nor the characters know what they are dealing with. haunted houses frequently fall under that heading; in works from the amityville horror (1978) to night swim (2024), the house and its purchase represent a completely new phase in a recently changed family's life, and all the unknowns and fears that come with it. as such, of course, it's best not to put all your cards and special effects on the table if you can help it.
vampires and werewolves originally represented a similar fear of the unknown, with dracula and the wolf man (1941) presenting the creatures as embodiments of "the old world" that modernity (and empire) strains against, a sharp-fanged fear that there are still things in the world that science can neither categorize nor defeat. although some works like 'salem's lot take that same perspective—and, like their predecessors, avoid directly presenting the creatures for as long as possible—most audiences are familiar enough with the concept that there is no more sense of the unknown in those creatures or anything like them. as soon as you see a creature that's just a vampire with some more bells and whistles, you think oh, that's just a vampire with some more bells and whistles, and the only horror left in the movie is the jumpscares. in light of this, most works either go full camp, a la an american werewolf in london (1981), or shift tack to other questions, such as identification with humanity in a girl walks home alone at night (2014).
and, although the original hollywood iteration of zombies in white zombie (1931) is a fairly typical quasi-invasion fantasy relying on the fear of the foreign-unknown, everything since the seminal night of the living dead (1968) rarely bothers. indeed, i would say that zombie horror generally does the most of any strand of horror to establish the horror as fully scientifically known at the very start. the girl with all the gifts (2016) gives a thorough rundown of the ins and outs of the zombifying fungus, 28 days later (2002) literally has the virus made-to-order in a lab, and while train to busan (2016) and rabid (1977) don't waste screentime on precise scientific explanations, the audience gets to track the epidemic from its very inception. zombies do not hide, and they barely hunt. the audience sees them perfectly clearly, and the characters can understand how they work with perfect clarity (and even have the ability to cure them, as in the cured (2017))—and all this is not enough to stop society from disintegrating under their force. it's very easy to chucky vampires and werewolves in an ill-conceived story, and i've seen many chuckied haunted houses, but, although i've seen many bad zombie movies, i've never seen a zombie get chuckied
you sign up for the job because you want to save lives, and sometimes you get a chance to just be really, really, clear about "yes it is my job to save lives, there is an obstacle, and i am paid to use an axe to solve this problem"
this post's hypothetical by itself is already ridiculous but the thing that gets me is how the wording implies two very funny things that become funnier in tandem
1. "Accidentally, the pitcher tosses a Christian baby" means this is a mistake on the pitcher's part. i imagine the pitcher is breastfeeding on the field and they pitch and they look down at their hands and they see the ball still in the glove and they go "fuck"
The Color of Hope: Ambition, Necromancy, and Black Mana
Black is one of the most misunderstood colors in Magic: the Gathering, not least because it appears on the surface to be so straightforward. Look at the most iconic black cards of Magic and you'll see deals with demons, necromancy, mass destruction and cruelty and suffering–the trappings of classic fantasy evil. Even the color's symbol itself is a skull, a universal signifier of death and danger.
And in early Magic that seemed to be all it was. White was the color of Fantasy Good, black was the color of Fantasy Evil, and the rest of the colors were... fire magic? Elves? Whatever odd but intriguing skeleton affairs are implied by Time Walk?
Gradually, though, Magic deepened as both a game and a storytelling medium. The color pie grew into itself as a system of complementary philosophies, archetypes whose associated aesthetics were only part of the full picture. Their arrangement around the wheel, below, is highly deliberate; neighboring colors are said to be allies with a high degree of philosophical and mechanical overlap, while colors on opposite sides of the pie are known as enemies, more likely to disagree on fundamental levels.
Black stopped merely representing capital E Evil and became the color of striving for power; unlike its peers, black felt that nothing, least of all morality, could prevent it from seizing what it wanted. Mark Rosewater's 2015 article about black emphasized the color's focus on the self:
"Black's philosophy is very simple: There's no one better suited to look after your own interests than you... Many costs require the sacrifice of others for your own advancement. Because it puts itself first, black is always willing to make this trade. The weak must fall for the strong to thrive."
-Mark Rosewater
At its worst, black is an exploitative, amoral color that prioritizes itself at the expense of all others, allowing the "weak" to fall and scorning the very idea of compassion. Rosewater writes that black is "always willing" to trade others for itself. And these can certainly be parts of black's philosophy, when taken to its worst possible extremes, but they're far from the entire story.
Over time, Magic's outlook on black gained nuance. Magic story introduced protagonists like the necromancer Liliana Vess, whose craving for immortality, seemingly exploitative nature, and demonic deals called back to the oldest portrayals of black–and yet she was not one-dimensionally evil. She underwent character development over the years, learning the value of reclaiming herself and standing beside others, and at no point did she become any less mono-black for it. Remember her; we will come back to Liliana and her story later.
In addition to the usual death and decay, black cards began to feature a theme of relentless devotion. On the plane of Eldraine where each color represents a virtue, black's is persistence, explicitly as important as any other color. On the plane of Ikoria, the love between bonder and beast pulls Winota back from the brink of death. Wherever this Oathsworn Vampire printing is set, its flavor text is quintessentially black. It's the same self-driven attitude as before, but cast in a different light: black is nothing if not persistent when it's got its heart set on something (or someone) it cares about. Nothing, least of all the grave, will keep it down. After all, black will always come back for its own.
These newer cards uncovered the true face of black as a color capable of both great love and harm (sometimes even the latter for the sake of the former), and suggested a tantalizing new thread: perhaps putting yourself and yours first isn't all that bad, necessarily. Black is a deeply protective color; it says you don't just have to accept what you're handed, it's okay even to be furious about it (hello, ally color red), but let that galvanize you to do something about it.
Vraska, a gorgon who faces extreme discrimination on her home plane of Ravnica, triumphs by reclaiming herself, gorgon powers and all–and even more radically, loving herself. She displays traits often considered the purview of white and green, such as a love of home and a drive to elevate the oppressed, but they are all filtered through the lens of her black alignment. Vraska staunchly refuses to deny herself or her people, the Golgari Swarm, of their value. Nor does she allow law or propriety to prevent her from championing them by any means necessary–even if that means cold-blooded murder, or aligning herself with a villain like the Planeswalker Nicol Bolas.
"[Vraska] thought of Mazirek, of the kraul, of the rest of the Ochran assassins and the malignant Jarad who reigned with casual ruin over the most downtrodden of the downtrodden. She remembered her years of isolation, and the heinous cruelty of the Azorius, and how no group deserved to suffer as much as those who would subjugate her own.
Eliminating that hell was all she ever wanted."
-The Talented Captain Vraska, Alison Luhrs
Like Vraska, black loves fierce and hard, willing to break any taboo for the sake of those it cares about. And it whispers, the entire way through, you are enough. You deserve better. No matter what others may say or do, you are enough.
"If I am to be met with disrespect, then I must first love myself with a fierceness no fool can take away."
-Vraska in Pride of the Kraul, Alison Luhrs
Even black's "ruthlessness" isn't as fundamentally cruel as it appears, centering a passion for problem-solving (shared by its other ally blue) instead of a blunt disregard for others.
"People don’t understand the word ruthless. They think it means 'mean.' It’s not about being mean. It’s about seeing the bright, clear line that leads from A to B. The line that goes from motive to means. Beginning to end. It’s about seeing that bright, clear line and not caring about anything but the beautiful fact that you can see the solution. Not caring about anything else but the perfection of it."
-K. A. Applegate
All of this comes together to make a black a color not of evil but of strength, integrity, and persistence. And that's all well and good, but I'm going to take it even further and put forward a new proposition: that black is the color of hope.
Of the nine mono-black Magic cards with "hope" in their names, all but Liliana portray black as an instrument of hope's destruction. This is, once again, black's flaw taken to its extreme–crushing others to achieve its own ends–but neglects black's own relationship with hope.
Black, more than any other color, requires hope to stay alive.
For black to persist, it must believe in a light at the end of the tunnel, a future in which its goals are realized. As long as it does, it will endure any hardship, walk through fire, and turn reality itself upside down on its way there. Primal, desperate ambition is the engine of hope that burns at the heart of black, keeping it always one step ahead of stagnation. Bitter and stubborn, black believes tomorrow will come because there is no other choice. After all, for black to relinquish hope is to let itself wither, regress, and die–an unacceptable outcome.
Thus, it is monumentally difficult to strip black of hope. That only makes it all the more crushing when it happens, when black contends with the idea that there is nothing it can do.
Black's deepest, darkest fear is helplessness.
Like any mono-black character, Liliana Vess is driven at her core by a seething, desperate hope. When Liliana first unlocks her necromantic power, it is out of a sheer refusal to allow her ill brother Josu to die, even when the esis root that would cure him is destroyed by enemy witches in an undead-raising ritual. She defies her previous training as a healer, which taught her only to take the safe path, in favor of a higher-risk and higher-reward approach: stealing life from the witches themselves to restore power to the esis root she needs. It is her knowledge that her brother needs her, and her sheer stubborn will to succeed, which allows her to defeat the witches against steep odds.
"Six foes, and Liliana stood alone. But Josu's life depended on her, and the power blossoming within her was more than enough."
-Liliana's Origin: The Fourth Pact, James Wyatt
Tragically, however, Liliana's attempted cure goes horrifically wrong, transforming Josu into an undead being plagued by eternal suffering. In his pain, Josu attacks Liliana. For a while Liliana holds out hope, finding the power to fight back while she determinedly searches for a spell to reverse the harm she's done. It is when she realizes this isn't possible that her strength falters.
"All this time, she had believed… that she could turn the power of death to the service of life and health. That a healer should use every tool at her disposal. But Josu was the result, a horrible fusion of life and death, and all her spells meant to manipulate the life force of the living could do nothing to harm the dead."
-The Fourth Pact
Liliana learns that even her own dark magic, fueled by determination, cannot solve the problem she's created. She discovers the hard limit of her willpower, and the despair of this discovery is what causes her Planeswalker spark to ignite.
At this time Planeswalkers are as gods, immortal and near-omnipotent. Liliana spends decades enjoying this affirmation of her capability before the Mending strips her and all her peers of their power, reducing them once again to mortal mages.
"Then the Multiverse reshaped itself, robbing her—and every other Planeswalker—of the godlike power they once had wielded. Some called it the Mending, as if something broken had been repaired, but to Liliana, it seemed the opposite. It broke her beyond any hope of repair."
-The Fourth Pact
Once again, it is Liliana's fear of helplessness and her refusal to accept it that drives her to push beyond the bounds of propriety–this time, to make a pact with Nicol Bolas and four demons to maintain her immortality. It is not enough for her merely to delay death; she requires the security of knowing she is fully beyond its reach, that she will never be helpless before it again as she was with Josu.
"Holding death at arm's length for whatever years are left to me? No, that's not enough. I want to be free of its shadow."
-Liliana in The Fourth Pact
Black isn't like its enemy colors white and green, which are superficially associated far more often with hope. Unlike white, it doesn't believe that conviction, justice, and community will bring about rightness. Unlike green, it doesn't trust in the wisdom of the world or the natural order. Black believes that nothing will change unless you make it change; ultimately, black's self is the only one it can trust to bring about the world it needs. In addition, black lacks its enemies' idealism. Instead, it strives to be a pragmatic realist, making a final assessment of defeat all the more definite and crushing.
While white and green are more amenable to finding hope and holding it aloft as a banner, black claws hope desperately to its chest with shredded, bloody fingernails. Every ounce of hope black has, it tore by itself from the clutches of an uncaring world.
Ironically for such a self-driven color, black's fierce hope is the greatest asset it can provide to others–on its own terms, of course. It was Liliana who turned the tide of battle against the Eldrazi titan Emrakul, defiant in the face of cosmic despair. And when Nicol Bolas made his bid to return to godhood, using Liliana's necromancy to command his undead hordes, Liliana finally turned against him. In reclaiming her power, so too did she use it to free her fellow Planeswalkers from Bolas' assault. Her fear of helplessness no longer shackled her to him; agency and autonomy were hers at last.
The triumph of black, its moment of ultimate victory, is the hard-won fulfillment of its hope.
"Do not go gentle into that good night.
Rage, rage against the dying of the light."
-Dylan Thomas
An aetherborn, railing against the shortness of their natural lifespan, constructs a new body for themself with their own bare hands. An artificer's grief over her lost companion causes her to push invention to its limits. A young girl who loves her brother calls on the darkest of powers to save him. As it turns out, necromancy–that original thematic keystone of black–is only one of black's many, many refusals to let go of love and hope once it has them, even in the face of the ultimate end.
Time and time again, black–in love with life, ablaze with hope–looks the Grim Reaper in the eye and tells it: "Not today."
*text pops up saying “this is not true. He saw this in a youtube video once in 2014 and took it as fact”. the words “youtube video” are underlined and in blue”
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