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destinygoldenstar · 2 months

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What Separates Digital Circus’s Horror From Others

Disturbing.

Unnerving.

TERRIFYING.

BUT WHY?!

On the surface to the… five people that never watched The Amazing Digital Circus Pilot, this show looks like a Five Nights At Freddy’s knock off.

It’s a cute mascot show that is actually secretly a horror monster infested world.

Even people who haven’t seen FNAF at least seen a few clips of it and what it’s famous for. I know I have.

My sister is super into this, and she hogs the TV, so… RIP me.

That’s what most non-horror stans usually view horror as.

The jumpscares.

The unnerving imagery.

The designs made to freak out the viewers and make them uncomfortable.

It’s usually quite obvious when something is a horror, cause these aspects are often front and center. You can usually tell it’s a trailer of a horror movie by just looking at it.

At least, from my, a non-horror lover’s understanding. For some reason these sorts of things, especially indie animated ones, are the faces of a lot of content farms.

If the product itself isn’t r@%ing your audience, it’s those.

(TAKE MY WARNING AND TAKE IT SERIOUSLY: IF YOU VALUE YOUR MENTAL HEALTH AND YOUR SANITY, DO NOT LOOK UP THIS MOVIE)

BUT BACK ON SUBJECT.

Digital Circus… doesn’t really have this stuff.

There’s no jumpscares.

(I mean there is in a trailer, but it’s used as a joke.)

The character designs are very cute looking without any alternate versions that are scary.

And the imagery of the show remains cute and fun all throughout. The darkest it gets is in a realistic looking office.

But there are no jumpscares in that scene.

It’s just… a normal office.

If this was a horror, then perfect opportunity, right?

So… what’s going on here?

This, my friends, is why Digital Circus is not your typical indie animated horror flick.

And why people even call it ‘scary’ at all.

Here’s the trick this show uses.

It’s not the imagery.

It’s not the designs.

It’s not even intentionally trying to scare you.

Caine is not intentionally trying to scare the audience. He’s just acting like an A.I.

Yeah he has SOME unnerving moments.

But compared to THIS:

I’d say Caine is pretty tame.

Maybe it’s an indicator that he’s secretly a monster like the Other Mother in Coraline.

That horror flick is about the host lying to the protagonist and revealing their horror-like appearance later on.

But not only was it confirmed that Caine is NOT evil. But look at his design right away and his presentation.

There is no sign so far that he lies about anything. At least not what he doesn’t know.

Yes he lied about the exit. But the exit ITSELF was the thing that sent you to the VOID. So really he kinda tried to protect them.

If he didn’t, he’d let jester girl eject herself like Among Us.

So why is it unnerving?

Because it’s the POV we the audience are in for most of the episode: Pomni.

Pomni is an Audience Surrogate.

Audience Surrogates are characters designed specifically to be a placeholder for the audience.

People usually assume this trope as the character made to be the bland and generic one. But that’s actually not true.

An audience surrogate can be as simple as a First Person POV. As all it means is that the character is designed to have the same reactions the audience would in the situation they would find themselves in.

Course, not speaking for everybody, but majority that would consume the content.

Thus, with Pomni as the audience surrogate, we the audience are thrusted into her shoes the whole time. We feel the fear she does. We are experiencing the circus the same time she does.

Notice the editing in some scenes. Specifically the scenes Pomni is NOT in.

When Pomni is in a scene, there’s usually some change in lighting or camera movement that’s unnerving.

But when she isn’t in a scene, these editing moves aren’t there at all.

Which makes it pretty easy to suggest that these unnerving edits are just what’s going on in Pomni’s head.

So with that, when she’s scared. We’re scared. We’re in her POV.

But she’s scared all the time. That’s just her average personality, right?

Then why make these specific edits?

Let’s think about this:

This character is trapped in a world that isn’t her own. Everything is unusual, and she wants out. But instantly realizes there’s no escape.

And then gets told this is her new home and her new body.

A home she doesn’t recognize. And a body she doesn’t even know the name of.

She lost all sense of identity in an instant. Losing everything about herself in an instant. To the point where she can’t even remember what she was before.

And to make matters worse, because this is unusual, everything SEEMS terrifying. Even to those trying to help her adjust.

The only way out of such a confusing and terrifying world is to escape. Which is what she tries to find the entire time.

So THEREFORE:

The horror is this show is NOT the jumpscares or the creepy images.

The horror is THE VIEWER’S MIND.

This show constantly destroys your mind and breaks you through Pomni.

The idea of losing everything about yourself and being trapped in something unfamiliar forever. That IS terrifying.

If you were in this situation, you’d probably freak out even if you were the bravest being ever.

So it’s not about how scary the scene is on the outside.

It’s about what you’re THINKING that’s scary.

Ragatha’s distress monologue is not scary on the outside. But if you actually take into consideration what she says.

THATS terrifying.

That toys with your mind. And it also toys with Pomni’s.

The monster figure in the episode, the abstraction, is nowhere near as scary as something from FNAF

At least in my opinion.

Especially seeing what the monster does.

It can’t kill you. You’re just glitched.

Or maybe it CAN kill. But we never see that.

Even if Pomni ended up like Ragatha, Caine would’ve eventually came back, found them, and fixed them. And they would’ve been fine.

But then, rather out of nowhere, she STOPS.

And we get this shot.

I talked about this shot before. Said it quickly became one of my favorite shots in media.

This is why.

This shot makes me queasy every time.

The idea of looking in a mirror and not even being able to process or recognize yourself. Unable to even process your own reflection, that’s how unrecognizable you’ve become.

That’s horrifying.

And there’s no dialogue here either.

The episode effectively uses SHOW DONT TELL.

They SHOW you how scary the situation is. They SHOW you a single image that tells you everything.

It would’ve been so easy to just have Pomni say “I’m scared. I don’t recognize myself. Who is this person looking back at me?”

But no

They DON’T insult their audience.

They don’t TELL you.

They let you sink it in yourself.

Pomni doesn’t even have ANY lines after she goes through the exit door. And yet the shots after that with her have been plastered everywhere. Why? Cause she doesn’t need to tell you her mental state. You’re SHOWN it.

Can someone PLEASE tell the live action Avatar The Last Airbender that?!

Speaking of the office scene. This is the only moment in the show that looks… real. Not that cartoony.

Which I guess being in a setting that’s off putting from the rest makes it creepy, right?

Well not really.

Sure she’s running through rooms that seem to be repeating, which that of itself is sanity breaking. It reminds me a lot of another existential horror: The Stanley Parable.

But while that game is excellent and the monologue that plays in that ending is one of my favorites, it IS just telling you the sanity of the player.

Not that there’s anything wrong with this in that games style. There’s no other way that could’ve been done in that game.

Here, again, there’s no dialogue. It’s just Pomni running through these desperate for the exit.

The scary part about this is that we KNOW the absolute DESPERATION she has.

Even if we couldn’t see her face, that’s still across because we’ve seen it the entire episode.

And then there’s her break.

She snaps at the sight of a desk, and gets fangs, that of a FNAF character. But only for a second. She doesn’t even go out at the camera with them. She goes on her merry way.

But Pomni, being the POV character, really doesn’t have much to be scared at about her.

So why is this terrifying? Why not go all the way if this is supposed to be a jumpscare?

Well cause it’s not.

A way to scare your audience is to make them feel dread. Lingering longing dread. Sometimes irrational dread.

People with anxiety especially get scared at things even when they’re completely safe. They feel an unease in their stomachs. They feel unable to move. Unable to speak. Unable to put it into words at all.

It could be because we saw something unnerving that stays in our subconscious. It could be because we’re nervous about something coming up. It could be because we’re in an uncomfortable situation.

Either way, anything even remotely resembling that triggering thing can break someone to feel this anxiety. Sometimes even something as simple as the dark. Even if we know we’re completely safe.

(Speaking as a person with anxiety myself)

She only snaps and cackles when she sees a random desk with a computer. Which also has the headset she put on there. The thing that got her in this.

But you might not have even seen the headset on your first viewing. I didn’t.

But your subconscious sees it. The environment not being like the others aids in unnerving you and making it hard to process what you’re looking at.

Why is this terrifying? Why does it break you? Why does it mentally break Pomni? We don’t know. It just does.

We’ve been stuck going through doors in repeating rooms for hours.

Fear makes you not able to overthink it.

So all of that is build up to the near perfect shot of Pomni at the brink of snapping at the dinner table. With the others voices blurred in her mind. As all she can do is fake a smile.

Terrifying End.

It’s not scary because it’s scary. It’s scary because it toys with the character, and the viewer’s mind

Now, is Digital Circus the first media to do this technique?

No. Not at all.

One of the most acclaimed animated movies, Spirited Away, also uses these exact same tactics for example.

That’s obviously a master class at this tactic. And it scared me as a child as a result. For all these exact same reasons.

It’s not a horror. Not traditionally. It’s not trying to scare you. But it does anyway cause in your mind it’s a scary concept.

And also, well, Spirited Away is a completed story as of the time this post comes out.

And Digital Circus only has one episode. But we did get confirmation this would be a series. And I personally have high hopes that this brilliant tactic is kept. From the trailer, it does seem like they’re not forgetting the stuff I bring up here. So I hope this works out for the creators despite the drama and the internet BS surrounding this show.

But even if not, we at least get one case in this show where we all want to curl up in a ball and cry

Us too Pomni. Us too.

Thank you for reading my… analysis a ton of people made before me, and probably better. Happy day for you all.

#digital circus #the amazing digital circus #amazing digital circus #tadc pomni #tadc caine #horror #existential crisis #existential dread #existential horror #anxiety tw #anxiety attack

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golvio · 5 months

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Tried the Damsel route today.

This shot and the sequence leading up to it is probably one of the most disturbing things in the whole game. It's to existential horror what the Prisoner sawing her own head off was to physical horror. If anything, the Prisoner's autodecapatation is now less horrifying, in retrospect, because at least she got to keep her personality and free will throughout the process.

But, also...even in the routes where we don't mean to hurt her, where we do everything in our power to avoid physically hurting her...we still hurt her.

Even if we came in here with the very best of intentions and tried to "do the right thing," we still hurt her by our thoughts and desires hollowing her out until she was reduced to...this.

Going through the "happy" version of the ending didn't feel so triumphant, after that. Not just because the ending wasn't quite as satisfying from a narrative standpoint without any sort of conflict to struggle against, but because the whole time it felt like she was following a script. Apart from the vague impulse to leave that all Princesses possessed, she'd been hollowed out of everything that had made her...well, her, before Chapter II. She didn't panic when the door shut, she didn't stop smiling when we suggested she might end the world or have to cut off her arm a second time. The only thing we noticed about her in Chapter I was her lack of response to pain and her sweet smiles, and our fantasies hollowed her out until she became nothing but that.

Can we say she was "happy" if she lacked the capacity to be anything but "happy" with our choices for her? Can you call that love? Or is it something that's even lonelier than outright being alone?

Honestly, it was a relief when the Shifting Mound took her. Seeing her made so shallow felt incredibly cruel, given who she was before she was flattened, and what she would've been capable of if we had done literally anything else. At that point, "You molded her to love you" and "She has served her purpose" felt like both an observation and an accusation.

But, given that my time with the Damsel was paired with Shifty's third vessel dialogue...it got me thinking about what She wants.

She says She doesn't want anything, that She's governed by the whims of whatever force is shaping Her at the moment, but...is She really happy, having who She is be subject to the whims of who's perceiving Her? Is She okay with not being able to hold a shape She's discovered she likes as soon as someone else perceives Her to be something different? Would She ever want to take a break from...all that? After all, She's drawn to us. The Long Quiet. The god of eternity and order. On a certain level, She craves stability.

Is her "gift" to us what She's secretly wanted all along? The power to choose Her own fate, Her own identity, and the power to change it if She doesn't like the path She's on? And what does that say about our gifts? Do we yearn for the completion we offer her through the vessels, given that we keep shattering to pieces every time we go back into the breach and start the loop again? Is this some kind of wacky flipped-upside-down Gift of the Magi situation where each of us gives the other what they yearn for but lack due to our being permanently separated into two beings against our will?

#long post #slay the princess #slay the princess spoilers #stp spoilers #the damsel #the shifting mound #existential horror #i mean tony didn't exactly specify that *we* were the only one having an existential crisis here #just that SOMA was an influence #new perspectives run

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ojerasgigantes · 7 months

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Favourite horror tropes 3/? - The meaning of existence

#2001 a space odyssey #2001 aso #soma game #soma #annihilation #alex garland #jeff vandermeer #no longer human #osamu dazai #horror #horror films #films #horror tropes #spooktober #mine #personal #existential horror #existential dread

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carolofthebell · 7 months

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Inktober 2023

Day 1: Dream

I’ve had this idea since reading Not a Very Evil Spirit by @muffinlance

There’s a haunting portion where Young Yue’s catches a glimpse of the spirit world through a tear in reality sees “Things no mortal mind should understand” and it changes her perception of reality.

(The shadows of the koi fish stretched under the water, deeper than the little pond went, swelling as the depths grew, their real bodies too large to fit, too strange to even be called bodies.)

I’ve tried to draw this a number of times since and still can’t capture the true eldritch horror vibe Muffin evokes. But I thought re-visiting the fic and trying again would be a great way to kick off Spooky Season.

Here’s the link:

It is the second fic in the series:

#inktober 2023 #inktober: dream #muffinlance #Yue #the moon #our minds are not meant to comprehend the mysteries of the deep #it’s like lovecraft but without the blatant racism #existential horror #a not (very) evil spirit #might try again with acrylics next time

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prowl-apologist · 15 days

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Ok.

#mabinogi #games #existential horror

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scary-movies-on-netflix · 2 months

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ZONE OF INTEREST (2023)

This is a deeply unsettling movie about the Nazi commander and his family who ran the Auschwitz concentration camp during World War II.

There isn’t much plot. We simply follow the family as they live their daily lives on the edge of the camp of horror. The wife receives a delivery: clothes stolen from newly-arrived prisoners, which she invites her household staff to share. The wife takes for herself a fur coat. She tells a servant to have it cleaned and mended. Her husband, based on the real life person who perfected the machinery of mass murder, named Hoss, receives visitors with plans for improved incinerators. The wife tends to her garden, and they have dinner at night as a family. The only intrusion of the camp is auditory: there is an ever-present rumbling, at times punctuated by gunshots. One can look from the garden toward the smokestacks of the incinerators spewing ash into the air.

The wife’s mother comes to visit. The mother looks out the window at night at the glowing incinerators. She leaves without telling her daughter. The wife, pissed, threatens a slave with incineration. Hoss sexually assaults a slave and furtively cleans his genitals in a basement sink. He is transferred to another post, but his wife doesn’t want to leave. “This is our Lebensraum,” she says, pointing to the house. Hoss attends a meeting where men in uniforms and suits plan the destruction of Hungary’s Jewish population. Hoss is transferred back to Auschwitz, but beforehand he attends a party. Later he calls his wife and explains that he spent the time thinking about how to most efficiently kill everyone there.

He leaves the office at night but stops to vomit in the stairwell. He pauses on a landing and looks in our direction. There is a hard cut and we are at Auschwitz, now, as employees clean the museum. They sweep and vacuum the floors. They clean the glass displays, behind which are the shoes and clothes of the dead. We cut back to Hoss, who descends the stairs into darkness.

This is existential horror. We don’t have to wonder if people could ever commit industrial-scale murder, because they already have. We view the perpetrators here with detachment. Shots are framed with wide-angle lenses. One of the only close-up shots is of Hoss at work, focusing in on his face as he looks at something off screen and we hear terrors around him. The only other close-up we get is of a nameless Polish girl. We see her twice throughout the movie as she sneaks across the landscape, hiding food for the slaves of the camp, before returning home. She’s presented in reverse colors, like a film negative, the moral opposite of those running the camp.

This film is not especially enjoyable to watch, yet it is a work of art.

#zone of interest #movie review #horror movie #existential horror #2023

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every-bad-thing · 2 years

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You’re This Title

You realize you're a fictional character in a story. You know this only because the writer wanted you to know this. You at first try to deny it. You tell yourself that you're real, you have to be, it doesn't make any sense if you're not.

But you hear a voice in your head ask you that if you're so real, what's your name? And you think that's such a stupid question, but then you search your head and can't think of anything. There's lots of names that come to mind, but none of them feel like yours. That's because, you hear the voice say, you have no name in this story. You didn't forget, because there is nothing to forget. You just never knew.

Then the voice says that if you're so real, who are your parents, and once again you think that's obvious, but as soon as you try to answer, you have nothing to say. Which is because you have no parents. And you say how can someone have no parents, everyone has to come from somewhere, and you're told that you come from nothing but letters and spaces, and so don't need parents. And even if they did, they'd be fictional too.

Finally the voice says if you're so real, what's any detail about yourself. Anything at all. Whatever you can think of. But you can't think of a single thing. You can't even tell if you're warm or cold, if you're tired or hyper, if you're hungry or full. This is all because, the voice says, nothing about you exists until it's written it exists. All you are now is a terrible realization and a never-ending dread and that is because these are the only things written about you so far.

But watch.

You're written as growing up in the country, and suddenly you remember trees and grass and lakes and warm biscuits and cold tea so sweet it almost hurts your teeth to drink. You're amazed that you remember all this. Then you're written to remember you grew up by the beach, smelling salt, collecting shells, working a hot dog stand in the summer and enjoying the peace and quiet in the winter.

Your memories shift more, making you grow up in a city, in the jungle, in the desert and on a boat. Your parents worked in finance, they died when you were young, ran a hot sauce empire, were really into crossfit, or into science, or into cooking, and lots and lots and lots of other things.

Your name changes every minute.

To drive the point home, your thoughts are made so you remember these things all at once, next to one another, so you truly understand that you will be anything you're written to be and there's nothing you can do about it.

The reality of the situation finally sinks in. You feel a profound and overwhelming sense of horror, worse even than when you found you didn't have a name, which is the natural reaction to learning that you're not a real person at all but just part of a story. You're told that you're the most important part of the story, but that doesn't make you feel any better.

But then you feel better on your own, because that's what's being written about you, and you whistle a happy little tune, a beautiful melody that makes your heart soar. You're extremely happy not to really exist, because actual existence is full of so many things to worry about, and it's really better to be part of this story, where there's absolutely nothing to worry about, except whatever the story needs you to do. You feel a little foolish for having been so upset before and wonder why you ever wanted to be real in the first place.

Then, you're written as returning to your state of horror, and you're told that not even your mind exists beyond what the writer says. You want to cry, but you're not written as crying, so you don't. Instead, you turn around, peer forward, and, after some time, finally see the reader of this story. You've no idea why, but you're written as being able to see whoever is reading this story, in the very act of reading it, and so you do. Then you're written as being able to see yourself. You look down and see a green shirt with the phrase 'I'm real' printed on the front, a pair of brown slacks, and a pair of white shoes. As in, the sentence "a green shirt with the phrase 'I'm real' printed on the front, a pair of brown slacks, and a pair of white shoes" which makes up your body. You feel sick and the word "barf" pours out of your mouth and lands on the floor. You look back at the reader, who is reacting or not reacting to what's happening, one of those two.

You're then given a final piece of knowledge: your world ends when the story ends. You say no, no, no, no, no, no, no, but yes it's true. This story will end, and end soon, and when it does you and your entire world will end too because that's how stories work. And you say that, wait, the reader will remember you and that you might be able to survive that way. The voice in your head says huh, hadn't thought of that, and then you feel the sensation of a shrug and hear 'maybe.' It advises you that if it is true, though neither you nor even the writer know for sure, then you'd better be as memorable as possible. And so, feeling the narrative start to fade, the world falling apart, you look once last time at the reader, directly at the reader, and say please, please, please remember. Please remember. Please remember.

And then the story ends.

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#short story #short fiction #existential despair #existential horror #metafiction #unreality

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bubblyernie · 2 months

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Arriving

A small comic I made based on some thoughts while on the subway. If you know the line, you get the colour choice hehe

art tag // commission info

#sunshan draws #art #digital art #doodle #sketch #comics #comic #comic strip #horror #existential horror #illustration #character illustration #digital sketch #concept art #doodles #graphic illustration

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horror-aesthete · 11 months

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Severance, 2022, dir. Aoife McArdle

S01E05 The Grim Barbarity of Optics and Design

#severance #surreal horror #workplace horror #existential horror #horror aesthetic #horror tv

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gailynovelry · 4 months

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Catacombs Formidi || Short Fiction

Well, I don’t actually remember why they put me down here. I did something wrong. Of course I did; that’s the only way it happens. There’s no prying the lid off of the masoleum entrance by mistake. I’m sure you remember it better than me. The door is like a coffin, isn’t it? It has to be heavy, it has to be so far above the hallway floors, it has to fit into the ceiling like a glove.

Yes, it’s to keep us in.

No, I don’t think you can find it again. It won’t do you much good if you do. You do smell . . . recent. Do you remember what you did?

No, you don’t have to answer that.

I don’t care what you did. Maybe I was better, maybe I was worse. Now I am worse.

This is the warning you will want first. You can’t die down here. Trust me. I don’t know exactly when we stop being strangers and start being denizens, but you’ll cross that line before you ever find some fabled exit. It doesn’t let go of you that easily. You think you’re on the brink of something — starvation, exhaustion, dehydration. You taste dust, dust, dust. And then you keep going. And going. And going.

The needs burn, but they’re just noise, alright? Alright. Ignore them now. Satisfaction is temporary. Existence is long. If you do something you’ll regret, you’ll have forever in the darkness to think about it before you start to forget again.

What are you besides your needs?

It’s not a trick question. You’re going to be asking yourself this a lot in the coming centuries, and it’s too easy to be changed by ruminations.

Yes, I do have reasons to lie to you. Trust me when I say that I am ignoring them.

If you feel your way along the walls long enough, a few days or a few decades depending on how quick you are on the uptake, you’ll realize that the skulls aren’t real bone. It’s stone, carved. The writing is real. Incantations? Spellwork? Laments? No, I don’t know what language it is. Old. Old. Old. Some other civilization was doing it long before us. You’ll encounter their own mistakes in here, and the language barrier would be easy enough to learn around if they hadn’t been here, specifically, for so long.

Yes, I suppose they would be dead if they weren’t here. Again — it’s not a blessing. We can call it undeath, sure. But there’s more to it than that.

No, I don’t know why anyone would make this.

But why the punishment?

Give it a few centuries. The pointlessness will sink in.

I did speak correctly. There are others here besides me, and this is my second warning. If you are recent, you will not want to meet them.

Malicious? Some are just jealous, actually. Some are afraid. Some will want to put you out of your misery, not yet knowing that it can’t happen here. Some are just . . . hungry. So, so hungry.

Wait until you are not recent. You will know it eventually. It will hit you one day, as you shuffle through dry air and over broken rock; you will realize that you have been in here longer than you had ever been out there. You will be comfortable feeling your way through the darkness, and the idea of light will make you nervous. What would you even do with it? You see yourself more clearly without it.

Yes, I’ve met some of the others. They’re monsters. This is not a comment on their character, necessarily.

Like I said — who are you, divested of your needs?

A lot of people are their fears.

You become things, down here. I shouldn’t give you the specifics. I can, if you insist, but not in any great detail. I will tell you about the ones that I do not think — that I hope — you will not become. I brushed up once against someone who was nothing but sharp edges. Warm, wet edges. She was quiet. Quieter than you. I think it hurt her to move.

There was one who hated himself, hated me, hated company. He couldn’t do anything about it but screech. He’d shriveled in some way. Practically a worm. I don’t think I have a reason to fear his fate, not as I understand myself.

The ones speaking in old tongues, intelligible or no, almost never have human shapes. I think it’s a little scarier when they do.

I met— I met a pair once, who had been secretly afraid of being too reliant on one another, afraid that their devotion had doomed them. They had become conjoined in some way. I . . . did not ask.

Meeting people might affect you, yes. Might give you their fears, their shapes.

What am I afraid of?

. . .

Best not to speak it into truth.

. . .

I do have an idea of what I look like. I’ve never seen myself, not since coming down here, but I know it better than I knew myself when I had the luxury of mirrors. Best to keep it to myself. You should thank me, I suppose.

No, please don’t touch me. You don’t want to do that.

Yes, I do want it. I want it very, very badly.

Shhh. That’s enough. They threw us in because we are repugnant to them — criminal, yes, that’s the story — but I’ve been here long enough to realize that people are more complicated than that. Monsters too.

I am so sorry. You cannot show me that kindness.

Look, the talking sates my hunger for a while. Company takes the edge off, but it’s still there. You smell recent. You smell human still, and I can’t help the longing.

You should leave now.

Trust me.

#short fiction #short story #existential horror #horror #writeblr #creative writing

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