#post-modern horror

[thekidsfromyestergay]

Just saw a video like "um actually rocky horror isn't good queer representation because frank sexually assaults janet" girl he kills and eats people. It's called the rocky HORROR picture show not the rocky cute gay rep tw t-slur picture show

[reds-skull]

Me: damn I feel like painting Soap rn

Me an hour later: but what if I completely fuck him up tho

(inspired by this painting by Zack Zdrale)

[moondirti]

would anyone be interested in familiar!ghost x witch!reader 👉🏼👈🏼

vague horror, cottage-core meets cabin fever and a very unsettling cryptic simon who refuses to do anything for you without a proportionate enough sacrifice

[hellterskelter]

Samara Weaving beginning / end of Ready or Not (2019)

[lunarrosette]

Folks have we considered Trudy is not a robot but instead some sort of eldritch horror her husband made or somehow brought about to have the “perfect wife”

[thatscarletflycatcher]

"Isn't it great how much better acting is these days compared to older movies that were so exaggerated and theatrical?" I have news for you about art and naturalism being a style.

[mamoonde]

mdzs ancient magus bride au where

yiling laozu is the mage risen from the nightmares and resentful energy of the burial mounds, neither human nor fae

and lan zhan is a pre-adolescent, rare and very coveted dragon halfling, one of the last known alive, captured and sold at an underground auction.

the yiling laozu buys lan zhan to rescue him and takes him away to their remote little cottage in yiling. lan zhan is understandably mistrustful at first, but a week of living with this strange, kind, dark being who treats him as a person instead of a slave or rare artifact, well.

lan zhan falls.

and when lan zhan proposes to stay by the yiling laozu's side forever and ever and be his, the yiling laozu laughs it off and brushes it off as the whimsy of a duckling imprinting on the first carer it meets. a fleeting childish phase. perhaps lan zhan has more human in him than dragon, the yiling laozu thinks. they are always so easily swayed by emotion...

but lan zhan is determined.

and so, as lan zhan grows up, he learns more about his dragon-side, his magic, his whole self. and he trains hard to be a suitable for the yiling laozu. he takes note of the yiling laozu's likes and dislikes, carefully tests his boundaries, tries his best to show how much he loves the yiling laozu in every way.

and then when lan zhan comes of age, he gets discovered by his kind - he learns he has a dragon brother and a paternal uncle. he leaves to spend a year with them, with his kind, far and protected in the unreachable mountains of gusu.

when he leaves the yiling laozu's cottage - a place that's felt like home more than any he remembers - he's barely shoulder-height (head-to-head if they count his antlers) of the man who makes it home.

the yiling laozu waves goodbye, feels a bit of pain and heaviness in his chest and thinks, oh, this must be what "missing someone" feels like.

the year trudges on like a slug.

the yiling laozu misses lan zhan more and more, sees his tiny serious face in every little nook in his - their - home. which should be weird, because he has had this house for longer than lan zhan has been here. and yet it feels incomplete to be in it without lan zhan there.

so he spends less and less time in it, spends his days where it's less empty, hoping the loneliness will fade away.

it doesn't.

until one day, as the yiling laozu drags his feet back to his house - dreading another night in a cold, empty space - he finds something is different.

the lights are on and there's a fire going.

and outside, on his doorstep, there's someone there.

the person standing by his door is huge - tall and broad, maybe something familiar in the regal set of the shoulders, the stiff-but-not posture.

it's the golden eyes that freezes the breath in his lungs, that force his feet to move, like a lighthouse guiding him home.

"lan zhan...?"

the yiling laozu feels strange. he feels light and heavy at the same time, hot and prickly even though the air remains the same temperature.

the lan zhan before him is more dragon, more man now than boy. so much of him has changed -- has his gaze always been so intense?

"i have come back," lan zhan's voice has lost its adorable pitchiness; now it is deep and smooth. like rumbling thunder, the call of the heavens. "wei ying."

the yiling laozu freezes. the name - those two syllables that no one has called him by in-- in a long, long time.

it feels like lightning in his bones.

distantly, his own words echo back at him, spoken to a then younger lan zhan.

"if you still feel that way when you come of age, you can call me by my name." "what is your name?" "now that is a secret! only if you are determined to call me can you do so." a small pout. "already am."

"oh, lan zhan..."

"though my mother was human, the dragon blood in me is strong." gently, lan zhan takes his hand in his. "did you know? dragons only love once. for the rest of their lives."

wei ying smiles shakily, " that's a shame then, surely you want a redo?"

lan zhan's hold tightens, another hand cupping his face.

"never." lan zhan presses a gentle kiss on his knuckles, almost an affectionate nuzzle that washes wei ying's hand with a cool breath. "i will only ever want wei ying. i will always want to be by your side."

and isn't that a tantalizing offer.

the yiling laozu has lived long - longer than even he remembers. and the immortality has only ever hammered in the fleetingness of life, the loneliness of time.

and yet here lan zhan is, offering him the promise of something a little more permanent. perhaps it was fate that wei ying had chosen to settle down in a house in yiling, a scant few decades before he met lan zhan.

perhaps it was a sign, that wei ying only ever called it home, when lan zhan was there to call it home, too.

[finalgirlsamwinchester]

The Searchers (1956) dir. John Ford | SPN 1.18, 'Something Wicked' | SPN 1.14, 'Nightmare' | Jean Baudrillard, Simulacra and Simulation | Frederick Jackson Turner, 'The Significance of the Frontier in American History'

[totesmgoats01-published-author]

KinitoPET, Doki Doki Literature Club, Pony Island, and The Beginner's Guide: Some Autistic Gamer Thoughts

This is gonna be a long post and not exactly my usual kind of post but I hope some people like it anyways and are able to read the whole thing. I'm kinda just infodumping some thoughts but still.

I really like all of these game. I really like them. And I sort of relate to them in an unexpected way that I think most of them (with the exception of The Beginner's Guide) did not intend.

I think the link between the first two is easiest to explain so I'll start there.

KinitoPET and DDLC are both games about computer program, who has a singular, hard-coded purpose, becoming sentient and taking that purpose to an extreme. And similarly, they both harbor no actual malice as characters. And that's what I find so compelling. Kinito just wants to be the perfect best friend, and as a computer program, all he knows is gathering data, so that's the means by which he tries to do it. He doesn't fully understand what it is to be human. He doesn't have a grasp of free will, especially because he doesn't really have free will the way humans do, even though he's sentient. He's a computer program. He has a singular purpose. So he uses that purpose as a means to the end of being your best friend, which to him, means trapping you in a world he made just for you, using all the information you gave him. Computer programs don't die. They don't have a concept of "eternity" or "eternal torment." To him, "forever" is just a length of time.

And most of the same things can be said of Monika. She was designed to be a character in a dating sim. The singular purpose of dating sim characters is to fall in love with the player. That's what they do. So she does it, and she does it the very best she can. Of course, being sentient means that she can think outside the box. She wants to be the one you fall in love with and she uses her ability to manipulate her world and the people in it to try and make that happen. At their core, both of these character harbor no malice whatsoever. They don't want to hurt you, they don't hate you, it's the opposite. They love you, they just don't understand human love.

Think about these ideas led me to Pony Island, which once again has that same idea. An Entity(tm) in a computer wants to trap you in/at the computer forever. Only in this case it's The Actual Devil who wants you to playtest his silly pony game forever. The main difference being that The Devil does, in fact, have an understanding of human concepts like eternity and torment. In fact those concepts are kind of His Jam. He is the primary symbol used to convey those ideas. But even still, he never seems to show much malice for the player outside of situations where the player is actively breaking and manipulating the game and subverting his goals. And honestly I can understand that. If I gave my game to someone to playtest it and they refused to play it the way I'd intended, I would not be happy with them. Now, The Devil KNOWS that what he is doing is morally evil. Trapping souls in Gamer Purgatory and all. But in a way I feel like that's not so different from Kinito and Monika. Evil and eternity and torment are the only things he knows. Is that his fault? We have no way of knowing for certain that The Devil has ANY agency over his narrative. We don't know that he knows any other way to live(?) outside of trapping souls and tormenting them and all that jazz. In fact if you really wanna get meta with it in this game that's already a metagame about game development (which is a phrase that describes most, if not all, of Daniel Mullins' games), we can say for certain that The Devil DOES NOT have any agency, because he is a game character designed specifically to be...well...The Devil. He's evil and torments people eternally. That's what a The Devil does. He is NOT self-aware. If he were and he had a choice, maybe he'd just put pony island on itch.io and try to get feedback lol.

All of these games, at their core, are about a character that desperately wants some kind of human connection, but doesn't fully understand how to get that, and in turn makes the human they reach out to feel trapped and uncomfortable.

Do you know what game also does that? The Beginner's Guide.

Even thought it's a massive leap in form from the aforementioned examples, The Beginner's Guide has that same core concept. It's a game about games, in which someone doesn't understand how to be human.

When I first played The Beginner's Guide I totally missed the point. I thought it was just a game about games, and I thought the Davey walking us through it was The Real Devey and Coda was A Real Person who made weird games. I totally bought into the narratives that Davey was telling us the whole time instead of actually thinking for myself. I'm older now, though.

This at-least-somewhat-fictionalized version of Davey is the socially awkward weirdo. Coda is Just Some Guy who likes to make creative games. He's not A Developer(tm), he's a guy with a hobby. The Beginner's Guide is about Davey and how he sees himself in Coda's games but thinks that what he sees is Coda. And Davey never once talks to Coda about anything other than his games. Davey never once mentions having an actual, real conversation with this person that he's coming to consider a friend. Davey is a well-meaning but misguided person, and in some of his games, Coda is actively trying to tell Davey that in his own way. I think a good line that represents this is "If someone had just told me he just likes making prison games..." because it shows how Davey never even asked. There's countless examples of this. Like when Davey says Coda was "weirdly happy all the time" during a specific time period. He doesn't know why. Maybe Coda got a new job he's excited about, or a romantic partner, or maybe he started taking antidepressants, but the point is that Davey doesn't know, and he never asks Coda directly. He just makes wild assumptions about Coda by playing his games.

The Beginner's Guide is about someone who doesn't know how to socialize and is unaware of it. Someone who doesn't know how to foster a relationship with a human, and tries his best, but whose attempts are seen as uncomfortable. When you interpret some of Coda's games through this lens you can see it more clearly. That game about being on a stage in front of someone you admire, that's Davey talking to Coda and Being Weird(tm). And then, when he feels weird, he doesn't actually talk to Coda at all. He recedes back, feeling trapped and distant from someone he wants to be around. Observing only from a distance, through a bunch of prison bars.

Seems familiar.

Of course I could be pulling a Davey by forcing my own interpretation of the game onto you. And so the cycle continues. I encourage you to consider your own interpretation if you haven't ruined by mine, unable to see it any other way (whoops, there's Davey again).

To me, these games are about autism. I am an autistic woman, so of course that's the lens through which I see things. You don't have to be autistic to be socially awkward or misunderstand people. Again, you can have your own interpretation.

But I've felt these things. Being distant from someone, wanting to foster a relationship but not realizing that what it means to foster a relationship is sometimes entirely different from what I think it means. What "a relationship" even is can be totally different from what you expect. And I've been on both sides of this dynamic. Being approached by someone who Comes Off A Bit Too Strong or Too Weird or just Different. And I'm patient with those people. I know what it's like. I know they've been through it with less patient people, or people who only pretend to foster that connection out of pity or some other misguided attempt to make someone feel better. Obviously a relationship founded on pity and one-sided affection is doomed from the start. And in most of these games that "one side" is the other side of your computer screen.

Communicate with your friends, your partners, your family, whatever. If they don't know how to love you right, it's up to you to help them. If they're not receptive to that, that's when the responsibility is on them, at that point they knew the risks, and if they don't respect your boundaries you cut them off. If you don't know how to love someone else, it's up to you to ask them. Nobody wants to be Kinito, or Monika, or The Devil, or Davey, and nobody wants to be their players, either. Be patient with each other, and talk about it.

[allastoredeer]

Ya'll ever just

Why is housing so impossible???? Why are there so many hoops you have to jump through just to get a roof over your head???? Who thought it was a good idea to make it hard to live on just one income???? Why is it so hard to live off of two incomes for that matter???

I have a job, I pay taxes like everyone else, so why is it a constant back and forth struggle to pay bills and buy essentials. You know, little things like food. I just woke up, I'm hungry, and I'm craving a few billionaires right now. #EatTheRich

Capitalism continues to suck the life out of me and I am being a husk of my former self.

[christiansorrell]

TTRPG Read-Through: Liminal Horror

Here is a read-through I did last year (originally posted on Twitter) of one of the my current go-to game for modern horror: Liminal Horror by Goblin Archives! - Christian

I cut my teeth learning to GM as a Keeper in Call of Cthulhu and I've really been jonesing for a game in this genre that's more in the style of rpg I enjoy these days. I'm hoping this will be it!

Really excited about this. Shifting away from mental illness and trauma, both of which have their obvious problematic pitfalls, is something I could see really opening up what a character looks like and goes through after having things go wrong in interesting new ways.

Big spread on Facilitator and Player Principles. I think this is all very solid advice as a one-time or just-before-play read, but it's definitely too much for quick reference. That said, I always love reminding folks that we "play to find out what happens."

I may be off the mark but these two bullets make me think Goblin Archives is a Friends at the Table listener. Both of these make me immediately think of Austin's openings on there (which is a very good thing, for me).

Very straightforward stats. I like the HP distinction here and how it seems to refill between events/encounters and when drained is when you see actual damage occur. More inventory structure than I expected (I like that tho!) Cool to see character AND party questions here.

I really loved the Backgrounds and character options in The Bureau, a Control-inspired megadungeon-like module for this system I did a read-through of about a month or so ago. Excited to see more of that here. Also, I really need to play as a Very Online character.

Nice open character creation. I enjoy these types of questions: why do you believe there's something weird going on? What ideology guides you? What are your connections in the world, important relationships, etc.? Those create way more juicy bits than stats alone can provide.

I first encountered these kinds of character bonds in Fate years ago, but it's been a go-to house rule of mine during Session 0/1 for anything my group is planning to do longer than one-shot play for. Even in a single session, it can add a lot. Cool to see it here.

It's a d20 roll-under system (no modifiers, yay). Adding fatigue to inventory slots is a great way to make a mechanic out of that. Also, associates were unexpected! Shows this game could be more than just 3-4 bumbling normies going into the unknown (which is what I envisioned).

Combat is fairly straightforward (in a good way). No rolls to hit, it's just damage that is varied. Props to not using Advantage/Disadvantage as a game term like everyone else. Again, the Detachments make me think this game could have some wild situations come up!

Open-ended spell casting here (reminds me most recently of Primal Quest). They come and go day to day which is interesting, potentially changing entirely. I like the failure being equal to the desired effect. Want to kill someone with a spell? Be prepared to die if things go bad.

Okay, these relics are extremely cool. A blade that does MIND DAMAGE and requires recharging by feeding it memories? Good stuff.

Fallout is really interesting. Take enough DMG to go through your HP and it ticks away your Strength until you die (or take crit DMG). Fallout is the same but wears at your Control. Gaining Fallout makes you odder/more open to the true nature of things, but makes you heartier.

This is a good approach bc it means leaning into the things most games gate behind "sanity" here makes you more able to cope with the weird in the future. Feels like a path to more interesting stories (rather than the CoC-style "you are in a sanitarium now" character ending).

Remainder of the book is a small bestiary with monster creation guidelines, spark tables and a lean but comprehensive mystery creation guide along with a sample mystery. The loose framework, a steady clock ratcheting tension, and a focus on lots of clues feels like good guidance.

Having a mystery take only 6 pages feels much more approachable than the very traditional heavy-prep and lots-of-writing mysteries of something like Call of Cthulhu or Delta Green. I homebrewed a lot of CoC, and the prep work there can be pretty huge. This feels nice tho.

Overall thoughts: the book is a very lean and focused take on creating horror that doesn't get bogged down in the other ttrpg pitfalls of the genre while also having nice mechanics for associates, large scale encounters, etc. so there's room for a lot of types of stories here.

I'll definitely be trying to knock out a mystery for this as part of the jam. I've got a lot of weirdness to get out of my system and this seems like an easy, streamlined way to do it. Also, excited to play The Bureau and The Mall.

You can pick up the most recent addition of Liminal Horror in print via Space Penguin Ink. You can also find it on Itch. The rules and additional content also available entirely for free on Goblin Archives github.

Also, I wrote an adventure for this system last year: Tunnels in White.

Old money siphoning new money from every corner of your city. An aging mansion, quiet and worn. An old corporation shifting its gaze from development to development, always hungry, always growing.

A warehouse bearing the name Singleton Solutions, small and unassuming in one of a hundred industrial parks like any other, takes in truckload after truckload but never sends anything out. It’s the same for the people. Sometimes, they arrive in towncars, other times in shuttle vans. None come out. Ever.

What you know is something strange is going on inside that warehouse and you are determined to discover what it is. What you cannot know is where and how far the mystery may take you.

You can grab a print or digital copy HERE. It's also available via Itch.

Lastly if you like seeing my thoughts on games and how I make stuff for them, here's my monthly newsletter (which now has a free TTRPG thing to take to your table each month): https://meatcastle.substack.com

[halfadoginatank]

Simon and his father take a trip to the Scottish highlands for the summer, he knows only one of them will leave.

Johnny is a boy obsessed with filming explosions from fireworks he's not supposed to have.

Los Vaqueros are a group of Mexican teens derailed from their field trip waiting for teachers that might not come back.

Huge lore and plot dump below.

Mild tw for Simons father

Simons father has always taken him on hunting trips, sometimes he hated them, some times he liked them. But he'd never taken him this far from manchester. There are weapons in the cabin they rent, his father is eerily sober, one of them is going to die out here. Simon can only hope that Tommy won't be next.

Johnny meets him when he strays too far from his father. Part of it on purpose, he would never be on equal footing, more so when his father had the rifle and not him. He's in the tree's, at first simon thinks its prey, but there's a camera lense staring right at his scope.

Los Vaqueros come later, the leader arguing with a girl with choppy hair, Valeria and Alejandro trade glares while Rodolfo tries to mediate. Their bus broke down, leaving them stuck in town desperately renting a cabin near but far from the one simon is in.

It's the most interesting thing thats happened to johnny, and in the makeshift bonfire Valeria corners him and Simon. Her gaze is snakelike and a ring clinks on the bottle she's holding

"You say that he's an asshole yes? Your padre. Mine was the same, en mi opinión? It is kill or be killed."

Valeria nods at Alejandro, she tells them of a faceless force where she's from. The person sponsoring the trip for them, 'good will'. The five of them band together, the rest of the Vaqueros utterly ignorant.

Simon will save his family, Alejandro will get them home, and johnny? He's going to make the best home video.

-

Yeah so thats the whole plot, originally it was just going to be ghoap but somehow the Vaqueros fell into place. It kind of made more sense to have Valeria give them the idea? She doesnt have a whole bunch of canon lore so I figured she'd have an in with the cartel via her father, who was awful. And when Valeria killed him the nameless helped her cover it up and she got her own little spot.

Alejandro broke off their relationship after that, it's why they're on bad terms. He formed the Vaqueros as a funny joke that he started to take seriously when kids around Las Almas genuinely needed help that wasnt someway connected to the cartel, adults had that with rudys mother, so Ale and his childhood friend Rudy decided to help people their age in a way that doesn't rely on adults too much.

Everyone here is about 16-18. Soap is 17, ghost is as well but a few months older. Rudy Alejandro and Valeria are 18. And the youngest cowboy is 16.

Im trying to fit Gaz and Alex in? Im thinking that they both live in Texas, Gazs parents had a falling out since mum was from Texas hes there. Their school is on the same trip in the same bus a sort of cross trip to help the shitty american public school get a better name, as well as the cartels big PR move with having a class from one of Las Almas' schools.

Johnny is a bit weird here, but his motivation is he's suffering from extreme middle kid issues. Loves his family but since he's almost invisible is able to just kinda run off as long as hes back home eventually. He has a camera he uses to film any of his mishaps with, its essentially just jackass. As well as a video diary. Dont be fooled, its also an excuse for me to write some of it in script like format.

Simon is almost exactly the same as he is in the 09 comics, obviously a bit different. But childhood is the same.

I wanted farah to be here so bad but her childhood is literally a warzone and theres no way I can get her and her brother in Scotland. Because im trying so hard to make this somewhat believable, like yes its is a summer mystery horror au. But god I just really need things to make a little sense otherwise I cant do it. Same with Price Nik and Laswell. Like I could group Laswell in with Alex and gaz, and maybe I could pair her with Valeria for funsies. However Nikolai is in russia so... oopsie, and price? Like... how do you turn price into a teenager, he'd be what 19 or 20? Theres no reason he'd be in school, I dont think he'd be held back.

Also you may wonder, why is graves not here? Uh.... because I dont care, he wouldn't have a place here. The antagonist is Simons father, and honestly man? I just dont care that much for his character.

Man theres... theres so much I have here dude, I want to throw roach in there, and I THINK I could squeeze him in as one of ghosts school mates but the point is the first act has Simon completely isolated.

Anyway thats it. Bye.

[scriv3lloirl]

I'll sketch up sum' Maid Dress! Scrivello t'morrow fer the folks who wanna see it.

Anyway. I drew my Little Shop oc t'day instead of Orin cus I haven't drawn them much n I really like them.

They could never make me hate you, Kitt Todd.

★

[memento--moray]

As someone who engages a lot with fantasy/sci-fi/horror media, one of the worst tropes I see again and again is the "this entire group of people is inherently evil".

The fact that it's so easily accepted, particularly in DnD and related environments, is deeply unsettling, particularly because of how much of it stems from racism (and other "isms"). Beyond the horrible implications of this concept, it makes stories far less nuanced and interesting.

I much prefer stories where evil is something on a societal or individual basis rather than inherent, since it allows us to explore why this evil came about. Exploring how propaganda, tradition, dogma, ect., might shape a society is far more interesting than just going "they're all born evil".

This certainly is not limited to DnD, just as someone who runs modules to practice encounter balancing, and has run 5e for people used to the rigid alignment system of earlier editions, you get reminded of this quite a lot in that space. There's a bunch of people talking about New Phyrexia in similar contexts, and while I don't feel like I know enough about the story to toss my hat into the ring, I will always be an advocate for nuance. Particularly when a lack of nuance means that "this group is inherently evil" accidentally ends up demonizing aspects of a very real group of marginalized people (as it often does).

Again, much more informed people than I have talked about this subject at greater length. All I can say as someone who's been in the fantasy/sci-fi/horror space for pretty much all of my life, I feel like there's certain standards that we really shouldn't accept as such, since they really don't have to be. In most cases, stories are more interesting when nuance is involved.

[clandestinewhore]

𝚋𝚎𝚑𝚒𝚗𝚍 𝚝𝚑𝚎 𝚜𝚌𝚎𝚗𝚎𝚜 𝚘𝚏 𝙴𝚟𝚒𝚕 𝙳𝚎𝚊𝚍 𝚁𝚒𝚜𝚎 (𝟸𝟶𝟸𝟹)

[mysharona1987]

Just as scary than anything in Skinamarink.