In a
review of several recent horror novels out in time for summer reading, Terrence
Rafferty makes some interesting points about the challenges of writing horror
fiction in the early 21st Century, (“Horror”, The New York Times Book Review, Sunday, June 1, 2014). He feels that movies, TV shows, comics and
games have effectively supplanted horror literature, chiefly because of the powerful
visual imagery and immediacy they supply.
He asks why some stories are in print form at all when they would have
greater impact in a visual medium, such as TV or video game.
Some
readers may recall an old Nintendo Gamecube entertainment called Eternal Darkness—Sanity’s Requiem
(2002). This was a marvelous videogame
that borrowed heavily from the writings of H.P. Lovecraft for its narrative and
conceptualization. Playing the game was
an intense experience; its creators
were adept at developing and enhancing the feeling of Lovecraftian doom and
horror in the various levels of the game.
There were ancient manuscripts to locate, abandoned ruins to explore,
and a relentlessly predatory ecology of zombies, horrors, trappers, bone
thieves, and guardians to defeat. I was
never able to win at this game, (though my son mastered it easily). It was my fate to die horribly near the end
of every segment. And be unable to sleep
that night.
I cannot
recall very many printed horror
entertainments having quite this impact, except a few that I read as a child, (Donald
Wollheim’s 1951 The Rag Thing comes
to mind—I was certain at the time that one of these was in our house). Because of its increasing emphasis on action
and graphic detail, it seems that much current horror literature is designed
for ready conversion to a visual format—as if the purpose of the work is to
serve as a sketch or summary of an idea destined to become a TV episode, game
segment, or movie. Why use words at all
when images, particularly those one can interact with in some way, can be much
more powerful?
It
seems that ongoing technological innovations are allowing us to replace one narrative
medium with another, that is, print with image. In some sense, the process resembles what happened
thousands of years ago, when writing and literacy reduced the traditional
reliance on oral and mnemonic transmission
of history, mythology, and drama. Perhaps comics and graphic novels are serving
as an intermediate bridge until this transition is complete.
What
if the marvelous advances in computer and communications technology of the
1980s and beyond had somehow occurred earlier, say, in the 1920s and 1930s? What would have happened to magazines like Amazing Stories, Astounding, The Magazine of
Fantasy and Science Fiction, and Weird
Tales, among others? What would have
happened to authors like H.P. Lovecraft, Robert E. Howard, Clark Ashton Smith,
and others like them? What is happening
to small press publications today? (Or to literacy in general?)
Walter
M. Kendrick, in his wonderful historical survey, The Thrill of Fear (1992) speculated that advances in the technical
ability to archive and retrieve virtually all of the previous work in the horror
genre would significantly affect the future of the field. He predicted that this would make it possible
for would-be horror writers to access much more of the work of predecessors
than earlier writers were able to do, via video, DVD, microfilm, CD-Rom, and
now internet. Perhaps this would improve
technique and the overall quality of the literature produced.
However,
given the conservatism of the field, (to meet the expectations of its
consumers), this may also result in ever more efficient recycling and re-introduction
of familiar horror motifs in sequels, prequels and re-makes. Are we already seeing this?
Rafferty,
in his book review, offers some hope for the future of horror writing,
especially in the ghost story. He feels that
this subgenre is more resilient to the challenges from visual media, because
the action of the story often occurs on an introspective, psychological level. Struggles with vampires, werewolves and
zombies are easy to depict visually, but not so the self-doubt and imagination
of characters who think they might
have seen or heard or felt a ghost. Perhaps
the literary future of the genre will involve a shift to the emotional,
psychological, “quiet” horrors of a ghost story.
In my
humble opinion, horror literature will certainly survive in some form, waxing and
waning like the moon, for the same reason that religion will. Both address big, scary, unanswerable questions
about the significance of life and the nature of death, questions that are
always with us no matter what medium we use to express our fear.
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