Control, Anatomy, and the Legacy of the Haunted House

Control, Anatomy, and the Legacy of the Haunted House

I’ve tried to explain Kitty Horrorshow’s
Anatomy many times. I’ve gone for the literal approach- “it’s
a game where you pick up cassette tapes around a house and listen to them in the kitchen.” That, shockingly, doesn’t turn many heads. I’ve also tried the hyperbolic. “It’s the single scariest game I’ve
ever played.” This is true, I absolutely mean that. But inevitably people look at the game, look
at me, and go, “this?” Here’s what I’ve settled on. Anatomy is when you were a kid, and everyone
else had gone to bed and you were the last one downstairs. It’s when you looked up, realized that it
was your job to turn the lights off, and realized that this meant being alone in the dark of
your living room for excruciatingly long seconds. Anatomy is the terrified sprint I did up the
stairs after switching off the last lamp, unsure of exactly what I was running from,
but absolutely confident that the dark living room was no longer a safe space. But in Anatomy, there are no covers to jump
under. Even worse, Anatomy tells you that those covers
were never safe to begin with. “In the psychology of the modern civilized
human being, it is difficult to overstate the significance of the house.” These opening lines of Anatomy acutely describe
the themes at play here, and differentiate it from other brands of horror. There are no ghosts of dead ancestors in the
game, no werewolves or vampires or zombies. As a matter of fact, there’s no one else
at all. There’s you, and there’s the house. The number of stories about “haunted houses”
might as well be infinite, but I want to make a crucial distinction here. There are many many stories about houses that
are haunted by something. These are ghost stories, poltergeists, slashers. In those stories, the house is simply a house,
unfortunately built on top of a graveyard or inhabited by people who decide to murder
each other. And all that, while supernatural, is pretty
distinctly human. Human emotions, left behind after a traumatic
event. Human customs of disrespect, like building
a house on a graveyard, reaping the consequences of their blasphemy. These are the haunted houses that can be easily
replicated, made into a halloween thrill or a ride at the state fair. If a house is haunted by something, then that
something can jump out at you and yell “boo!” But there’s another kind of house. And while this kind may have provided a stage
for violence, death, and insanity from humans, those acts were symptoms, not the cause. Some houses just…reject humanity. The totality of the game “Control” takes
place in a labyrinthian expanse of concrete and bureaucracy. This building is home to the fictitious government
agency “The Federal Bureau of Control,” and at first glance appears far more corporate
than most haunted locales. But this place isn’t called “Brutalist
Office Number 34” or “The Pentagon.” It’s called The Oldest House. And once you start thinking about Control
as taking place in a haunted house, things start to click into place. The Oldest House is a bizarrely elusive building-
despite being in the middle of New York, it can only be found by someone specifically
looking for it. The Bureau of Control didn’t build it, nor
do they have the knowledge to recreate it. The Bureau calls the oldest house “a place
of power,” a location “acted on by paranatural forces.” And in a way, I find this terminology almost
cute. They’re assigning words to things to things
they truly can’t understand, trying to tie a logic to a place that is, by every definition,
illogical. They found a haunted house and set up a government
agency in it, but at every turn, they’re just reminded how little they know about where
they’ve placed themselves. There is a staggering level of documentation
in Control, every phenomena recorded, every quirk of time and space written down. But paradoxically, this volume of data just
shows how little the bureau actually knows. It all just reads as grasping at straws. “We observed this event. It could mean this. Or it could, uhh, not.” About halfway through the game, you find a
man staring at a fridge. He calls out to you, panicked, “I can’t
look away! Unless someone has eyes on it, it changes!” He’s been looking at this fridge for about
24 hours. This is not an agency that’s in command
of the situation. This is a bunch of people who have trapped
themselves in a house, and tried to convince themselves that this was their plan all along. In Leviticus 14:37 (sorry it’s just very
hard for me to say a line like that seriously), okay, so Leviticus 14 is all about leprosy. What do you do if a guy gets leprosy, and
you don’t have modern medicine, and you don’t really know what leprosy is? Well, apparently you shave and get clean,
smear yourself with lamb’s blood and olive oil, and hope. That’s all well and fine. But then it gets weird- weirder. Because in 14:37, it describes what to do
when a house gets leprosy. A house! It describes a kohen, basically a rabbi, coming
to the house and inspecting it. And he shall look at the lesion. Now, [if] the lesion in the walls of the house
consists of dark green or dark red sunken looking stains, appearing as if deeper than
the wall, And then we go on to describe what to do with
a leprous house- you scrape its walls, you abandon it for days, and if the lesions return
after all that, Now, [if] the lesion in the house has spread,
it is malignant tzara’ath in the house; it is unclean. And then you’re supposed to demolish the
house- there’s no coming back from that. In literal terms, this is probably black mold,
which is dangerous and is cause for vacating a house. But I’m fascinated by how its portrayed
here. The house itself is personified, and malignant. It’s leprous. And like leprous people in that day, it’s
dealt with by excommunication. There’s this notion that there’s something
“alive” about the house, but the only way they knew to deal with it was just wait
for it to die. And houses don’t die easily. They just wait. What happens to a house when it is left alone? It becomes worn, and aged. Its paint peels, its foundation begins to
sink. It goes for too long unlived in. What does it think of? What does it dream? There’s no subtle way to put this; the house
in Anatomy hates you. And maybe it hates you, Henry. But moreso, it just hates humanity. It hates that you, as a collective, have left
it to rot. They hate that you, collective, brought it
into existence just to let it suffer through neglect. It may grow angry. Its basement may fill with churning acid like
an empty stomach, and its gorge may rise as it asks itself through clenched teeth, “what
did I do wrong?”. It may grow bitter. It may grow hungry. So hungry and so bitter that its scruples
dissolve and its doors unlock themselves. Haunted houses are almost universally abandoned,
at least temporarily. How many stories include a family moving into
a lavish manor that’s, for some reason, not been lived in for years? Typically the way the causality flows is they
were haunted, so they were abandoned. But I love the idea of the inverse. They were abandoned. And because of this, they are haunted. There’s a Yokai in old Japanese mythology,
one called a Mokumokuren. If you’ve played Nioh or Sekiro you’ve
probably run into them, sentient paper walls and umbrellas, with at least one eye and a
nasty attitude. What’s interesting about mokumokuren is
how they come about. They’re not just random goblins that decide
to move in. They’re borne from neglect. If a household object sits alone long enough,
damaged and ignored, it gets feisty. And then it grows eyes. Control spells this out about as plainly as
it can. You’re not in the young house, the spritely
house, the house that was just built and can’t wait to share itself with people! You’re in The Oldest House. How long has this house sat empty? How has it dealt with the centuries of silence? There is perhaps no better expression of this
theme of abandonment than the opening paragraph of The Haunting of Hill House by Shirley Jackson. It’s one of the most effective openings
I’ve ever read. No live organism can continue for long to
exist sanely under conditions of absolute reality; even larks and katydids are supposed,
by some, to dream. Hill House, not sane, stood by itself against
its hills, holding darkness within; it had stood so for eighty years and might stand
for eighty more. Within, walls continued upright, bricks met
neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood
and stone of Hill House, and whatever walked there, walked alone. But how does a house, angry and haunted, express
itself? What can it do when it’s not full of ghosts,
not echoing forgotten humanity, but emoting in a different dimension altogether? The answer is that the house’s structure
itself starts going wrong. Wrong in ways that feel impossible. In Hill House, the architecture constantly
seems to fight its inhabitants. They can barely walk to the kitchen without
getting lost in the downstairs, a labyrinth of concentric circles, with doors that never
stay open and unexpected turns in every corner. Eleanor shook herself, turning to see the
room complete. It had an unbelievably faulty design which
left it chillingly wrong in all its dimensions, so that the walls seemed always in one direction
a fraction longer than the eye could endure, and in another direction a fraction less than
the barest possible tolerable length Anatomy does this much more overtly- in subsequent
playthroughs, as the house starts to degrade, things “break” in a very game-y sense. The mirror is sideways in the bathroom, plates
sit well above the surface of the table. Dark lines seep in through the walls. This concept is taken to the absolute extreme
in the shifting walls of Control, which move in front of our eyes. As Jesse goes through the Oldest House, she
finds sections of the building she can reclaim. When she does, enormous blocks of concrete
retreat into the walls, settling into a somewhat predictable pattern. But what if Jesse had never came? What if the walls had been allowed to just
continue growing, swallowing up the hallways and lobbies until there was nothing left? In Mark Danielewski’s House of Leaves, a
man- Will Navidson- discovers that the house his family moves into has been allowed to
grow unchecked for quite some time. He first notices this in a minor, but impossible,
architectural anomaly. His house is very slightly larger on the inside
than the outside. He measures again and again- the outside of
the house is 32 feet, 9 and three quarter inches. The inside is 32 feet ten inches exactly. This shouldn’t be true, this can’t be
true, and yet Navidson can’t find any other explanation. That quarter inch soon becomes the least of
his obsessions. A few weeks after their move, a door appears
in his living room, a door that definitely hadn’t been there before, a door that- given
its position- should lead directly into the backyard. It does not. Instead, the door opens onto a dark, cold
hallway, one that stretches far into the impossible depths of the house. Remember the house with leprosy? With the lesions in the walls? Let’s revisit that passage for a second,
because the translation is Now, [if] the lesion in the walls of the house
consists of dark green or dark red sunken looking stains, appearing as if deeper than
the wall, Deeper than the wall! Thousands of years ago, in a story about a
house with a human disease, we’ve got an example of the exact same kind of impossible
dimensions. Now listen. I know there are a number of ways that line
can be taken, some that are more logical, some that make more real-life sense. But I just can’t let go of this idea of
physics-defying architecture. Hill House, with its malicious rooms and confounding
layout. The Oldest House, growing cement like a tumor,
smothering itself. The house on Ash Tree Lane, with its miles-long
hallway. A house malignant, boiling with leprosy, with
lesions deeper than its walls. There are countless things we can’t control
in life- the weather, who we love, the actions of our nations’ leaders. Maybe for that reason, it’s all the more
important that we feel in control of where we live. If we don’t feel at ease in our own bedroom,
kitchen, bathroom, then where would we? And it’s hard to appreciate these things while
they’re normal. A living room is just a living room, a hallway
is just a hallway. They provide comfort by being exactly what
we expect them to be. Only when they change, when they go through
the insidious mutations described in these stories do we realize just how much trust
we put in our houses. In the hauntings of Hill House and Anatomy,
the least safe places of all are the bedrooms. “this is where they want me to sleep,”
Eleanor thought incredulously; “what nightmares are waiting, shadowed, in those high corners?” The stories force us to consider just how
vulnerable we are in our house, how intimate our connection has to be to where we sleep. Each night we shut our senses to the world
for hours at a time, says Anatomy. Anything might stand beside us, watch us,
keep us company until dawn, and we would never perceive it. We can only pray that the house will not let
such things carry on as we sleep. For our house to turn against us, it’s more
than just an immediate danger- it’s a betrayal. There’s even a recurring motif of being
consumed by the house, like we’re willingly placing ourselves in the jaws of a beast and
relying on the beast to not eat us for another day. Jesse worries that the Oldest House will swallow
her alive, Eleanor feels she’s “a small creature swallowed by a monster.” As Anatomy points out,
When a house is both hungry and awake, every room becomes a mouth. And yet, what I find most interesting about
these houses is that they’re just irresistible to us. Eleanor leaves her life behind specifically
to go to Hill House, and ultimately decides she’s never going to leave it. Jesse spends years looking for the Oldest
House, reflecting that- despite everything- it feels like home. Anatomy actually shuts itself down over and
over again. You make the decision to keep going back,
to revisit the house, to walk down that dark hallway one last time. In the end of Navidson’s story in House
of Leaves, he commits himself completely to the dark, impossible hallway in his living
room. Taking just a bike and a cart full of supplies,
he rides into the hallway for hours, days, weeks. He travels hundreds of miles. He submits completely to the house- he has
no map, no sense of direction, no plan. He simply goes, in one of the most inhospitable
environments imaginable. It’s almost always a plot point that these
houses are old- an ancient manor, an ageless labyrinth, a building literally named The
Oldest House. And though theoretically we know that all
of these must have been built by people at some point, but at the same time, they couldn’t
have been, right? In both House of Leaves and Control, it’s
even made explicit- these are by all accounts older than human civilization. I said at the beginning that these houses
weren’t haunted by anything, not ghosts or ghouls or gremlins. But I don’t think that’s quite right. Despite all their efforts to the contrary-
their impossible architecture, their threats of betrayal, their lesions in the walls- we
keep coming back. We keep exploring them and charting them and
trying to bend their distinctively un-human design to our will. These houses are haunted- they’re haunted
by us. This house, which seemed somehow to have formed
itself, flying together into its own powerful pattern under the hands of its builders, fitting
itself into its own construction of lines and angles, reared its great head back against
the sky without concession to humanity. It was a house without kindness, never meant
to be lived in, not a fit place for people or for love or for hope. Exorcism cannot alter the countenance of a
house; Hill House would stay as it was until it was destroyed.

100 thoughts on “Control, Anatomy, and the Legacy of the Haunted House

  1. The scariest part of the video is Jacob's lady voice.

  2. i hate eating green apples they turn my teeth into marshmallows

  3. BLAME does this but on the scale of the totality of human infrastructure

  4. You portray Control way deeper and cool than it actually is.

  5. c'mon, man.

  6. they put feelings into a house and made it scary

  7. thank you for making this.

  8. This video reminds me of that Halloween Simpsons special where the family moves into a hunted house and it try's everything in its power to kill them but it doesn't work so when it's faced with the possibility of living with the Simpsons for like 80 years until there all dead or self destruction it chooses to vaporize its self.

  9. This video was super super good, you touched upon some of my favorite things about haunted house horror and the unsettling aspect they carry. Also, super props for using NaissanceE footage for the House of Leaves segments; if there was a video game best suited to represent HoL, NaissanceE is absolutely the correct game to do so. (Also, barely anyone I know has played it, it’s one of my favorites!)

  10. >We can't control the weather
    Laughs in HAARP

    Vaughn Upshaw needs to do a full audiobook of Hill House. That voice is perfect for it.

  11. Control kinda reminds me of the SCP verse. The first game kinda sounds like The House of Leaves

    Edit: ah! I knew it was about the House of Leaves!

  12. Your video's continue to be outstanding.

    I think I shall name a colonist in Surviving Mars after you.

  13. kafkaesuqe

  14. Another great analysis, as always. Love how you talked about House of Leaves, it absolutely doesn't get enough recognition

  15. This video is amazing. I watched it twice in a row.

  16. Holy fuck, when you showed those documents from Control I was instantly reminded of the SCP foundation. Was Control somewhat inspired by it? Those documents were very similar to SCP documentation.

  17. I really appreciate how you site things! Thank you

  18. Give a thumbs up if you thought of McMansionHell when watching this vid!

  19. I understand what you are going for but if there is not  heavy coding in the einvironment or sound the project will fall flat

  20. 6:29 Sudden flashbacks of Pathologic 1. 🙂
    Now I want to experience a House of Leaves themed ride at the state fair. 😀
    The way in which architecture itself can be disturbing will never stop being fascinating to me. Games like NaissanceE and books like House of Leaves evoke a feeling that's hard to describe and that I'm addicted to. Thank you very much for this video, it was super enjoyable, as always!
    And that sweet Silent Hill 2 music. ♥

  21. "Safe as houses…"

  22. fascinating content, deep trope

  23. I can buy The Oldest House being mad, but having played through Control, I don’t think it’s malignant. At worst, I’d say it has an unfortunate sense of humour, but the relationship between the Janitor and the other inhabitants seems to suggest it even has a certain affection for its… residents? Assistants? Pets?

  24. You’re my new favorite channel. Much different than other video essay creators I’ve seen

  25. Just finished reading the book after watching this last night, and it was incredible. Thanks so much for this video, I wouldn't have dove so headfirst into the book otherwise.

  26. I had to stop because I’ve only just begun House of Leaves (the 1st book I’ve had to buy specifically in hardcover because I was warned to buy only that version)

  27. The tardis becomes a lot more sinister if you think about it

  28. [REDACTED]

  29. There's a reason the saying "safe as houses" is so resonant, despite it not seeming to be the obvious thing to use in a saying about things being safe.

  30. Alright those last few lines of yours at the end made me really chilly.

  31. I absolutely loved this video, but the moment where you started talking about House of Leaves, while playing the Resident Evil 4 Safe Room music, AND while showing gameplay from NaissanceE was just GLORIOUS.

  32. So monster house deserved a remake

  33. Your video about The Outer Wilds convinced me to dive into the works of Ray Bradbury, and this video you've made now reminds me of his story "The City".

  34. Boy, you’re gunna love There Will Come Soft Rains, by Ray Bradbury

  35. Really wished you mentioned that old movie with the house that came alive and the three teenagers had to kill it. That movie kept me up

  36. Thumbs up for the NaissanceE footage. That architecture is unnerving and bewildering even without taking into account the illusions

  37. If the SCP were fucked

  38. Good call on talking about House of Leaves! Love this book, awesome video as well 🙂

  39. Oh man this video is so inspiring. I have a lotta good story ideas now, and its all thanks to this freaking awesome channel. <3

  40. Well that video was a punch in the gut. Not sure why exactly. But it woke something in me; a powerful mix of fear, longing and sadness. I think I needed to hear this, somehow. Thank you.

  41. It may not be about a house, but all this reminds me a lot of the book Annihilation. Area X doesn't make any sense, not even to the government agency investigating it, and it seems to reject the presence of humans.

  42. I know I'm not sleeping tonight, but if there's one thing this video strangely makes me feel…

    I want to love the house, to mend the betrayl that these places have suffered.

  43. Oh man

  44. Holy fuck this video. Wow!

  45. Have you ever had extremely difficult to find or impossible to solve plumbing problems? If you have, if you see water damaging the floor, ceiling or walls even in places where there are no pipes, then your house has become symptomatic.

  46. I really enjoy this video, but it's coming across as if you edited this video while rocking back and forth in a house that you entered against your will

  47. I'm really nitpicking, but you mentioned Sekiro at 9:45 and there are no mokumokuren in that game.

    As a huge fan of House of Leaves you've really made me want to play Control though.

  48. This is phenomenal work. How you were able to create such a tense mood but I wanted to keep hearing where you would go next. I don't think I'll ever play Anatomy, but I enjoyed hearing about it 🙂

  49. After having been high for about six weeks, I think think the best come down was having a breakdown because of this video.

  50. Mold is covered in little surface fibers, so it's like natural low-key Vantablack. Impossible looking.

  51. This was well done. I have loved horror (not gore) since I was about 9, the Netflix miniseries, The Haunting of Hill House is one of my favorite horror 'movies', and this brought back memories of my youth and of that miniseries. I had not heard of these games until now, thank you.

  52. Why do humans name things? We name things to understand them, and when names fail us, we are reminded of what we truly are, animals scrabbling at the edge of the light.

  53. One of my favorite games has this same idea at its core. The Suffering, which was equal parts action and horror, had its whole premise laid out on the idea that the very land a prison you were sent to was soaked in generations worth of suffering and just happened to come to a head right after you arrived. All the (non human) enemies were manifestations of that suffering: Drugged-up beings that had needles stuck into their backs for lethal injection, vague human forms in sacks that embody being buried alive, creatures that were half man and half a collection of blades trying to behead you, their own necks bolted back on to the torso…

    And that's not to say anything of the ghosts that get stuck their too, or way the character choices reveal a surprisingly coherent backstory for the main character. It's a bit hack-and-slash-y at times but it's absolutely fantastic in my book. Not so much the sequel, but even that one was okay and expanded on the same theme.

  54. What haunts Control is the lack of an antagonist, the lack of characters, and the lack of a story. Hell, even the plot is barely there.

  55. People talking about Anatomy and Hill House get likes and subs.

  56. What platform will Anatomy run on? Very intrigued after things like Silent Hill and the original Clock Tower for the super famicom.

  57. Makes me wish we had a full SCP game exploring and dealing with SCPs out in the other dimensions.

  58. Just watched this at 3:30 AM… GREAT.

  59. Damn, man, what an awesome video. I don't remember when I subscribed to you but I'm jolly glad I did.

  60. awesome as usual . small missed opportunity: the Overlook from the Shining . . here's a super cool video about how Kubrick created impossible physical spaces as part of the horror of that movie:

  61. Read Derrida

  62. What if I told you that houses are merely a linguistic concept

  63. what a brilliant video essay

  64. 13:55
    SCP Foundation: 32 feet 10 inches you say,

  65. You deserve more attention bro, love ur vids.

  66. This reminds me of a creepypasta I came across called “The house of rules”.

  67. around 5:00, feels very much like SCP? Some SCP stories that explore the foundation's facilities might tie into the ideas in this video very well

  68. Does anyone ever watched an indie movie short stories about time travel?.
    i think it's called time jumpers

    So there is this lady that want to find a new cheap house to live, but the owners of the house was really eager to give the contract to the young lady. and after that the young lady finds out the house was sentient, and there was supernatural power in the house preventing the girl from leaving, as if it was lonely.

    So the girl cant live until she found a new owner. go check it out, it was pretty cool, i wont spoil it.

  69. Is the Federal Bureau of Control a branch of the SCP foundation?

  70. Quite literally SCP Containment Breach but with more budget and less writing lolol

  71. 5:29 the trump administration in a nutshell

  72. Holy shit dude, you hit the spot! What a fantastic video.

  73. The “living house” sub-genre has always fascinated me, thank you for this. Also not sure if you’re aware, but a real fun version (thematically but not necessarily mechanically) is The 7th Guest/The 11th Hour. It’s like the camp horror version of the concept and the one that got me hooked on it as a pre-teen.

  74. oh wow this was a good video essay. i LOVE that in all these stories, the characters are inextricably drawn to the horror and mystery of these houses. i think that's true to human nature. if they were real, we wouldn't be able to look away

  75. the leprosy house really reminded me of the diseased houses in the game pathologic (the original one). the very implications of a house with tender sore flesh was horrifying. that game in general (including its remake/re imagining) is pretty damn good and worth a look

  76. excellent video as always and I really appreciate the details of spoilers in the description!
    and my name first in the credits! my heart, it soars

  77. Finally an Anatomy video with subtitles.

  78. This is an outstanding video. Not only are you speaking about some of my favorite things (God, why is there not a bigger rabid fanbase for Kitty Horrorshow?), but you explore them in a wonderful, digestible way that makes it easy to recommend to others. Once the video finished, I immediately subscribed. Thanks for this!

  79. House: "I reject my Humanity"

  80. The impossible dimensions thing is fun when played with in reality. Like when circus tents have large entrances so that they appear to be smaller than they are, because we are used to be doorway being a certain size, so the tent appears to be only two storeys tall when in reality it's much bigger. Or when other buildings play with window and door sizes to appear smaller or larger.

  81. "Haunting of Hill House" was the whole inspiration for Anatomy and the connection and comparisons you've made here make me happier than I can say. Thank you so, so much for this <3

  82. I've always had a thing for the monster to be a place or thing rather than a discernible figure. If I recognise a body, put a face to it, or hear it speak, it was at least in part human, and thus I could understand it, it becomes somewhat less scary. But a place that wreaks of bloodlust and anger? An object that feels the very mortal emotion of resentment? That touches my soul in a certain way.
    The only horror movie I liked for a long time was Event Horizon, not for the gruesomeness, but for the demonic spaceship. Something that is both alive and inanimate in undiscernable ways is something that always made my heart race.

  83. You should check out ECHO (2017) by Ultra Ultra. The whole game is set in a labyrinth of sterling white Victorian hallways and chambers, completely devoid of all life. The whole place seems to live and breathe (despite not moving) thanks to the game's mechanics. It's filled human creations – couches, chairs, tables, platters of grapes etc – but none of it seems like the kind of place people have ever been in; something created for humans, but without their consultation. The place feels ancient and untouched, just like you describe in the video – something created long before civilization.

  84. I really really like this video. There was a house in my childhood that my grandparents built and raised my parent. When I was little it was so nice and perfect even though it was tiny. I had so many good memories there.
    As I got older it seemed to age much more and much faster it was 40+ years old by the time my parent inherited it but they never took care of anything. In a few years it became condemnable. Right as things became worse in the family. No sinks worked ,it grew mold. There were holes you could see outside of the house from in. The foundation was terribly crooked. It was infested and disgusting.
    I left it after something terrible happened leaving me with ptsd a fear of bathrooms. And the line about how if you can't feel safe at home you never feel safe anywhere really rings true.

    I hate that house, everyone who has left it is in a better place now. In it we all got worse.

  85. I too used to make the dash of terror down the hall and upstairs in the darkness.

  86. What an intriguing, haunting video. Liked, subscribed!

  87. The Caretaker!! That album is one of my favorite ambient albums of all time (not quite ambient, but that track in particular), but that's also my favorite song on the album. Perfect song for this video, because of the themes of An Empty Bliss Beyond This World

  88. Come on
    No one thinks of an scp?

  89. Holy shit that final line gave me chills. A++ work. Thanks for this video essay. ❤️

  90. I know this was videosgame focused (with a little Torah/literature to mix it up) and you made the point about how it was houses which weren't haunted which were your focus… but I kept thinking of Wuthering Heights, The Overlook Hotel (particularly Kubrick's one), and Crimson Peak. All places with literal hauntings/elements which could be explained with human motivations. But they each dip into elements of this – in Wuthering Heights and Crimson Peak the houses are rotten and decaying long before the horrible things happen, long before the ghosts show up. In The Shining, though there are the references to it being built on a grave, the actual haunting is not really ghosts. It's the corridors which don't make physical sense, the psychological damage it's doing to its inhabitants, it's the blood in the elevator, it's the maze.

    So yeah, thank you for this video. It's given me a bunch to think about. (And a bunch to be afraid of.)

    Ps, I also was thinking of Monster House, and that I really should rewatch Monster House.

  91. House of Leaves served as a one of the main inspirations for Control. Thanks so much for a very well researched and cool video!

    < We are excitedgrateful >

  92. dude, what's your educational background? the way you connect all these texts, in video after video, it's poetry – no exaggeration, some of the best writing i've seen on youtube.

  93. Uses SH music
    No mention of SH


  94. Where does the footage at 17:40 come from? Is it from Naissancee?

  95. It's the scp foundation

  96. That clip from Anatomy talking about how “anything could be there by your bed and keep you company until dawn, and you wouldn’t know,” reminded me a lot of Welcome to Night Vale and its Faceless Old Woman Who Secretly Lives In Your Home. That’s obviously played more for dark comedy, but it still reminds me of this theme of not being in control of even the space you live in.

  97. 10:55 "thus it would appear the ghost haunting the Navidson Record, continually bashing against the door, is none other than the recurring threat of its own reality."

  98. I really liked what you said about how the house growing “eyes” , because I realized that in Control, there are cameras EVERYWHERE, always watching you. I guess that could be interpreted as the house growing “eyes”

  99. I'd say the Overlook Hotel in Kubrick's adaption of The Shining falls under this category as well, despite the (presumed) presence of ghosts, because a large amount of the suggested danger is communicated by the architecture of the hotel and how it's framed as being too huge and isolating, and on closer inspection does not make spacial sense at all, with rooms and doors appearing in spaces that they cannot possibly physically be in. There's even the constantly reoccuring image of blood pouring out of the elevators in a huge wave, as if the hotel itself has a gushing wound. If anything, the "ghosts" feel more like echoes of past victims of its power that it puppets for its benefit, rather than what's causing the supernatural events.

  100. Why did I watch this so late at night?

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