Lucas is struggling with anxiety and hasn’t been doing alright for weeks, having frequent anxiety attacks, either loud screams or soft voices whirling around in his head, intrusive thoughts.
He sees himself as a burden for his members, and through different events it leads to him believing that he truly is a burden.
It creates a messages to people about how bad anxiety is, because I don’t know much and how bad it could get. This did educate me on anxiety and how mental health does matter, since I don’t deal with mental illness.
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Reader’s advisor Ian has picked out a few of his spooky favs depending on the level of scare you’re looking for!
The Thing (1982, rated R, adults)
John Carpenter's inimitable masterpiece of dread and suspense. A chilling (pun intended) alien horror adventure packed with blood-curdling special effects and legendary one-liners from Kurt Russell. Remember: it's not a dog!
Gravity Falls (2012-2016, rated TV-Y7, all ages)
A loving ode to Lovecraftian horror and a remarkably clever comedy all at once, this mystery series will delight and terrify kids and adults alike. Simply incredible.
A deeper, darker take on the classic Hanna-Barbara cartoon, Mystery Incorporated adds layers to these previously one-note characters while hilariously lampooning horror classics, old and new alike.
Batman: The Black Mirror, nearly ten years after its publication, remains the quintessential Batman story for the 21st Century and one of the Dark Knight’s greatest tales of all time.
Originally published in Detective Comics #871-881, the story is written by Scott Snyder and drawn by Jock and Francesco Francavilla. (Available on Hoopla)
The Black Mirror follows Dick Grayson as Batman as he plunges himself into an insidious mystery involving a body found inside a dead orca and a secret society known as Mirror House. Concurrently, Commissioner Jim Gordon responds to the reemergence of his son James Gordon, Jr., putting him at odds with his daughter Barbara.
Snyder weaves a tightly-wound detective story that is heavy on psychological dread and light on over-the-top scraps. In many ways, The Black Mirror acts as a delightfully sinister horror story, with its tone and atmosphere reminiscent of David Fincher’s Se7en.
(Editor’s note: putting this under a cut for both length and details, though major spoilers are avoided.)
Though few villains from Batman’s rogues gallery actually make an appearance (with one notable exception, which I dare not spoil here), their presence still permeates throughout. A young circus boy bites the hand off a fellow performer after consuming Killer Croc serum; a woman commits atrocities against her will via Mad Hatter tech; the crowbar allegedly used by the Joker to kill Jason Todd is auctioned off to a gathering of sniveling socialites. Over the course of ten issues, Dick is confronted by the grim reality that Gotham may not be in need of saving but rather the very thing its citizens (and himself) need saving from.
The artwork by Jock and Francavilla is both drastically different and strangely complimentary. Jock’s portions, most of which follow Batman’s adventures, feature sharp, jagged lines with a muted color palette by David Baron that doesn’t extend much beyond heavy blacks and grays. Dick faces the horrors of Gotham City head on, claws, jagged teeth, and all.
Gordon’s conflict is more internal, so it makes since for Francavilla to take a more subtle, naturalistic approach to his style.
His lines are smoother and curvier while his colors are more vibrant with heavy contrast. These portions may look less grotesque, but it’s the dread of knowing something isn’t quite right that sinks in like poison from pretty little berries.
Or maybe I’m just remembering the rat eating the baby birds inside their own nest. Yikes.
