These It Came from the DVR articles are going to be a little bit different. As an early Christmas present to myself, I picked up a festival pass to the Toronto After Dark film festival. So the first difference is that these are new movies, on the big screen, instead of old ones and niche programming on the small screen. The second difference is that these are going to be short. I’ve got eighteen films to see in seven days (as well as dressing up for the annual zombie walk), so I’m not going to have a whole lot of time to write, and I want post these while the blood is still fresh.
Toronto After Dark is a horror and genre film festival oozing with gobs of monster and rpg inspiration, but most of the films it showcases won’t see wide release – so in addition to extracting some rpg goodness from each movie, I’ll also give them a bit of a critique, so fellow gamers can know what they need to track down and what to avoid. I’ll try and keep spoilers to an absolute minimum.
This film tells the tale of the last days of the Yankee Pedlar Inn, an old New England hotel with an illustrious past but dwindling clients. For employees and amateur ghost hunters, Claire and Luke, the hotel’s closing weekend is also their last chance to finally capture proof of the Inn’s supernatural activity. They will soon wish they had left the old building in peace.
Great Characters, Sub-Par Scares
I had high hopes for the screening of The Innkeepers. A good old-fashioned ghost story felt like the perfect note to end an incredible festival. Unfortunately, Ti West’s film falls disappointingly flat. The shame is, it isn’t terrible and I can’t help but imagine the great movie it could have been. The Innkeepers has a lot in its favor; it just seems that somewhere along the line West forgot he was making a horror film.
The film benefits from some great characterizations, especially by Sarah Paxton and Kelly McGillis, who are genuinely funny (and in spite of what some people may think, comedy is important in a horror film – it breaks the tension and allows you to sympathise with the characters). If you’ve ever had to work a minimum wage job in the service industry, you’ll sympathize with Paxton’s character Claire who manages to capture that perfect blend of boredom, resentment, and lack of ambition that comes with the job. There is a deceptively simple scene in The Innkeepers where Claire has to take out an extra heavy garbage bag to the trash that captures that feeling absolutely perfectly. The banter between her and her co-worker is great, and helps to pull the viewer into their world. The funniest lines in the film though are given to McGillis’ character, an aging, bitter icon trying to reinvent herself as a new age healer. I’m sure she drew on her lifetime spent in film and television to provide the acidic edge that makes the character so memorable.
I appreciate the amateur ghost chaser angle to The Innkeepers, as it makes the film timely (as a comment on recent reality shows like Ghost Hunters), while at the same time linking it to such classic films as Poltergeist and The Haunting (and less classic films like Hell House and Amityville 3-D). It’s a promising set-up and the back story of the film’s ghost is tragic and interesting enough to hook the viewer in and keep them watching.
The pacing is very slow, which isn’t bad in itself as the characters are interesting, and you definitely get the sense that the film’s energy is building for a big climax. Unfortunately, West never delivers on that big climax and the buildup is wasted. Sure, there are some creepy, tense moments in there, but it never culminates in the big payoff you would expect. In the Q+A after the screening, West expressed that he wanted to create a film where the existence of the ghost was ambiguous, and that the audience could walk away with either a mundane or supernatural explanation. That’s a pretty cool concept, but one I don’t think The Innkeepers accomplishes, or even tries to. The film is shot in such a way that the audience sees more than the characters do (and this technique actually generates one of The Innkeepers’ better scares), so there is never a question whether the ghost is real or a figment of Claire and Luke’s imaginations. Instead of making a psychological horror film where the audience questions their own senses and experiences the fear and doubt of the characters, West has made a slow moving ghost story that isn’t very frightening.
I’ve also got to call out The Innkeepers for its depiction of asthma. As a person with chronic asthma, it’s always bothered me how the condition is depicted in film and television. The Innkeepers is hardly the worst culprit (that’s probably The Goonies), but since I’ve lived with asthma for most of my life, I feel a strange kind of ownership of it, and it drives me crazy when filmmakers misrepresent the illness so badly. First, asthma can be controlled with regular medication. Attacks that leave you panicked and gasping for air are dramatic and scary, so I understand why storytellers want to make use of it, but should be (if you aren’t sick, and are taking you medication) relatively rare. If I have several attacks like that in the same day (most movies have four or five), then something is seriously wrong and I’m going to head for the emergency room immediately (the equivalent would be a character with diabetes falling in and out of diabetic coma throughout the film). That’s a plot point you should only hit once. But it’s hardly surprising that Claire has so many asthma attacks in The Innkeepers when I don’t think I’ve ever seen a character with ‘movie asthma’ take their medication properly. After using an inhaler, if you immediately breathe out, you’re expelling the medication from your body before it has a chance to act (which is why some asthmatics use a tube that looks like an ‘inhaler bong’). I’ll admit that The Innkeepers isn’t entirely deserving of this ire, but West makes use of asthma enough that his film is far from exempt from my ranting.
The Innkeepers is not recommended as a horror film. It’s not a bad movie, but if what you are looking for is a scary ghost story you’re much better off looking elsewhere (Absentia, Insidious and Paranormal Activity are all great choices). If you are a huge fan of Ghost Hunters and have a hankering for an hour and a half episode with better acting and good dialogue however, then The Innkeepers may be what you’ve been looking for.
Ghosts are one of those creatures that are very hard to translate into D&D terms in a way that emulates how hauntings are depicted in film and television (including The Innkeepers). Throughout its history, each edition of D&D has dealt with ghosts differently and used different mechanical approaches to representing the tropes associated with hauntings: tormented spirits repeating activity in a loop, unfinished business, and revenge.
Old-School ghosts can possess the living, but are otherwise just powerful monsters (although possession can be used by DMs as a way for ghosts to try and bring closure to unfinished business). During the 2e era ghosts are given a much fuller treatment in the Ravenloft campaign setting, especially the Castle Forlorn boxed set, which features a castle that loops through different periods of time to tell the story of the tragedy that took place there. 3e reimagines the ghost as a template that modifies existing creatures, which means that the undead spirit more directly reflects its living self, with the same abilities and the addition of ghostly powers. My favorite part of the template though, is that ghosts reform a few days after being destroyed – the only way to truly rid an area of a ghost “is to determine the reason for its existence and set right whatever prevents it from resting in peace”. 4e abandons the template idea and treats ghosts as straight monsters (which is fine – the ghosts of commoners should be just as scary as the ghost of an adventurer). The Open Grave supplement for this edition also introduces the concept of using traps and skill challenges to mechanically represent hauntings in the game. It’s a fantastic idea, but I feel the sample skill challenge in the book is too abstract for the action of a ghostly adventure, and the traps listed don’t give the same sense of unfinished business that the ghosts from 3e embody. The haunted location trap is my attempt to bridge that gap.
Sometimes the location of an especially tragic suicide or gruesome murder becomes infused with the anguish of the spirit of the deceased, too tormented by its own pain to move on to the Shadowfell. The location becomes a beacon for the undead, and until the tormented spirit is laid to rest, is a perilous place for the living to dwell too long.
A haunted location requires more work on the DM’s part than a normal trap or hazard. The DM must determine ahead of time what tragic event caused the site to become haunted, what object or set of circumstances will lay the spirit to rest, and what triggers the spirit to become active.
The haunted location can take the form of anything from a single room in the dungeon of a castle to a dilapidated mansion on a lonely hill. This trap works best when combined in an encounter with a group of undead creatures of the appropriate level. These monsters are all that remains of the spirit’s past victims, now absorbed into the haunted location’s malevolence.