Editorials
The Queer Horror of “Chucky”: Episode 2.03 – “Hail, Mary!”
Each week Joe Lipsett will highlight a key scene or interaction in S02 of Don Mancini’s Chucky series to consider how the show is engaging with and contributing to queer horror.
With the action cutting back exclusively to the School of Incarnate Lord, this week’s “Chucky” delivers an hour focused solely on the kids. And while the demise of Trevor by Hulk Chucky is sure to be the episode’s biggest talking point, that’s the buzzy cliffhanger, not the meat of “Hail, Mary!”
Most of the episode is dedicated to guilt, penance, and forgiveness. It’s built into Sister Catherine (Andrea Carter)’s art history lesson; it falls from the lips of Devon Sawa’s Father Bryce (numerous times); and it’s a struggle that continues to drive a wedge between not just Jake (Zackary Arthur) and Devon (Björgvin Arnarson), but also Lexy (Alyvia Alyn Lind), who continues to battle her drug addiction.
For Jake, there’s something new to the concept of forgiveness, especially with respect to Chucky (voiced by Brad Dourif). It’s what makes Jake stop Devon from killing the tied-up doll and makes him consider an alternative way of dealing with his adversary. Knowing Chucky, this will likely prove to be a mistake, but for now, it’s an intriguing idea.
When it’s clear that physical torture isn’t effective on Chucky because, as Devon says, “he’s a sadist,” the group switches to aversion therapy, which is an extreme form of conversion therapy. In the campy world of the series, this plays out as a homage to the Ludovico Treatment from A Clockwork Orange, so the doll’s eyes are held open by barrettes and he is subjected to a steady stream of My Little Pony videos. On the surface, it’s an amusing tactic for how to reform a killer doll into a factory rebooted Good Guy.
Under the surface, however, this strategy is particularly queer-coded. Aversion therapy is a real-life torture technique used primarily against the queer community. Aversion therapy employs drugs and electroshock therapy during the presentation of same-sex erotic images in order to associate queer attraction with feelings of nausea and vomiting.
‘They/Them’ (2022)
While the practice of conversion therapy has been condemned by medical professionals since the apex of its popularity in the 60s and 70s, Hollywood has continued to lean into depictions of this barbaric practice in recent non-horror and horror texts such as Boy Erased and American Horror Story: Asylum (check out the Horror Queers episode for more on the last title).
Most recently the practice was depicted in the 2022 LGBTQIA horror film They/Them, in which a male camper was tortured with aversion therapy at a conversion camp. The John Logan film was met with divisive reactions by the queer community: Trace and I thought it had interesting ideas which weren’t always well-executed (hear more here), and Bee Scott defended the film while Kay Lynch of Salem Horror Fest hated the film’s lack of queer revenge.
“Hail, Mary!” uses familiar aversion therapy imagery in an unexpected way that is more in line with what Kay wanted from They/Them, namely the queers fighting back.
Here aversion therapy is wielded as a tool of queer revenge as “Hail, Mary” finds a pair of queer teens using the tools of their oppressor against them. This is a direct subversion of expectations: since the introduction of Incarnate Lord back in the premiere of season two, audiences have been waiting to see how religion will intersect with Jake and Devon’s queer sexuality. And while it will undoubtedly rear its head in the future now that Father Bryce has seen the boys kissing in the stairwell, the religious horror remains temporarily tabled.
It should be noted that the character of Chucky has never been coded as homophobic on the show. As we wait for the teased arrival of Glen/Glenda next week, let’s not forget that Chucky had a queer-positive attitude to his children last season. Still, Chucky has undeniably tried to murder these (queer) kids over the last season and a half and this episode sees them fighting back.
Knowing Don Mancini’s penchant for both horror homages, as well as his interest in addressing queer sexuality, there’s no denying that the use of aversion therapy – and all of its connotations – is no accident. How fascinating and unexpected is it of the show to reclaim such a historically traumatic attempt to weed out queerness than by having two queer teens wield it against their attacker?
Chucky truly is the show that keeps giving in unexpected and delightful ways.
There was a moment in Japanese culture when writers and filmmakers began to update centuries-old fears so that they could still be effective storytelling tools in the modern world. One of the best examples of this is how extremely popular stories like Ringu and Parasite Eve began re-interpreting the cyclical nature of curses as pseudo-scientific “infections,” with this new take on J-Horror even making its way over to the world of video games in titles like Resident Evil (a sci-fi deconstruction of a classic haunted house yarn).
However, there is one survival horror game that is rarely brought up during discussions about interactive J-Horror despite being part of a franchise that helped to popularize Japanese genre cinema around the world. Naturally, that game is the Nintendo Wii exclusive Ju-On: The Grudge, a self-professed haunted house simulator that was mostly forgotten by horror fans and gamers alike despite being a legitimately creative experience devised by a true master of the craft. And with the title celebrating its 15th anniversary this year (and the Ju-On franchise its 25th), I think this is the perfect time to look back on what I believe to be an unfairly maligned J-Horror gem.
After dozens of sequels, spin-offs and crossovers, it’s hard to believe that the Ju-On franchise originally began as a pair of low-budget short films directed by Takashi Shimizu while he was still in film school. However, these humble origins are precisely why Shimizu remained dead-set on retaining creative control of his cinematic brainchild for as long as he could, with the filmmaker even going so far as to insist on directing the video game adaptation of his work alongside Feelplus’ Daisuke Fukugawa as a part of Ju-On’s 10th anniversary celebration.
Rather than forcing the franchise’s core concepts into a pre-existing survival-horror mold like some other licensed horror titles (such as the oddly action-packed Blair Witch trilogy), the developers decided that their game should be a “haunted house simulator” instead, with the team focusing more on slow-paced cinematic scares than the action-adventure elements that were popular at the time.
While there are rumors that this decision was reached due to Shimizu’s lack of industry experience (as well as the source material’s lack of shootable monsters like zombies and demons), several interviews suggest that Shimizu’s role during development wasn’t as megalomaniacal as the marketing initially suggested. In fact, the filmmaker’s input was mostly relegated to coming up with basic story ideas and advising the team on cut-scenes and how the antagonists should look and act. He also directed the game’s excellent live-action cut-scenes, which add even more legitimacy to the project.
The end result was a digital gauntlet of interactive jump-scares that put players in the shoes of the ill-fated Yamada family as they each explore different abandoned locations inspired by classic horror tropes (ranging from haunted hospitals to a mannequin factory and even the iconic Saeki house) in order to put an end to the titular curse that haunts them.
In gameplay terms, this means navigating five chapters of poorly lit haunts in first person while using the Wii-mote as a flashlight to fend off a series of increasingly spooky jump-scares through Dragon’s-Lair-like quick-time events – all the while collecting items, managing battery life and solving a few easy puzzles. There also some bizarre yet highly creative gameplay additions like a “multiplayer” mode where a second Wii-mote can activate additional scares as the other player attempts to complete the game.
When it works, the title immerses players in a dark and dingy world of generational curses and ghostly apparitions, with hand-crafted jump-scares testing your resolve as the game attempts to emulate the experience of actually living through the twists and turns of a classic Ju-On flick – complete with sickly black hair sprouting in unlikely places and disembodied heads watching you from inside of cupboards.
The title also borrows the narrative puzzle elements from the movies, forcing players to juggle multiple timelines and intentionally obtuse clues in order to piece together exactly what’s happening to the Yamada family (though you’ll likely only fully understand the story once you find all of the game’s well-hidden collectables). While I admit that this overly convoluted storytelling approach isn’t for everyone and likely sparked some of the game’s scathing reviews, I appreciate how the title refuses to look down on gamers and provides us with a complex narrative that fits right in with its cinematic peers.
Unfortunately, the experience is held back by some severe technical issues due to the decision to measure player movement through the Wii’s extremely inaccurate accelerometer rather than its infrared functionality (probably because the developers wanted to measure micro-movements in order to calculate how “scared” you were while playing). This means that you’ll often succumb to unfair deaths despite moving the controller in the right direction, which is a pretty big flaw when you consider that this is the title’s main gameplay mechanic.
In 2024, these issues can easily be mitigated by emulating the game on a computer, which I’d argue is the best way to experience the title (though I won’t go into detail about this due to Nintendo’s infamously ravenous legal team). However, no amount of post-release tinkering can undo the damage that this broken mechanic did on the game’s reputation.
That being said, I think it’s pretty clear that Shimizu and company intended this to be a difficult ordeal, with the slow pace and frequent deaths meant to guide players into experiencing the title as more of a grisly interactive movie than a regular video game. It’s either that or Shimizu took his original premise about the “Grudge” being born from violent deaths a little too seriously and wanted to see if the curse also worked on gamers inhabiting a virtual realm.
Regardless, once you accept that the odd gameplay loop and janky controls are simply part of the horror experience, it becomes a lot easier to accept the title’s mechanical failings. After all, this wouldn’t be much a Ju-On adaptation if you could completely avoid the scares through skill alone, though I don’t think there’s an excuse for the lack of checkpoints (which is another point for emulation).
It’s difficult to recommend Ju-On: The Grudge as a product; the controls and story seem hell-bent on frustrating the player into giving up entirely and it’s unlikely that you’ll unlock the final – not to mention best – level without a guide to the collectables. However, video games are more than just toys to be measured by their entertainment factor, and if you consider the thought and care that went into crafting the game’s chilling atmosphere and its beautifully orchestrated frights, I think you’ll find that this is a fascinating experience worth revisiting as an unfairly forgotten part of the Ju-On series.
Now all we have to do is chat with Nintendo so we can play this one again without resorting to emulation.
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