The Plasticity of Pain: This is the House, Come on In

[Visualizing Doctor Moreau’s Island as a Scare Attraction]

This version of the prototype builds on “The Plasticity of Pain & the Haunted Attraction: Prototype I.”

Logistics: Mapping Out the Scare Attraction

Please note that all images are not sized to scales. Images are larger than necessary. This is a rough rendering of the attraction reproduced via Sketch-Up.

Forest Trail rendered via Sketch-Up, complete with rough measurements.

This forest trail imitates the island in the novel.

Floor plans for the House of Pain. The house will be two floors. Each floor contains the same dimensions. Guests navigate a maze of rooms and winding corridors. Inside, the Beast People – regressing and returning to their animal nature – either attack guests or linger in the darkness.

The maze surrounding two of the main rooms in the house is unfinished and remains a work in progress. The maze’s walls will be built out of black plywood. Moreau’s laboratory will contain various medical equipment, tables, and slabs to capture the eerie mood. Prendick’s room, on the other hand, is tame by comparison. A bed, a bookshelf, and a suitcase will be found in this room. A bolted, chained door connects the two rooms by a single wall. The layout of this attraction is meant to be disorienting and does not follow a necessarily linear path.

A secret chamber planted in Moreau’s abode leads to the laboratory: the true House of Pain.

Another “Easter Egg” presents itself in the House of Pain. Guests can walk through Edward Prendick’s room. Prendick serves as the narrator and protagonist of Wells’ novel. However, in this rendering, the room appears covered in cobwebs and boarded with planks from disuse.

The laboratory is decorated with anatomical charts. Skulls litter the shelves alongside jars of preserved organs, their origins unknown. Dust and cobwebs cake the floors, the ceilings, the medical equipment. A pungent smell disturbs the senses.

Detail regarding the walls of the establishment.

This hut replicates one of the core scenes in H.G. Wells’ “The Island of Doctor Moreau.” Rendered on Sketch-Up, this screenshot offers an inside peek. Benches, bones, and piles of ash would decorate the interior.

Measurements of the Hut rendered on Sketch-Up.

Landscape

A close-up of an eviscerated rabbit. The soil is comprised of coffee grinds. The bones are hand-sculpted from Polygorm Model Air Clay; it’s an air drying modeling clay that sets within 24 hours. The bones were painted with acrylics. Artificial blood was applied thereafter. The entrails were made from wet paper towels and cotton balls soaked in liquid latex. Upon drying, they were covered in acrylic paint.

Rabbit corpses are found strewn throughout the scare attraction; this is a reference to the novel. The rabbits are found in various states of decay as a symptom of the regression of the Beast People.

The attraction takes place at the Stoddard Hill State Park Scenic Reserve in Ledyard, CT. The location was chosen on the account that two major casinos neighbor the area: Foxwoods Resort Casino and the Mohegan Sun: Casino & Resort. Advertisement would be dispersed across the states of Connecticut and New York in the hopes of accruing an impressive audience.

While guests wait in line to enter the attraction, music will play over the speakers. In particular, Glass Animals’ “Toes” will serenade them. As the line progresses, the song is replaced by animalistic cries of pain and vocalizations: howling, grunting, moaning. “Toes” is a homage to H.G. Wells’ “The Island of Dr. Moreau.”

It takes approximately two to three hours to walk through the attraction.

House of Pain’s Blog: https://enterthehouseofpain.tumblr.com/

The blog’s contents include an about page, house rules, and a disclaimer.

About Page

Screenshot of the blog’s “about” page.

House Rules

Screenshot of the rules on the blog.

Disclaimer

Screenshot of the disclaimer apparent on the blog.

SOCIAL MEDIA

Potential guests are encouraged to interact with the attraction’s social media venues. These outlets (Instagram, particularly) are meant to cultivate interest and lure in clientele. Searching tags on Instagram and Tumblr will draw in a potential audience.

House of Pain’s Instagram: https://www.instagram.com/enterthehouseofpain/

The Instagram page offers behind the scenes footage to the scare house. This social media platform encourages guests to take a peek underneath all the gore. Additionally, IG serves as a form of marketing, enticing prospective guests to do some research before admitting themselves into the horror fest.

Screenshot for the attraction’s IG. This sliver of social media offers a “behind the scenes” look into haunts.

House of Pain’s Pintrest: https://www.pinterest.com/fhaborak/the-house-of-pain/

The board serves an aesthetic purpose. This collage of images inspires the scare attraction’s collection of makeup artists, set designers, and costume designers.

Screenshot of the moodboard which inspired this frightening attraction.

House of Pain’s Twitter: https://twitter.com/enterthehouseo1 

A Twitter page engages with potential guests for promotional purposes.

Screenshot of the attraction’s Twitter. The primary motivation is for the attraction to market itself and promote social engagement.

Advertisement

Promotional material for “The House of Pain.”

Close-up promotional flyer of the scare attraction to be advertised online and across Connecticut/New York.

Mixed Media

This image board will be discussed in class. To the left depicts potential cast mates to assume the role of the Beast People. The bottom portion depicts location scouting for the attraction. To the right, textures are available to touch for the purposes of costume design.

Costume Design & Prosthetic Sculpts

To bring the Beast People to life, artists needs to study animal anatomy, physiology, and behavior. In accordance with Doctor Moreau’s garish experimentation,  it is difficult to twist and shape an animal form into a human one.

Costume for one of the Beast People, either the Wolf Folk, Swine People, or Cat People. The shirt is hand-sewn and made of cotton. The skirt was originally a tank-top, cut and modified to assume its form.

Proudly presented by Cinema Secrets, the scare attraction will incorporate Woochie FX. The horns above were not from Woochie FX and were a hand-painted application.

A glimpse of the prosthetics outside of the packaging.

The complete sculptural bust for one of the Beast People, the antagonistic and mischievous Vixen-Bear. I’ve used clay which air-dried then applied a layer of liquid latex before painting over the “prosthetic” with acrylic paints. Synthetic hair was applied to the inner cartilage of the ear and the scalp. The blackened out eyes roughly suggest where the scare actor’s eyes would be. The eyelids would be covered in dark eye shadow with the actor utilizing contacts that alter the shape of the pupil. The face is intended to look gory, depicting scarification, stitches, and open wounds.

A prosthetic sculpt for “The Sayer of the Law.” This is not a prosthetic application. On the contrary, this gives SFX artists an idea for inspiration as to how to proceed. Synthetic hair is applied to the scalp and beard. The hair has been sprayed gray to pay tribute to Wells’ description of the Sayer of the Law within the novel. Where the eyes are blotted out, dark eye shadow will be applied. Grotesque stitches and gore gives the illusion of the Beast People’s regression alongside Moreau’s surgical incisions. Bandages obscure gaping wounds. Gorey linen act as a scarf to encompass the neck.

A close-up of the pointed ears belonging to the Sayer of the Law. In the prosthetic application, crude stitches will step from the mouth and connect to the tip of the ear.

I created the sculpts with Polygorm Model Air clay; it’s an air-drying modeling clay that sets within 24 hours. I decided to recreate heads for the Old Vixen-Bear and Leopard Man onto a female and male Styrofoam mannequin. Over the clay, I applied a few layers of liquid latex before painting the pieces.

Cosmetic Tests

Here’s a makeup test on a scare actor cast as the Puma Woman. The actor will wear a shoulder-length brown wig. Surgical incisions, stitches, and gaping wounds will cover the limbs. The appliance requires a bit more blending, but will serve its purpose in a dimly lit space.

Another close-up shot of the Puma Woman.

 

A close-up of one of the Puma Woman’s clothes. The nails are artificial plastic. Fingers and the palm will be swathed in medical tape. Synthetic blood splatter alongside Ben Nye’s Fresh Scab Gel will be applied to the hand to give the appearance of open wounds. Nails are applied with an adhesive material. Fur cuffs will be worn around the wrists and angles to suggest hybridization – a painful combination of human and animal as a testament to Doctor Moreau’s work.

Neither harmful nor helpful, this faun is one of the Beast People that looms in the background. The faun follows guests though they do not instigate. This feeds into the tension palpable to the environment. The faun’s legs will be swathed in faux fur and will wear a short, cropped wig.

Swathed in a ragged, blood-stained, dirtied robe, the Satyr antagonizes guests and may be seen in the hut where the recantation of The Law occurs. The actor will wear a long, matted wig to compliment the beard attached to the chin. Legs will appear goat-like as the actor will be in stilts. The horns and face appliance require a more thorough job of blending material.

All prosthetics incorporate the use of faux fur into the final design. After receiving a prescription, actors will wear contacts with slit pupils and gold, white, red, or other luminous lenses.

Not all of the Beast People behave antagonistically towards guests. Some remain faithful companions. Others watch guests trespass from afar. Conversing in broken speech and fragmented sentences, scare actors imitate the sounds of wounded animals.

SCRIPTS

In addition, scripts have been composed and specifically tailored for scare actors portraying Doctor Moreau and the Beast People. Those will be distributed in class and included in the final.

Works Cited

Wells, H. G. The Island of Dr. Moreau. Random House Inc., 2002.