Everyone Hates Urbanspook

[00:00:04]It's Halloween 2024.

[00:00:07]After a full year of silence, Urban Spook would premiere the penultimate episode of his analog horror series, The Painter. The series was derided by viewers for its use of shock value and perceived laziness. But with this one episode, it would go from one of the most hated series to one of the most praised overnight. It showcased a massive improvement in terms of production value. Its scares felt genuinely earned, and a story that many had claimed grown stagnant would finally reach its climax. It was almost heartwarming to see. A creator famously known for having trouble taking criticism was finally able to face it and improve from it. For the first time since the series began, people were genuinely excited to see what Urban Spook was making next. The finale of the series he spent the last 3 years developing.

[00:00:54]And then it came out and it was bad, but strangely in an entirely different way than before. The audience finally gets to hear the killer in a conversation only to realize they're just as shallow as everyone was claiming. There's a twist that comes from nowhere that wasn't built up to or foreshadowed. And the ending wouldn't be a proper conclusion, but a 5-minute long compilation of paintings with loud music playing in the background.

[00:01:22]It almost feels like he made the last episode good just to prove the haters wrong. To show that he can make something great, only to make it as clear as possible to the audience that he is talented. He is capable. He just chooses not to be. This is Urban.

[00:02:05]The Painter could very well be the most divisive horror project on the internet.

[00:02:09]It's a series loved by many and hated by many more. Since the release of its first episode in 2022, the series would wind up in more than its fair share of controversy for its intense depictions of violence and use of taboo subjects for shock value. I've seen a lot of people cover Urban Spook. I've seen people talk about the drama, about its depictions of violence and sexual assault, and about whether or not the series is scary. But above all, when I hear people talk about this series, no two words appear more frequently than missed potential. Hate isn't an emotion that stems from apathy. In order to understand why people hate the painter, we have to understand why people cared to begin with. That also means engaging with a lot of its darker subject matter.

[00:02:51]So, if any of the following topics make you uncomfortable, I suggest you sit this one out. I don't usually do content warnings, but here I think it's necessary.

[00:03:34]Hey. Hey, I'm an urban spook painting.

[00:03:39]I have very mixed opinions on Urban Spooks the painter. On one hand, it's definitely one of the more creative and unique series in the analog horror space. However, that creativity doesn't go into its narrative, but rather the increasingly violent and convoluted methods of murdering its characters.

[00:03:56]It's a series that's uncomfortable by design, but all honest attempts at buildup are overshadowed by it simply describing the worst things imaginable.

[00:04:04]So, what actually is The Painter besides just that thing everyone hates? Well, it's an analog horror series created by the channel Urban Spook, also known by his other alias, Urban Slug. Its story comes in the form of a collection of VHS recordings of police PSAs regarding a series of graphic murders. Each tape documents the different cases, each victim tying to a corresponding painting that relates to the method in which they were killed. I think a key piece of information needed to understand why this series is the way it is can be found in the origins of its creation.

[00:04:36]Urban Slug is first and foremost a horror artist. A really talented and multifaceted one at that. He experiments with all sorts of mediums and does almost all the visuals, paintings, and music in the painter by himself. Being a massive fan of horror, he has numerous inspirations from all corners of the genre. He cites campy '8s horror movie posters as the inspiration for his art.

[00:04:58]Yet he also cites Saw, the human centipede and the terrifier films as inspiration for his series. With the starting point of already being a horror artist with a backlog of paintings, Urban Slug took some of his existing body of work and paired it with a thin garnish of story and original background track. This would become the first episode of the series Faces. Watching it is the easiest way to understand everything about the painters strengths and weaknesses.

[00:05:27]The first thing you see in the entire series is a warning that it may be disturbing to some audiences. On its own, this does a good job at building expectations. It's very reminiscent of the antipiriracy warnings on old VHS tapes, but with the context of its reception, it's even more alluring. What horrors will be uncovered over the course of this series? The actual contents of the episode serve as a really strong introduction, immediately opening with a blurb of text establishing its premise, that a serial killer is creating paintings relating to each of their murders. It shows three previous examples to cement that idea before showing newly discovered paintings that aren't yet tied to any known cases. It's already building the correlation in your head that each painting represents a graphic scene of hedonistic torture. It's a fantastic premise and its format is genuinely a great use of the iceberg theory in writing. With nothing but text and a few images, it paints a surprisingly detailed picture in your head of the events that take place. The use of paintings also seems unintentionally genius. It takes the action of interpreting art, something we already do passively, and makes that the central way you engage with the series. Looking into the paintings and what they represent allows the horror to resonate deeper within your mind. The way the paintings are titled is also very telling. Each painting has a name inscribed on the back of the canvas. The naming conventions remind me a lot of the garbage pale kids. A trading card series from the 80s characterized by their exaggerated features and gross character designs. A lot of the painting titles almost seem childish. It implies a level of joy the killer is taking, not only in killing their victims, but also in defiling their bodies. A lot of people like to make the claim that urban spook substitutes its horror for shock value, but that's not entirely true.

[00:07:13]Yes, a lot of things are played just for shock, but there are also several cases of the series doing a genuinely good job at building tension. The first scene does exactly this. It shows the first victim's name as well as a diagram and description of the aftermath. It's an image that's especially unsettling when given the context of the text. The following slides keep raising that tension, but then the painting is this.

[00:07:39]Urban Slug is undeniably a talented artist. When given the right context, a lot of his art can be pretty unsettling.

[00:07:46]So, I mean this with all due respect when I say that this might be the worst possible piece he could have used as the first scare of his series. Analog horror already has this constant struggle between the disturbing and absurd.

[00:07:58]series like the Walton Files are known to push that idea to its absolute limit, twisting the human vis until it's barely recognizable. In this case, I think it goes too far in the silly direction.

[00:08:10]Thankfully, the other two paintings do a better job. James' secret face, in particular, is actually pretty unsettling. The episode closes with a brief montage of several other paintings, providing ample opportunity for the series to be expanded on with future installments. one of which would end up causing the series to become as infamous as it is. You may not know it yet, but this episode contains everything wrong with the series as a whole. The Painter is a series that revels in conflict. Its creator is most famously known for riing people up on Twitter. Something you'll come to learn is that The Painter is a walking contradiction. It seems like nearly every creative decision made over the course of its creation is fundamentally adverse to its perceived goal. and it starts as broadly as the format itself.

[00:09:00]Analog horror is a very loose term. The only prerequisite is the use of any sort of analog technology. Because of that, there's no reason to be forced into any common conventions. Urban Spook's use of text and images is minimalist, but it still does the job. Though its simplicity can also make things confusing, as without a clear visual reference, different episodes and characters blend together into an amorphous blob. Its less is more format is a double-edged sword. You'd think that its simplicity would keep the story digestible, as the only pieces of information provided have to be the most important ones, but its lack of detail can also make things hard to follow. The series has a tendency to drop a lot of time skips without establishing a clear timeline of events. By the ninth entry, it says some deaths are from as far as 5 years ago, but while watching, you never feel that time passing. Adding specific dates would clear this up a lot more, but it would also take away some of the mystique around the order the tapes take place in, which have been confirmed to not be chronological. Sometimes Urban Spook forgets to add a time frame entirely, leaving the events of each episode in their own limbo, largely disconnected from the greater story.

[00:10:05]That's not to say there isn't a story, though. Throughout the series, the overarching narrative involves the police following the paper trail of paintings to lead to our mysterious killer. In a traditional mystery story, progression would come in the form of finding clues, a clear checkpoint to show that progress is being made.

[00:10:21]However, most of the series is spent building up to the reveal that there are two killers and that one of them is a woman. As far as any concrete answers are concerned, well, you'll just have to wait until the finale. Instead, the narrative payoffs aren't character or plot focused. Rather, the reward comes from being able to tie the different paintings to the victims and how they died. The format of the painter contradicts its method of storytelling to instead focus on the horror. Its method of building up to a painting reminds me a lot of the works of JunjiIto, who's famously known to spend entire stories building up to one detailed scare. Itto has been cited by Urban Spook as an inspiration with references to his most iconic works being abundant in The Painter. In the framing of a presentation, it's easy to mimic the dread one would experience having to turn a page in Uzumaki.

[00:11:08]However, even on a purely horror basis, they aren't even comparable.

[00:11:16]JunjiIto shorts are usually framed from the perspective of the victim or an innocent bystander. In his short story, The Long Dream, one of Urban Spook's favorites, the perspective is focused on the doctors examining a newly admitted patient, Mukura, whose dreams grow longer and longer with each passing night. Because the story isn't from his perspective, you never get to see what his dreams look like besides a scant few panels. But the aftermath is undeniable.

[00:11:41]It fills the reader with a level of helplessness. The reader's perspective matches that of the doctors, a witness powerless to stop him from spending millennia trapped in his own psyche until he crumbles to dust. In the painter, the perspective of the narrator is almost omnipotent. You aren't viewing the story from the victim's or killer's perspective, but instead from the objective lens of the facts, providing the viewer with everything the police know in as much detail as possible. With such a disconnected perspective, it almost gets difficult to put yourself in the position of the victims. Yes, you can imagine something bad happening, but from the story's perspective, you aren't with the victims, but with the police examining them for clues. But the most pivotal difference between JunjiIto's short stories and the painter is that here it doesn't want to spend more time than it has to to get to the scare. And the result is a lack of proper buildup.

[00:12:33]In a lot of Itto's stories, he'll spend several panels giving the reader an understanding of our protagonist, what the status quo looks like before everything descends into horror. The central issue you'll find in Urban Spook's writing is that he'll provide the bare minimum in terms of context needed to understand the story. The same problem pertains to a worse extent in its characters. Because the format is supposed to be cold and informational, most characters wind up lacking character. Most of the time, they'd be lucky to get anything more than a death in a painting. The format is more focused on the ways in which they were murdered than who they were as people.

[00:13:08]It becomes a lot harder to empathize with the people who died, the horror they felt, when it's painfully clear that a character is being introduced for the sole purpose of killing them off. It completely kills the tension because of the format. You're never waiting, dreading to see whether a character survives because you already know they're dead as soon as they're established. This can be seen in the second episode, The Lighthouse, which introduces a police character, Bill Collins, just moments before it describes the violent hanging of his two-month-old daughter. Now's probably time to talk about the most criticized element of the series.

[00:13:49]Urban Spook has a weird relationship with shot content. It's something that defines what his series is, yet at the same time, it's what causes him the biggest headache. It's impossible to separate the painter as a series from the gross actions it describes. The shocking content has become a core part of the series identity, and Urban Slug has been on record saying that there's no line he wouldn't cross when it comes to horror. There's almost something respectable about that, about a series that's willing to go where no one else will. That's what makes it so memorable.

[00:14:22]In a world where influencers censor themselves into saying graped or unalived, there's something almost refreshing about a series choosing to face the abyss headon, about describing the most vile actions one could commit in excruciating detail. It's uncomfortable and definitely insensitive, but it doesn't glorify it or cover things up in an attempt to be more palatable. However, the problem with just describing the themes of a piece of media is that it ignores something much more important, the execution. I could explain what it tries to do all day, but that would be ignoring how well it's able to do that thing. Longnecked Angel is the first instance of something being done solely for the purpose of disgusting the audience. This alone isn't a bad thing.

[00:15:07]It's a horror series designed to make you uncomfortable, so why not cross as many boundaries as possible? The reveal of Angel being a 2-month-old baby genuinely caught me off guard. I can see what they're going for. It's clearly a reveal to show that whoever's behind this is more depraved than previously thought. That's already a very high bar to cross. So, the only way to reach that goal is by making them kill an infant.

[00:15:29]However, once you realize that we're only two episodes in, you can already start to see the problem here. From this point onwards, the viewer already knows to expect the worst, which means every following instance of shock content will result in diminishing returns. Like, for example, in the very next episode, the third episode in the walls is the most hated episode in the series original run. From a narrative standpoint, it's completely superfluous.

[00:15:59]The only overarching progress in the search for the killer being a single photograph of them at the end of the episode. A second photograph, mind you, as there was another one that was already found at the end of the previous episode. The only other narrative thread this episode has is barely relevant to the rest of the story and exists solely to shock the audience. The painter is a series with a lot of deaths. It goes on to say that Mona kills over 100 people.

[00:16:24]But interestingly enough, the main source of nearly all the backlash to the series comes from just one. [ __ ] Cory is one of many paintings shown at the end of the first episode. And here we learn what that name actually means. Cory Beck, named after the guy from Oniplays, is an 11-year-old boy who disappeared along with his twin sister. They killed them, defiled the bodies, and then defiled them in another way. That's obviously a pretty awful thing. And because of the cold informational tone, it's presented in a rather tasteless way. The format is too focused on exactly what the murderer did that it never spends any time on who Cory is as a character. He feels more like a pawn to force a reaction from the audience.

[00:17:12]The whole thing just reads as very tonedeaf. But more importantly, how is this supposed to be shocking? In the last episode, they literally killed a baby. Clearly, it's going for shock value again, but it doesn't have half as much impact because we've already seen this trick before. You can't expect the audience to gasp in awe that something edgy happened in the series that's now getting predominantly known for its edgginess. Is it upsetting? I guess it can be, but the series does such a poor job at establishing its characters that it doesn't hit nearly as hard as I feel it should. Critics of the episode, many of which are CSA survivors themselves, find Cory's death very insensitive.

[00:17:50]Doubly so, as at the time of its release, Urban Slug was selling t-shirts of all of his paintings, including Cory.

[00:17:58]I think the outrage is entirely fair. It was clearly a very provocative move done to incite a reaction. But the problem I have isn't just that Cory's death is offensive. It's that narratively, it does a bad job. Like most other urban spook victims, the series tells us nothing about Corey. How can it expect us to feel bad for a character that never got to be one, the tone in the episode feels a lot more like it's gawking at how gross it is, missing the inherent tragedy of a child losing their life. See, the issue with a topic like sexual assault is that the only way to portray it well isn't to make one episode about it. It's to make the whole series about it. It's a topic that holds so much weight that the rest of the series would have to mold around it to compensate. Imagine how much worse a story like mouthwashing would be if Anya's Assault was just a little Easter egg for the players. Flavor text for people who read between the lines. Its story would lose everything that made it so provocative. Urban Slug didn't want to tell that story, and the result is that the worst thing that could possibly happen to someone just becomes an afterthought. Something sprinkled onto the existing story to show how evil the killer is. Three episodes in and the series has already hit the wall in terms of shock value. Going forward, it would definitely keep trying, but it would never be able to elicit the same level of disgust. This is actually a blessing in disguise. Now that shock value doesn't work anymore, Urban Slug is forced to come up with actual creative methods of getting the audience to care.

[00:19:26]Unfortunately though, no matter how creative the kills get, it doesn't solve the fundamental problem with the characters.

[00:19:38]The painter does not have a traditional story. Instead, it can more easily be divided into the different batches of murders, sequences where a ton of paintings are shown at once before the following episodes explain the stories behind them. The first four episodes are spent going over the paintings shown at the end of episode 1. But starting with the fifth episode, Witness, the story starts to get some direction. At first, it just seems like more murders, nothing we haven't seen before. But something interesting happens here. For the first time ever, someone survives an encounter with the painter. Tina Rosenberg is one of three people who wanted to go on a road trip, including her boyfriend Jack and younger sister Flora. However, things didn't go as planned. While the episode explains what happens to the others, a more impactful sequence plays out when it details Tina's recounting of events.

[00:20:29]I remember waking up in the car. Jack was gone and I can hear someone approaching.

[00:20:35]Next thing I remember, I was tied to that tree. I was injected with something. I could hear my sister screaming. She was screaming for her mom. Oh, Flora. I don't know. I remember whispering and her face.

[00:20:53]Oh god, her face. Despite the lack of visuals or voice acting, the writing here is actually a lot more impactful than before. Notice how this perspective is a lot more in line with the ones used in Itto's horror stories. It's clear by now that Urban Slug is getting a better grasp of what he wants the story to become. The viewer may not know it yet, though, because the next episode is focused on an entirely different set of murders. Most of them continue using the original format, but one of them in the seventh episode, Family is the most visceral death in the series. Isabelle Jackson is an elementary school teacher.

[00:21:27]While she suffers from the persistent problem of being a cardboard cutout, her death is the high point of the episode, being the best singular sequence in the entire series.

[00:21:38]>> What's your emergency?

[00:21:41]>> Okay, now what's the address?

[00:21:47]>> Oh, okay. The police are on their way.

[00:21:50]>> In this case, the format actually plays into the strengths of the scene. By now, the viewer already knows how this call will end with a drill bit going through the top of her head.

[00:22:08]>> This scene does a much better job at getting the viewer to empathize with the victim by giving her a face, name, and voice.

[00:22:16]>> And while it's a small touch, making her an elementary school teacher seems like a very deliberate choice. It's a job that involves taking care of kids, an almost motherly role. Her absence will be felt. These two examples demonstrate that in the right circumstances, the series can provide creative kills that also incite the intended reaction.

[00:22:37]People say Urban Spook's a bad writer, but in these instances, the actual dialogue almost feels too real. When Isabelle ignores the questions and repeats how she doesn't want to die, it's a very raw reaction, one that works extremely well. You could see this in the very next episode. Meet Fred Baker is a pharmacy worker who grew up in the same orphanage as the killer, Monolenius. It's implied that he's been smuggling drugs from his workspace and giving them to the killers to be used on their victims. It seems Mona always hated him, and that's reflected in his eventual death and his corresponding painting, Fleshhead Fred. His face was cut off before being stabbed 487 times.

[00:23:18]It's very excessive to an almost comical degree, but it gets the point across.

[00:23:23]This kill was a lot more personal than the others. At this point in the story, you don't know the history between them.

[00:23:30]It's explained in an interview long after this. But even in the moment, you could read between the lines and put the pieces together. Except that's not the full story because this isn't Fred Baker. It's a completely different character who dies in the same episode named George White. He has no connection to Mona. His death was completely impersonal. Fred's actual death plays out right before this scene. He just happens to die in a similar way. The deaths in this series have this weird dichotomy where the most effective kills are from people who don't matter to the story, and characters that should carry more narrative weight die alongside the myriad of other victims. The reason for this problem can actually be seen at the end of episode 8. The last scene of the episode mentions the disappearance of Sarah Stone and her husband. Sarah was the police dispatcher who was on the phone with Isabelle in the prior episode family. And while that's a cool connection, the big narrative payoff once again has nothing to do with the characters as instead the attention is brought to a security camera that captured a full view of the killers.

[00:24:33]This is the big payoff. That's why the focus isn't on the victims, but what the killers did to them instead. It all ties back to the format and the goal of the series being to track down the killers.

[00:24:47]Through its numerous conflicts, The Painter ends up as an inconsistent blend of ideas that don't work well together.

[00:24:52]It wants to be scary while giving you all the details. It wants you to care about the paintings, but not the people being painted. It wants you to be shocked and appalled while also telling jokes. I talked about how guttural Isabelle's death is, how for once it's able to take something seriously, and the result is the best death in the series, but that's not entirely true.

[00:25:15]Earlier in the episode, it tells you the full aftermath of her death. And inside the drill hole in her head, the police found a note, a riddle. I live where I can't breathe, and I eat without teeth.

[00:25:28]What am I? Judging by where the note is found and the painting associated with her, the answer is clear.

[00:25:36]A whale.

[00:25:38]Her whole death is a [ __ ] fat joke.

[00:25:42]This disconnect is actually kind of awesome. This isn't the series making fun of someone's painful death. It's demonstrating once again how much joy the killers are taking in doing this.

[00:25:53]However, a lot of people can't seem to recognize the difference that despite the story following the killers, the narrative clearly isn't siding with them. A lot of people had a lot of criticisms towards the painter as a series. The only thing that's more divisive is the response people had towards its creator.

[00:26:15]I've already mentioned that the painter is controversial, and by now we're beginning to understand exactly why, but one incident would cement Urban Spook's reputation as a creator more than anything from the series itself, even more than him selling t-shirts of Cory.

[00:26:30]And that career tainting moment on the night of October 1st, 2023, would come in the form of one interaction on Twitter.

[00:26:41]What's an analog/digital horror opinion that will get you like this? We need to stop praising series that rely entirely on shock value to carry their horror.

[00:26:50]Stuff like Urban Spook drives me nuts because the only horror it has relies entirely on trying to describe the most vile thing possible with little else.

[00:26:57]Not only is that just lazy, but in my opinion, it also encourages other creators to attempt to make work similar to it, which just leads to more lazy and distasteful projects being created. To anyone telling me this is a cold take, please go and look up Urban Spook on YouTube. What you'll find is video after video either praising or reacting to his work in a positive light. People may be critical of it, as they should be, but the general consensus is not negative.

[00:27:23]You're such a [ __ ] putbye. Just because extreme horror doesn't fit into your little autistic furry horror taste doesn't mean that there isn't a place for it. Use your platform to talk about things you like instead of [ __ ] on actual creators. come. Your work is distasteful garbage and I shall treat it as such. If you can't handle people being critical of your work, which you have clearly shown to be the case, then maybe you shouldn't be posting it.

[00:27:49]I think this entire Twitter spat was completely unnecessary and neither side should have posted anything publicly.

[00:27:56]Pastor saying that series like Urban Spook don't even deserve to be praised for the things they do well because they might inspire other series to be like them almost feels like fear-mongering.

[00:28:04]But even though I think Postra oversimplifies The Painter down to just shock value with no substance, despite episodes like Family and Neat demonstrating a clear increase in effective scares and production value, Urban Slug's response here is downright terrible. Him deflecting, implying that Pastra isn't a real creator for choosing to share an opinion on someone else's work is equally dismissive. And this response would end up tainting how he's perceived in the community far more than anything Postra ever could have said.

[00:28:31]Now, keep in mind this is three-year-old Twitter drama at this point. This really isn't a big deal, and these few words from several years ago obviously don't reflect who these two are as people today. However, this was all important to talk about as from this point onwards, Urban Spook was no longer a figure within the analog horror community. He is now an outsider. This can further be seen in the responses from other prominent figures like Martin Walls and Alex Kisser who in their own ways made it painfully clear that the painter is not representative of analog horror and that Urban Slug isn't one of them.

[00:29:08]The Painter was already unlike anything else in analog horror. While prominent series like Local 58, Gemini Home Entertainment, and the Mandela Catalog focused on these existential threats to human life, these cosmic horrors leagues bigger than ourselves, The Painter was about two human killers. While the analog filters are often used to obscure the horrors, to leave them to the imagination, The Painter leaves everything out to dry. While these other series worked to have each installment be different from the last, the painters episodes were extremely consistent, never changing all that much between episodes. But all of that was about to change.

[00:29:53]The release of its ninth episode, Hell, would spark an entirely new sort of conflict for the series. A conflict in how the series was perceived. Hell is by far the best installment of the entire story. I don't think it's possible to overstate how great it actually is. Even knowing the disappointment to come.

[00:30:12]After appearing at the end of Meat, the police have located the hideout of the painters, closer than ever to catching them once and for all. This is already a clear development in the story. But the more shocking thing about it is just how subtly the format was changed to lead to such different results. 30 seconds in, the episode begins showing actual body cam footage for the very first time. The captions remain, but they now serve as flavor text rather than the full picture. Normally, a change in presentation comes with the climax of the episode. The gut-wrenching phone call in family is deliberately held off until the very end. Here, the footage is immediately showcased as if it isn't that big of a deal. That makes it feel so much more real. Within the story, body cam footage is just what they would have naturally. But from an outof universe perspective, it is insanely impressive. The choice to censor all visual gore also brings back that fear of the unknown. It lets your brain fill in the gaps in a way it can't when it describes every detail of the exact method of murder. The police delve deeper into the complex, finding several bodies, including the one of Hang and Jimmy from episode 1. Then they found one more collection of paintings, including Stone Loop, the aftermath of what they did to Sarah Stone after appearing in her security footage. We also get a painting tying back to the Collins family from episode 2, who were found as mangled corpses in a barrel.

[00:31:32]Then they find a phrase written all over the walls. Once you've been to hell, you never come back. Referring to a clip from an interview, which they actually play, >> those people took me to hell. And once you've been in hell, you never come back.

[00:31:48]>> This was taken from a 1989 film called Empire of Madness. Looking at some screenshots from the film on a website, you can see the photo of Jack was also taken from that. That means Urban Slug was likely planning to use this clip since Tina was introduced in episode 5, especially considering her picture was taken from this exact same shot. This then leads to the grand finale of the episode. Realizing they were referring to an interview with the one survivor of the painters, the police rushed to perform a wellness check just in time to see the painters trying to finish the job they started.

[00:32:27]Let me SEE YOUR HANDS RIGHT NOW.

[00:32:36]Let me SEE YOUR HANDS RIGHT NOW.

[00:32:39]LET ME SEE YOUR HANDS.

[00:32:43]Do not move. You understand?

[00:32:56]This is the singular best scene in the series. Tina's screams continuing for the rest of the episode. In her first encounter with the painters, she already lost her arms and feet. This time they punctured her eyes and ears with a pair of knitting needles. Because of this, she had no idea she was being saved.

[00:33:19]She kept screaming for 20 minutes.

[00:33:23]Imagine the primordial terror she's facing at this instant. She's fully aware that any second can be her last.

[00:33:32]At this point, surely she's just bracing for impact, knowing that any second now it'll all be over. The mental burden is almost worse than the physical. It's a very bittersweet moment. Tina is the last victim of Monolenius, but now she's in a state where she has no ties left to the world around her. She can't see, she can't hear, she can't walk, and she can barely feel.

[00:34:00]The second killer is then revealed to be none other than Bill Collins, the officer from episode 2. That means the mangled bodies of his family found in a barrel were likely caused by him. He dismembered his own family. Being a former cop, this also explains how Mona was able to remain one step ahead of law enforcement at any given time. She had a man on the inside. I know I keep saying this, but this is by far the best episode of the series. It has actual storytelling, progression, payoffs, and a better tone. It's literally night and day from every one of the previous episodes. And people noticed, even vocal critics like Wendigon commended the episode as a massive step up.

[00:34:46]>> Not not to overhype him too much, but the biggest complaint Urban Spook got was his inclusion of like children. Like that's what he got the most hate for.

[00:34:55]And for a while, at least online, he was very vitriolic to everyone. when he brings up their their bodies again in this one. It would have been the old urban spook thing to like double down and make it even more gruesome and more over the top, but he didn't do that.

[00:35:11]They're mentioned and then the camera moves on, which is dare I say an impressive amount of restraint on his part, which I do appreciate. Dare I say that was the best one. I think while the increase in production value is immediately noticeable and does elevate the series, I think the underlying reason it was so positively received is that it tangibly progresses the story while also paying off a ton of plot points from the previous episodes. For the first time ever, people were on the edge of their seats waiting to see what Urban Spook would make next. On an Instagram Q&A, he was asked how many total episodes there will be. The answer was 10. The next episode would be the finale of the series.

[00:35:57]It's New Year's Eve 2025.

[00:36:00]After another year-long wait, the final installment of The Painter was uploaded to the Urban Spook YouTube channel. We already know how this story ends. We've already established the different conflicts within The Painter and the different conflicts around it. Up to this point, the series is strained primarily in its tone, format, and characters. But this finale would bring an entirely new issue to the table, one that previously wasn't even thought to be possible. It managed to ruin a story that was barely even trying to be one.

[00:36:32]The painter has an IMDb page. The most controversial episode of the series is In the Walls, the Corey episode, which currently sits leagues below the rest of the series at a 3.3 star rating. The finale is at 2.7.

[00:36:48]The core problem with this episode is a disconnect, a contradiction between the story it was trying to establish and the story it will eventually become. At first, it isn't even noticeable. It's the same style seen in Meat and the beginning of hell, images alongside the descriptive text. It even has some 3D footage. It seems like it's continuing the step forward taken from the last episode. After being apprehended, Mona happily shows the cops several other bodies, like a child showing their parents their doodles to be put on the fridge. There's a payoff for the man in the pipes, his body being found in the sewer. But after that, things start to change. The tape cuts out and now we're in some sort of occult temple with strange statues all around. This is something that hasn't been established anywhere. We then enter a new sequence, an interview taken with Mona. Now is the opportunity to finally shed some insight into her character. By this point in the story, she's now been unmasked and uncovered. Before watching through the section, I wrote down a list of the questions I would want to see answered.

[00:37:55]There are quite a lot of questions. Out of those, here are the ones that were answered.

[00:38:04]Wow, that seems like a lot of answers.

[00:38:10]These are all the questions that were answered with one simple phrase.

[00:38:13]>> Don't tell them they made me do it. That it was all rigged from the start.

[00:38:17]>> Who are they?

[00:38:19]The red man.

[00:38:20]>> They put it in the ground and with sonic pressure they manifest it. A red man inside of me. He's the one who makes the paintings.

[00:38:32]He gives me a face and a name. And then he tells me who to go and get.

[00:38:41]>> So, let's go over these answers. Why does she murder people? Because the red man told her to. Why does she make the paintings? She doesn't. The red man makes the paintings. Why does she target families and children? I don't know.

[00:38:56]They just happen to be the people targeted by the red man. What was her end goal? Seemingly to get caught by the police to escape the red man. The only insight this interview provides that's actually interesting is her history growing up in an orphanage with Bill.

[00:39:10]Instead of this interview focusing on the actual answers, it seemed like it instead just threw in all the red man stuff to wrap up the mystery as soon as possible in order to go allin on edge factor. All insight provided being secondary for the sake of causing more uncomfortability. This can best be seen right here.

[00:39:28]>> You were denied a court hearing because you tried to smuggle a grenade through >> my [ __ ] [ __ ] yeah. hit up a grenade up in there. Glad the guards are even more perverted than I am. Would have gotten away with it. Wouldn't that be something? Big [ __ ] Oh. Urban Spook thought this line went so hard that he is selling t-shirts of it. The red man has several interpretations and they all have serious ramifications on Mona's character. One, it actually was the red man and she's just an empty vessel rather than an actual character. Two, she is clinically insane. The red man does not exist, but she's so far gone that she has no opinion of her actual work. The paintings she spent thousands of hours creating. Or three, she's just trolling, pulling a fast one on the interviewer by pretending to be crazy.

[00:40:20]None of these give me the answers I would have wanted. But at very least, whether the red man is real or not is up to interpretation.

[00:40:28]until the very next scene.

[00:40:33]An alarming number of paintings have appeared across the nation. Forensic analysis suggests that the paintings were all made by the same person. Even the handwriting on the backs of the paintings matches that of Mona. By this point, Mona is already dead. She was stabbed offcreen, mirroring the deaths of her victims. And that means she couldn't be the one who made the paintings. This sucks. So [ __ ] hard.

[00:40:59]So he told her to kill people and she just did it. No personal involvement.

[00:41:04]Has nothing to do with the art or the attention she lacked growing up in an orphanage. She just did it because the red man said so. The reason this is so annoying to me is that the red man didn't literally come from nowhere. It's just that he figuratively came from nowhere. There's a self-portrait that shows up in episode 1, which I thought it was just Mona's twisted way of viewing herself, but I guess that's the guy who did it. The Red Man is genuinely the worst twist in anything I have ever watched, and that's because he completely throws away the personality of the only character the audience is curious about at this point, the only character the story wants to follow.

[00:41:45]Throughout this video, I've been heavily alluding to Mona's very childlike characteristics, the way she titles her paintings, the way she makes jokes about her victims, the way she displays them, and the way she's constantly trying to grab attention. Mona doesn't just make paintings. She strings up bodies like decorations. She makes clothing out of their skin and puts their faces on display.

[00:42:09]Mona is an artist.

[00:42:15]And because art is a very personal expression of the self, you can glean a lot about her, whether or not it was intended. Monolenius grew up in St. Helena Orphanage. She'd act out, doing provocative things for attention. This clearly carried over to adulthood. As an artist, it's natural to want as many eyes on your work as possible. So to do that, Mona begins killing, taunting the police to follow her trail of bodies.

[00:42:40]Her primary targets seem to be families, kids, and mothers. Sure, it will incite the most visceral reaction, but there's an underlying reason for doing this.

[00:42:51]She's envious of the bond between mother and child, something she never got to experience. This is the version of Mona we will never get because of the red man.

[00:43:06]Not to go full bread tuber here, but making the disgusting violent serial killer a woman is actually kind of a cool subversion. Off the top of my head, the only female horror villains I can think of are Carrie and Miss Vorhees from the first Friday the 13th. Usually, especially in genres like slashers, it tends to be male killers with their sharp knives, machetes, and chainsaws hunting down the final girl who only escapes because she's so morally pure or something. In this lens, Mona is kind of like a feminist icon. You go, girl, slay.

[00:43:40]Oh. Oh my god, that's too much slaying.

[00:43:42]When you bring the red man into things, it completely undoes the subversion.

[00:43:46]She's definitely still evil and takes credit for the murders, but now it's a joint venture with the red man who tells her what to do and who to kill. This strips all agency from Mona as a character. There are so many angles that could have been taken with her paintings. I just provided one earlier, but because she wasn't the one who made them or chose the victims, it doesn't matter because there's no connection or personal involvement in any of it. The most annoying thing to me is that the perfect characterization for an artist who paints their victims was so obvious.

[00:44:19]They could just make Mona a pretentious artist treating the interrogation like a celebrity interview. Rather than explaining why she killed people, she could deflect, instead explaining the creative decisions behind her paintings.

[00:44:30]the struggles with burnout, always trying to make each kill unique. Maybe she takes a cue from Jigsaw and gets offended at being called a murderer. A murderer. I'm not killing these people.

[00:44:43]I'M IMMORTALIZING THEM. They're going to be remembered for as long as people are talking about me. And thanks to those broadcasts, I'll be known for generations. Really, you should be thanking me. The last act of the episode could have been a neat metaphor for how artists can so quickly inspire one another. It would actually be almost inspirational in a sick twisted way. But instead, it was just the [ __ ] red man. Instead of being her own character, Mona is left as a cardboard cutout. Her paintings could have easily served as a metaphor for the series, something that was seemingly made to desperately claw people's attention by any means. Instead, the characters are as flat as the canvas they were painted on. Without making the paintings, Mona's entire personality is that she's just the worst person ever.

[00:45:33]She can never be interesting because you'll never be curious about how she'd react to something. You already know what she'd do. She'd do the worst thing possible because she isn't an actual character. This finale doubles down on all the things the critics disliked, which would make for a pretty neat artistic statement, at least if the series chose to actually be about art.

[00:45:54]It isn't about the paintings. It isn't even about the painter. It is about the red man. It makes you start to wonder how Urban Slug was even able to take the criticism long enough to make hell as good as it was. I mean, he did take the criticism, right?

[00:46:13]This is a Reddit Q&A posted shortly after the release of Hell. Responding to a question about the positive reception towards the episode, Urban Slug said this. I'm not sure where the 180 came from. The only difference is that the images are moving now and that the killers got caught in the ending, which I guess counts as story progression, if you could call it that. Seen a lot of people say that I took the criticism into mind when making Hell, which I did not. The criticism is often either it's too violent or it's boring with no story. Not sure what made Hell different except the production increase. Okay, clearly he has to be lying. I mean, Hell was such a dramatic change in terms of both quality and reception. Are we really going to believe a guy who got so defensive over some basic criticism wouldn't spend an entire year making a great episode only to spend another year making the worst finale ever just to get back at the people who criticized him? I mean, when I put it that way, it sounds insane. But you'd also have to be kind of insane to make something like this to begin with. Urban Spook can't take criticism. Just look at his response to Pastra. They called it shock value with no substance and he completely crashed out at them. That's what he's so mad at here, right?

[00:47:22]Well, I don't think it is. Pastor's initial tweet wasn't just being critical of his work. It was basically claiming that series like The Painter shouldn't be accepted or allowed in the space, which seems like a pretty big overstep.

[00:47:36]While Urban Slug's response to this was overeotional and poorly thought out, I can at least understand where this type of reaction would come from. He's getting defensive at a bigger creator basically saying that the thing he made shouldn't be allowed to exist, shouldn't be allowed to inspire others. And to an artist, I couldn't imagine a bigger insult.

[00:47:55]But the series doesn't have any intent.

[00:47:57]It just wants to provoke a reaction, and it's so desperate for that reaction, too. It's so over-the-top in terms of its violence, it's almost comedic. The main thing Urban Slug cites as inspiration for his art are old '8s horror movie posters. And it's clear that the painter has more than a few parallels to be made with slasher movies and other campy horror flicks. The numerous typos, especially within the first few episodes, add to this tone, something Urban has been on record saying he wouldn't go back and change.

[00:48:27]What about his other inspirations?

[00:48:30]On his letter boxed, Urban Slug has Brain Dead, an Army of Darkness listed as some of his favorite films, both of which are classified as horror comedies.

[00:48:39]When asked about the Creepcast episode, making fun of his series, he said it was a blast seeing Papa Meat recognizing its more comedic elements since he doesn't see that often.

[00:48:49]Oh dear, how could I have possibly missed this? How could everyone have missed this?

[00:48:57]After all, it's the biggest conflict in the entirety of The Painter.

[00:49:09]>> Once you notice it, the clear comedic edge of the painter is unmistakable. A lot of its deaths once again draw comparisons with Juniito. And while The Long Dream is one of his favorites, his number one pick is The Hanging Balloons.

[00:49:23]Another story with a premise that drifts to an almost comedic level of absurdity.

[00:49:28]The fourth episode of The Painter, The Clue, features two deaths, Wax Doll Tom, and The Man in the Pipes. Both of these heavily pushing the line between horror and comedy. We'll start with Tom. Being burned alive and then suffocating in wax is metal as [ __ ] It's a genuinely really creative kill, but it's also comedically over-the-top in its brutality. His eyelids were cut off, his arms were cut off, and there's a mysterious third arm in there with him.

[00:49:55]The visual of a giant pile of wax just materializing in his living room is really funny. Where did they get all that wax? How many candles did they go through? The man in the pipes is a similar story. Shawn Kaine is a private investigator who stumbled across the aforementioned giant pile of wax. A week later, he goes missing, and police can't find anything besides a two written in his own blood and a painting. The man in the pipes. There are people that have lost nights of sleep over this. In the episode Pigs, an officer is stuffed inside a giant pig carcass. In the next episode, there's the whale joke with Isabelle's death. Big [ __ ] boom.

[00:50:34]The dark comedy in The Painter is just as much of a constant as the horror.

[00:50:40]There is a fundamental discrepancy between what everyone thinks Urban Spook is trying to make and what the painter actually is. Somehow no one realizes that when they make fun of the series for trying too hard, Urban Spook is laughing, too. When asked what the most gruesome kill in the series is, he said that the idea of having the killer strangle a pregnant woman to death with her own umbilical cord was so cartoonishly evil that he cried laughing. At best, people assume the painter was designed to be played completely seriously to disturb people.

[00:51:11]And at worst, some have implied Urban Slug to be a dangerous person for even conceiving some of these horrors. People think he is a genuine psychopath for coming up with this [ __ ] He's just Swedish. So, how did literally everyone get this wrong? I feel like it's easy to build a story around a figure when there's already an air of mystique around them. The Urban Spook channel popped up seemingly out of nowhere, and rarely, if ever, has anyone seen Urban Spook out of character on his most popular platform. But I think the most probable explanation is that no one felt the need to check. Urban Spook's reputation will forever be characterized by one Twitter drama and the several videos talking about him. People already see him as a hard-headed [ __ ] who's incapable of taking criticism. So, over time, he's grown to embrace that persona. After a certain point, people just misread his intent and ascribe their own feelings onto him. So, what was he actually going for?

[00:52:13]Despite the rather enigmatic qualities applied to him, Urban Slug isn't this mysterious figure in the shadows. In order to learn a little more about him out of character, you have to seek out his numerous Q&As's on other platforms like Instagram and Reddit. It seems this was a great enough filter to prevent a lot of people from seeking it out. But what you'll find is a very different picture from the general consensus. In these Q&As's, you can see Urban Slug, someone who supposedly just made a series to jump onto a trend to make money, going in depth about his creative process, inspirations, cut concepts, and even detailing that he deliberately chose not to make plushies of his characters because it didn't fit his vision for the series. He's almost an entirely different person. Someone who still has the same humor and persona, but one that isn't lacking in self-awareness like many believe. When Urban Spook says he didn't take any of the criticism into account when making Hell, I'm actually inclined to believe him. It doesn't just exist in a vacuum.

[00:53:08]It was clearly built up to by the previous episodes. And through his answers, I wouldn't be surprised if Hell is the episode he's most proud of. He spent over half a year learning Unreal Engine to animate that final sequence.

[00:53:20]That's something incredibly commendable.

[00:53:23]But as much as these Q&A told me about his art, I wanted to know more about the painter's story, something he usually isn't asked about in his public appearances.

[00:53:32]So, I sent him a message and asked some questions of my own. My original plan was to go through the answers and explain how they changed my view of the series. But the most shocking development actually came before I got a single answer. You'll notice most of these are in regards to the narrative, story, and writing. as the Q&A's already answered everything about the paintings and inspirations and technical stuff.

[00:53:55]Yeah, I think a big thing is that I don't consider the painter to be a story, which is why there's a lot of disconnect, but I'll try to get more into that. That's very interesting.

[00:54:04]Actually, I'm excited to hear the answers then, I said, not mentioning how it completely shattered everything I thought this series was supposed to be.

[00:54:12]Like, on an objective level, the videos primarily consist of images and text.

[00:54:18]You literally read the story around the paintings like a plaque in a museum. But also, the writing is where the majority of criticisms lie. Watching the series by itself is so [ __ ] boring, it's almost unbearable. It's like watching a book. People thought the format was too basic, being more in line with creepy pasta stories than other analog horror projects. People hated the shock value, not just because it was insensitive, but because it doesn't serve a use in the story. Its overarching narrative seemed directionless. earlier episodes revealing photographs of the killer.

[00:54:49]Yet, in episode five, we get a police sketch. It's a step back, which reflects a lack of pre-planning, and now we know why. Urban Slug didn't know he was writing the story while he was writing it. And we can gleam all of this before a single answer.

[00:55:16]You've stated before that the first episode was intended as a one-off. At what point was the outline of the story realized? I made the first video for Funsome Night. I basically just improvised the video while editing it to some music I'd recently made. The first video blew up. A lot of people saw it and wanted more, so I kept making similar videos. While there was an underlying little story with the killer being revealed more and more in some way at the end of each video, that was never the point. I really just wanted to come up with funny, over-the-top, and creative kills, having each video introduce new characters to be killed off in new, dumb ways. The last two episodes are more focused on the killers, but up until then, I wouldn't really say there's any story. The story of the painter was being written as it was being told. And paired with the idea that he wanted each episode to be self-contained enough to view on its own, it leads to a lot of them blending together. That's why the different episodes tend to repeat the same story beats, two steps forward, one step back.

[00:56:11]What was the intended tone/response?

[00:56:14]I mainly wanted to achieve an unsettling atmosphere with a comedic undertone and how absurd it gets. I've seen a lot of people split on it being very scary or just dumb funny. So, that's cool. I have a hard time imagining how you'd find something funny and truly scary at the same time. So, having it split is fine.

[00:56:30]I guess it depends on which eye you're watching it with. That line about the series being different depending on which eye you view it from couldn't be more accurate. That's what makes it so hard to review. The only way to do it justice is to cover it from as many angles as possible. What inspired the idea to introduce the Red Man as a paranormal entity? The Red Man was really just a metaphor for me, being the one who actually makes the paintings, telling or writing who Mona should kill, etc. But the Red Man can be interpreted in other ways, too. I'd never actually considered the possibility of the Red Man being a self-insert. With this knowledge, it completely recontextualizes the meaning of the self-portrait. It isn't Mona, it's Urban Slug. he's the one who makes the paintings. That still doesn't make it a good twist, but it at least explains the creative decision behind it. My next few questions would be in relation to the response towards the painter. A lot of people seem to ignore the more nuanced elements of the series because of its use of shock value. Would you have done anything differently in hindsight knowing the response? Shock value is at the very core of the whole series.

[00:57:30]Sacrificing that just to appeal to a wider audience would rob the painter for what it is. Sure, you can still take the concept of a killer making paintings of its victims and basically do it in any way you'd want, but I did it the way I wanted. And I'd rather stick with everyone who resonated with that over anyone who'd like it in a different way.

[00:57:47]I think the reason a lot of people say Urban Spook can't take criticism is because he doesn't listen to the people that say his series is too violent. When he ignores that specific common complaint, it's not because he can't handle the criticism. He's just actively ignoring it. what those people are asking from him is directly opposed to what he wants to make. What have you learned from your time making the painter? Is there anything you would have done differently? I've learned a lot from making the painter. Obviously, there's technical stuff like 3D animation and so on, but I've also learned a lot about people and about having an audience. When I started making the series, I wasn't yet aware of the cultural shift we've had where people now saw Shock Value as something bad again. At least not the majority of people. I've learned that whatever you create, there will be people who like it and people that don't. people that love it and people that hate it, especially if you're pushing boundaries and being provocative. You'll never be able to please everybody, so always create for yourself and let the people who [ __ ] with it enjoy it. The others don't matter. I wouldn't have done anything differently with the painter. I think it's exactly what it was meant to be, and whatever I make next will be exactly what it's meant to be, too.

[00:58:53]I'm happy Urban Slug is creatively fulfilled by his series. I'm glad he wasn't completely crushed by the negative response towards his work. And I have a lot of respect for his outlook.

[00:59:03]I say this because this next bit is going to sound very hurtful. I don't mean to degrade his work, but with this last question, I finally found it. The core issue with the painter, and it all stems from one simple question. What did you want to convey with the painter? I didn't really want to convey anything with the painter. It was just something to put my creative energy into.

[00:59:28]I think the lack of any specific theme is the main reason the painter feels so aimless. It's why I was so quick to tie in concepts like inspiration, attention, and artistry into my own interpretation of Mona. Without any themes, the series loses its impact, just becoming a disconnected collection of kills. And while that's entertaining, it definitely hurts its merit as a piece of art. Urban Slug is someone who has a lot of technical ability, but as an artist, his work exhibits a lack of intent. He has a vision to do things, not because it elevates the final piece to get his message across, but just because it's fun. And while I can't fault him for that, I also can't help but feel like it's preventing him from making something truly great. While the painter contains good art, it fails as a piece of art. It has nothing to say about violence, horror, artistic expression, or child molestation. It just happens to contain those things. Even then, I still think it should be allowed to exist. It should be allowed to be praised, and it should be allowed to inspire others. So many people are quick to undermine all the work that clearly went into the series just to degrade it. After a certain point, it becomes clear that from some, this response is so extreme because they're scared of the series.

[01:00:50]You can criticize the painter. It has many flaws. But if your first instinct is to make an edit to make it look less scary, you probably gave it the reaction it was looking for. I sincerely hope Urban Spook goes into his next project with a more clear vision of what he wants it to be. He already has the fundamentals to make some great visuals.

[01:01:10]All he needs now is something to say with them.

[01:01:15]I still have very mixed opinions on Urban Spooks the Painter. It's a series that can provide a different experience from every angle you look at it. It's still a walking contradiction. It still doesn't work, but through trying to engage with it, I've actually learned to appreciate several of its many conflicting elements. I still understand why people don't like the series. Even now, I don't know what to make of it.

[01:01:39]But what I don't have mixed thoughts on is Urban Slug himself. Judging by his Q&As's and my own interaction with the guy, he just seems really passionate about art and horror as a genre, and it's a shame how many people overlook his talent to focus on the series more controversial elements. But I guess that comes with the territory. To Urban Spook, blood is just another color on the palette. I pointed out how everyone misunderstood Urban Slug's intended tone. But it's important to point out that communication is a two-sided thing.

[01:02:09]It's just as much a result of poor writing as it is a lack of understanding. Ultimately, the reception towards the painter is self-inflicted.

[01:02:17]It's a series that was designed to be provocative, and an unfortunate side effect is that its reception will bleed to whoever's behind it. So, what was going on with the very beginning of this video?

[01:02:31]Well, that tale was my original thesis, my first impression of who Urban Spook was. Doesn't it sound compelling? The pretentious artist doubling down on his series faults to make the message as clear as possible. It's simple, but it's a good story. But sometimes good stories aren't true. In trying to make that video, I would end up going down a rabbit hole, learning that everything I thought was true about Urban Slug as a creator was built on a foundation made up of one tweet and a couple of his worst decisions. And to my horror, that's what everyone thinks about the guy. It's important to separate the art from the artist. You can criticize his work without criticizing the man behind it. A lot of videos that talk about the painter accidentally end up doing this, quite literally, by calling the series urban spook when that's just the name of the guy that made it.

[01:03:25]Nearly four years ago, I made a video about an up andcoming genre called analog horror. Specifically, I focused on three different YouTube series.

[01:03:34]Gemini Home Entertainment, The Walton Files, and The Mandela Catalog. The overwhelming sentiment I held at the time was that it was a style of storytelling that showed a lot of promise. I was very excited to see where things would go from there. Something I find very surprising in hindsight is that the series I talked about at the time are still just as beloved today as they were 4 years ago. People still frequently cite these series as the best of the genre. And while they aren't wrong, it says just as much about these series as it does about all the ones that followed. I think the main problem that persists in the genre today is that in general, it feels like creators are almost afraid to take things in their own direction. They see the conventions of something like the Mandela catalog and assume that a VHS filter and fake person is all it takes to have a hit without bringing any new concepts to the table. So, if you're ever home alone on a dark, stormy night and you get a video in your recommendations about some scary paintings, you should give it a watch.

[01:04:30]If nothing else, the painter is at least original. Funnily enough, that wasn't even by design. Urban Spook hasn't watched a single analog horror. I just find them incredibly boring, and whenever I've tried to watch any analog horror, I always end up tuning out pretty quickly. Same can be said about my videos, of course. I probably wouldn't have watched them either if I wasn't the one making them. He was rejected from a community he was never even a part of to begin with.

[01:05:00]Down this lonesome road.

[01:05:04]I'm burdened by a heavy load.

[01:05:08]Sand and asphalt are my friends until this journey's at an end.

[01:05:17]Standing asphalt all my friends until this journey's at an end.