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In this interview we get inside the mind of The Stitchkeeper herself, and dive into what makes her tick, what makes her sick, and what drives her create the ghoulish monsters you can find at @thestitchkeeper on Twitter, on Etsy and Patreon.

Hello, Stitchkeeper (@thestitchkeeper), welcome to the party. First of all – Happy Black History Month! Second is, of course, Happy Women in Horror Month! Thanks for joining at Haunted MTL; I’ve been a long-time Twitter fan and can’t wait to learn more about you and your art.  

Can you start us off with who you are and a little bio about yourself?

The Stitchkeeper: My name is Chelsey Scully, but when I’m crocheting, I go by the Stitchkeeper. I was born in Edmonton, Alberta.

To ensure my safety during the zombie apocalypse, I moved to a literal island – Prince Edward Island to be exact – where live with my husband, Mike, and my daughter, Dana, my best friend over the past 17 years, my cat, Dahmer, as well as our bullmastiff, Bruce.

I work part-time as a receptionist, and work full-time crocheting horror-related dolls, then whoring them out for dolla dolla bills. Oh yeah, I do the mom thing, too, 24/7. In my spare time, I enjoy watching horror films, reading and I recently took up learning Latin.  

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Let’s talk about the very beginning. Tell me your first interactions with horror, as a genre and as a hobby. What categories drew you in most (e.g., movies, stories, Halloween, songs, etc.)?

I was watching horror for as long as I can remember. My dad was a big horror fan, so I was watching the old universal monsters movies, the Outer Limits, King Kong, stuff like that, since I was a kid. I loved monster movies as a kid. I couldn’t wait to see what the monster looked like in a film. And the campier the monster, the better.

Who were some of the first spooky icons in your life and why did they interest you?

The first spooky icons I remember are the characters in The Hilarious House of Frightenstein (**interviewer’s note: I had to look this up because I’m not Canadian**). I’m not too sure why they interested me so much, but I do remember watching that show religiously on TV as a child. I loved it. I’ve always wanted a decent box set of that series. Some company should get on that.  

I also loved the wolfman; I loved the transformation between man and wolf. I just thought it was the coolest thing. Scooby Doo was also my jam back in my childhood days. Hell, Scooby Doo is still my jam even in my adult days. My first slasher icon though was Jason Voorhees. I remember watching that when I was about 8, maybe 9? And I was terrified. And I loved it. And right then and there, I realized I was going to be a horror addict for life.

Tell me about your craft. How and why did you start crocheting? Where there other projects or crafts before you were like, “oh, this is it!”?

I have always been into crafts. With crafts, I just get it. Like, if I can see how it is done, I will do it. It may take me a couple tries, but I will get it and do a semi-decent job. I never really committed to a craft before I started to crochet. I would maybe paint here or there, make a decoupage or something. I always loved crafting because it was something I understood and so I always felt relaxed doing it.

I learned to crochet at a very early age. My grandma taught me when I was around 7-8 and I could just make small blankets for my dolls and stuff, nothing too serious. I didn’t really pick it up as a hobby until about 10 years ago. I saw this book called ‘Super Scary Crochet’ and the projects were so adorable that I had to try and make one. Luckily, the lessons I learned as a child came back to me and my very first doll, from a pattern in that book, turned out surprisingly decent. I loved it, and I was immediately just like, “This is amazing, I can make any doll I want’’ and after a few years of practice, I felt I was good enough to start selling my work. I still have that first doll, too, displayed proudly in my office.

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When I crochet, I go in a trance, and I know that sounds crazy, but I am extremely focused when I make these dolls. Especially with the larger crochet pieces, I couldn’t even tell you how I made it. I just crochet and then BAM its created. There’s an energy, that goes into these dolls. I need to be in the right mood to create a doll, so I usually watch the film while I’m crocheting, just to make sure I stay in the right head space so that I can create the character perfectly.  If I get a project in my mind, sometimes it will just nag and nag at me until I do it. I’ve gotten out of bed at 3 am just to start a project so I could get it off my mind. So I guess my craft is a blessing and a curse.

What were some of your first projects?

My first project was a little possessed girl, Sam from Trick r Treat, Jason Voorhees, and I made a pretty mean Predator back in the day, as well.

So far which creation has been the most challenging? Did you curse it or love it?

I once created a huge Q the winged serpent. He was a challenge and a half and took almost a month to complete. I loved making him, though. He was a blast.

I do most of my cursing of projects when I have to make teeth and/or hair. Teeth and hair are the bane of my crochet existence. I think it’s because not only is it tedious, but with my teeth and hair methods, if I make a mistake, I done f—ed up the whole doll and have to start again. So the detailing has to be done painstakingly slow and steady.

You are a human of color and a human of female gender, please allow me to pick your brain about some of your thoughts. What are some challenges you see for people of color and women in horror – both as a genre and also as a profession? Have there been any changes in the narrative that you’ve seen or, to quote King’s Dreamcatcher, “SSDD”?

The challenges that I saw in the past was getting people of colour to be respected in horror films. They have been in the horror films since I started watching them in the 80s but its almost like they were just put in there to appease the black crowd. They never really did much other then smoke weed, save the white folks, then die. They were stuck in this horrid cliche.

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I remember watching The Craft and Rochelle came on the screen and I was like YES a black woman with whom I can completely relate to because I am also a black teenager going to a predominantly white school and so I am LITERALLY going through the same shit as her and then we got like, shit all of her backstory and that was when I realized that black people were just in film to appease the black crowd. Like, here’s a black person, now shush and watch them help these white people with their problems.

As a black female, I want more. I want black people with a backstory in horror, I want black people with a purpose in horror. Representation matters. I know now that I matter, but as a teen, yeah, I definitely felt that black people were not important because of that film. And it sucked.

I am definitely seeing changes within the past couple of years. I’m seeing more ‘Bens” in horror. More black people who are in the film with a purpose. I think Jordan Peele is a shining example of someone who is doing a wonderful thing for the black community in horror. His films, are creating stories that revolve around predominantly black characters and he is doing it without making the film feel like ‘blaxploitation’ films. These are horror films with black people being represented as everyday people. Not superhero’s like Blade, not monsters like Candyman, just regular, everyday black people having to deal with crazy ass situations. He is showing the world how black people should be represented in horror and I thank him so much for that. I also think he should remake The Craft just to cater to my petty ass. Lol.

In your opinion, who is the most iconic person of color and/or female character in horror, and why do they resonate with you?

I’m going to have to go with Ben (Duane Jones) in Night of the Living Dead (1968) I remember watching that movie when I was young with my Dad. My dad explained to me how happy he was when he saw a black man take the lead role in a movie. I think Ben showed my Dad, and other black people at the time, that black people can rock a lead role in a film. That black people CAN matter. I think the character was also very important in showing white people that its ok to support black people. I mean, for the whole film, they were rooting for a black man. There were other white people in the film, but the black man was the one they wanted to survive. I think at the time that was probably a super confusing feeling but it was a feeling that needed to be presented to the white community. I like to hope that some white folks left the theatre with a different perspective on how they treat black people. I think Night of the Living Dead was one of the first popular films that showed exactly how representation of black characters in film matters.

And for fun, who is the most iconic white dude in horror, etc.?

As for the most iconic white dude, I’m going to have to go with Bruce Campbell as Ash Williams. I mean, the Evil Dead franchise has been around forever and every time they come out with something new, they f—ing nail it. I have NEVER been disappointed in Evil Dead anything (even the musical was fantastic) I think Ash as a character, is relatable in so many ways. I mean, he’s just a typical dude, no special powers, and yet he manages to save the world numerous times. He’s the poster boy of  ‘you can do anything if you just try’

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As a Mama of Horror with an adorable spawn, how do you use horror as a positive influence in your lives? How to you use horror to engage and interact with her? Have there been some lessons learned or taught by Mr. Pinhead or Mrs. Voorhees (e.g., horror influences)?

I think that, what we have to remember with horror, is that it’s all not slashers and blood and guts and demonic possessions. I don’t watch the gory and psychological stuff with her simply because she wouldn’t enjoy it. When I say that I watch horror with her, its more of the monster stuff. The fun stuff. We love to look at the costumes of the different monsters, and I’ve always been into horror FX and how its done and I love explaining it to her, then we go and look for videos of the monster being made. We appreciate the art of the film.

I cant say I’ve had any lessons from horror characters (except maybe a list of what NOT to do as a mother) but since I became a mom, some films hit me a different way emotionally now. Films that involve children like Aliens and Cujo, and even Pet Semetary. I sympathize more with the parents because now I fully understand what it means to fight for your child’s survival or the emotions involving losing a child. I mean, I always got kinda upset when kids got hurt in films, but now, ugh, I need like, a week to get my emotions in check after watching a film if a child dies.

Tell me about your Patreon and the different tiers. How can people get your stuff? Do you accept commissions?

I started my Patreon as a way to make selling the dolls more fun. Because my dolls are hand-made, I can only comfortably make about 20 a month, so I figured it was only fair that people who support my Patreon page get first dibs at purchasing them.

Any tier you support gets you sneak peeks at the dolls I am making for the month. My most popular tier is the $5 tier, which gets you a ballot in my monthly draw to win a doll. I also have a $40 tier which gets you a small crochet horror related character as well as a ballot. The larger tiers are where you get a doll. Pretty much, if you donate to the larger tiers then you are guaranteed one of the dolls from the recent months collection.

There are also tiers for receiving a custom doll of your choice and even a tier to just flat out receive all the dolls in my monthly collection. At the end of each month, any dolls that do not become Patreon perks are placed in my Etsy shop where the public can purchase them. They prices also go up once the dolls are in my Etsy shop so if you want a deal, go through Patreon.

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What’s in the future for the Stitchkeeper or is there anything you’d like to plug?

I have some vague ideas that I want to do this year. I’m actually considering more stop motion videos with the dolls. Maybe remake famous horror films in yarn form. I would eventually like to practice writing crochet patterns as well, so everyone can learn how to make dolls.

Last question: which one is more worthy of the internet’s adoration – Baby Tall Man (from Phantasm) or Baby Pazuzu?

Baby Pazuzu would be pretty f—ing adorable. I’m gonna go with him.

Be sure to check out The Stitchkeeper on Twitter, Patreon and Etsy. Not only is she talented as hell, but she’s hilarious and definitely worth the follow (and some of your sweet dolla dolla bills).

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When not ravaging through the wilds of Detroit with Jellybeans the Cat, J.M. Brannyk (a.k.a. Boxhuman) reviews mostly supernatural and slasher films from the 70's-90's and is dubiously HauntedMTL's Voice of Reason. Aside from writing, Brannyk dips into the podcasts, and is the composer of many of HauntedMTL's podcast themes.

Interviews

T+E Channel’s My Haunted Hometown: Small Town with Big Secrets

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My Haunted Hometown interview – Barb Dexter

To start off check out our exclusive interview with Barb Dexter from My Haunted Hometown! Prepare for spine-tingling tales as Barb Dexter unveils her shocking personal ghost encounters on T+E Channel’s gripping paranormal series, “My Haunted Hometown”. Don’t miss exclusive behind-the-scenes insights and emotional revelations that will leave you questioning reality. Premieres Friday, September 6th at 10 PM ET/PT.

Click the trailer for My Haunted Hometown and set your clocks for the premiere 6 Sept!

Want to know more about T+E Channel’s My Haunted Hometown?? Check out the trailer below (and make sure you watch the show as it airs Friday 6 September, 10PM PT/ET only on T+E!

If you ever wondered what it was like to be in a town with a dark history–and live in a forever home that might be forever occupied by spirit energy, then you need to check this episode out!

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Why T+E Channel’s My Haunted Hometown hits

My Haunted  Hometown - A picture of Barb Dexter who is a woman with blonde hair, kind eyes, and glasses.
photo credit: Andrew Curr

The production value works. The camera. The crew. The sound. The editing. The PR team. These are all great assets–and the best asset of them all? The people in the show.

We have all seen shows where the ghost story is made up. It’s usually some quick cash grab for a celeb (although there were some great truly well done celeb ghost stories, too!) or just some channel/content filler type thing. This is not that….this is what every ghost show should be.

The crew sits down. The people are taken seriously. They are giving a channel to voice their story and by sharing their story, they get to grow and sometimes heal from the telling. We draw strength in knowing we are not alone.

When the episode starts, your emotions range from being afraid for the people to being all warm and fuzzy with knowing that these people are opening themselves up to you and you are not alone.

If you have any paranormal experience, these stories will help you feel a bit more whole.

If you are a believer, this is your show.

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If you are a doubter, this is your show. You might still doubt, but you won’t doubt that these are real down to earth people giving witness to what they saw.

See why we call the T+E Channel the Blumhouse of TV and catch the free preview on T+E Channel from Sept 2 to Nov 3

My Haunted Hometown - an arial view of a small town covered in snow
photo credit: Andrew Curr

The Setting

I think small towns work well as a setting. If you recall most of Seth Breedlove’s movies are SMALL Town monsters. If you recall our interview with Harker Jones’s interview the scary horror wasn’t the city of LA but the SMALL Town where you are a bit more isolated.

Not only does the setting work because of the more remote feel, but it works because of the people. The people in the show make the show. They are relatable. They are down to earth. They are easily your next best friend after moving into the neighborhood.

My Haunted Hometown - A close up of a cat's fuzzy face.
photo credit: Andrew Curr

Also, if you are a fan of cats and dogs–there are a few of the most adorable furry friends ever in this episode.

The Rating and Where to Watch

After watching the first episode, I can’t wait for the rest! I’m sure to check it out when they drop every Friday in September! Won’t you join me? 🙂

See what all the rave reviews are about (5/5 Cthulhu!) and see why we call the T+E Channel the Blumhouse of TV and catch the free preview on T+E Channel from Sept 2 to Nov 3 – your gateway to the supernatural! Tune in and share the thrills with #MyHauntedHometown and #TEonTV. Are you brave enough to watch? 5 out of 5 stars (5 / 5)

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Gaming

🎮 Eldritch Automata: Exclusive GenCon 2024 Reveal with Nick Francia!

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Step into the mind-bending world of Eldritch Automata as we sit down with Game Designer Nick Francia at GenCon 2024!

Uncover the secrets behind this Lovecraftian mecha-masterpiece and get a glimpse of what’s to come.

Eldritch Automata quicklaunch guide with a sinister looking mech warrior on the cover

In this exclusive interview, Nick Francia shares:

• The intricate game development process • Inspirations behind the eerie Lovecraftian elements

• Unique mecha-infused gameplay mechanics Calling all Lovecraft fans! Dive into a world where eldritch horrors meet steam-powered marvels.

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Eldritch Automata promises an unforgettable gaming experience that will keep you on the edge of your seat.

👉 Ready to embrace the madness? Check out our playable demo at a con near you! #EldritchAutomata #GenCon2024 #LovecraftianGaming #IndieGameDev

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Gaming

Interview with Creative Director Michael Highland: Let’s! Revolution! @ PAX

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Another game I had the chance to play at PAX East was, Let’s! Revolution!, a Minesweeper-inspired roguelite puzzle game by animation (and now game) studio, BUCK. I talk more about the game itself in another post. Here, I wanted to highlight the conversation I had with Michael Highland, the Creative Director for Let’s! Revolution! and his journey through video game development.


How did you become involved in video game development?

I studied digital media design in college; this was before there were many programs dedicated to game development. After graduating, I self-published a mobile game called Hipster City Cycle with friends. Over the next few years, I slowly got more freelance work as a game designer, and eventually landed a full-time role at thatgamecompany working on the follow-up to their 2012 GOTY Journey. I worked my way up there and was eventually the Lead Designer on Sky: Children of the Light. Working at thatgamecompany opened a lot of doors professionally. I eventually wound up at BUCK, where I saw the opportunity to help establish a new game studio within a very vibrant existing creative culture.

What has been the most challenging aspect of the development process?

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Each studio has its own unique issues based on the people involved. There are commonalities like the need to fight feature creep and building consensus around ideas early in the process when all you have is an abstract grey box prototype to react to. At BUCK the biggest challenge has been channeling the abundance of creative energy and talent into a shippable product. There’s a ton of enthusiasm for games within the company, and without clear product-centric goals (who is the target audience, what platform are we releasing on, what’s the marketing strategy), projects have the tendency to spiral out of scope. Another challenge has been building credibility with publishers. BUCK has an amazing pedigree for animation and design, maybe the best in the world, but when we initially pitched ideas to publishers, they all said the same thing: looks great, but until you’ve shipped a game, you’re too high-risk. That’s what led to us self-publishing Let’s! Revolution! Now that we have a well-reviewed game out in the wild, I feel confident we’ll have more luck with publishers. 

BUCK primarily has its roots in animation, what led the decision to start branching into video game development?

It started with a general excitement about the medium and a desire among the staff to work on a game. Leadership at BUCK is all about providing the staff with exciting creative opportunities, and getting to work on a game, is, for some, a creative dream come true. And putting BUCK content out in the world is a point of pride and a boost to morale. From a business perspective, the fact we can staff out game projects with the top animation and design talent in the world is a huge advantage. We’re already starting to see new opportunities for the service side of the business based on the success of Let’s! Revolution! 

The art, unsurprisingly, is delightful. What were some of the priorities during the character design process and how did those influence the final hero designs?

Our Art Director Emily Suvanvej really led the charge on the look of the game. There are obvious influences like Studio Ghibli, Moebius, and Steven Universe. My shared goal with Emily was to make something together that reflected the diversity of the team’s artistic and lived experiences. The artists put so much love into the character designs and animation, it really shows. 

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Some of the primary game mechanics take inspiration from Minesweeper, what was the process like to create your own interpretation of those classic mechanics?

This article goes into depth on this topic. The TLDR is that we took a very iterative approach, at each stage trying to identify what was working about the prototype and lean into that. The initial game concept came together relatively quickly in part because our goal for this project was just to finish a game. We just focused on what was good and kept building on it. I wouldn’t say the final game is “perfect” – but we wound up with a much bigger and higher quality experience than I expected by not letting perfectionism get in the way of making good better. 

Is there anything else you would like to plug or that you think is important for people to know about Let’s! Revolution! or other upcoming projects?

The music and sound design for the game is stellar. We worked with a creative audio company called Antfood and they knocked it out of the park. The audio got an honorable mention from IGF, which I think is extra impressive because most of the other games were audio-centric titles with some unusual hook to the sound design. For the OST, Antfood reworked all of the music from the game into a continuous flow, like a concept album. It’s so good. I love working with them.

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