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Nightmare Fuel / The Stupendium

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Most animators on the last night before the deadline

  • The "Soon enough, you'll come round" bit of "Find the Keys" is filled with imagery of dead classic cartoon characters, culminating in a crazy-eyed Bendy beheading Winnie the Pooh with a guillotine and the head flying across the next frame to illustrate that "everything moves in arcs." It's extremely jarring to anyone with pleasant memories of these characters.
  • Even to someone jaded by Bendy and the Ink Machine imagery, in "Art of Darkness" the effects to render Bertram Piedmont's disembodied head in his ride (off frame rate and makeup) give it an uncanny quality.
    • Not to mention one eye slightly bigger that the other.
  • "Back Together" is mostly a Lighter and Softer song about Five Nights At Freddys VR Help Wanted with a few verses by the villain Glitchtrap. At the end of the video, Stupendium stops playing the game and has some pizza. Then he looks at the camera and his eyes glow violet, implying Glitchtrap successfully possessed him. What sells it is how well Stupendium underplays The Reveal.
    • A lesser example is Circus Baby's final line, where she leans toward the camera, her faceplates start to open, and she sings "You won't ever be saved," followed by creepy giggling.
  • In the Beat Saber music video "Impossible Geometry" he gives himself a simple but effective Nightmare Face that's also a Flying Face just by putting glowing rings in his irises while singing about how addicted he is to the game. It's enhanced by having his face slowly drift closer to the viewer.
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  • When the Joy Doctor's particularly sinister bars in It's a Joy cause the scene to briefly become darker and desaturated while his normally rose-tinted glasses turn into Scary Shiny Glasses.
  • The refrain of "Slide into the Void", where Dr. Casper Darling and Director Trench are shown suspended in midair, lit by the ominous red lighting of The Hiss while they mouth the words sung by a choir of a single female voice. They sing what seems to be gibberish (which is, in fact, largely taken from the Hiss' in-game lines), but seems to also be a Motive Rant for The Hiss.
    "You want to listen, You want to dream, You want to smile, You want to hurt, You don't want to be."
  • Throughout Crazy Redd's rap, Rogue's Gallery, the fox merchant has been an Affably Evil albeit shady businessman. At his worst, he just seems to get pushy for his customer to buy his wares. However, near the end, we see what happens to those who truly manage to draw his ire. Redd has them all cut up and displayed in a manner similar to The Physical Impossibility of Death in the Mind of Someone Living.
    Crazy Redd: Say I'm a fake and it hurts.
    Say I'm just after a way to your purse;
    Say that to my face? You'll save on the hearse.
    You don't need a wake for a Damien Hirst!
  • Faith vs. Order begins with the Priest delivering a soothing, peaceful message about hope and unity, while the Captain's speech contrasts that with promise of iron discipline and forsaking human rights. Come the second verse, the Priest's agenda quickly escalates to skinning sinners, burning penitent innocents and launching crusades, and the Captain seems slightly more mild and reasonable. It doesn't last long, as both the Priest's and the Captain's final verses have them end as ruthless dictators... and both of them use some of the exact same lyrics. The visuals reflect this, as both stained glass and propaganda posters change from depicting hopeful crowds to glorifying executions and oppression.
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  • The Fine Print takes great pain to describe the horrors of The Outer Worlds. The spokesman's absolute lack of care for the lives of the employees is horrifying, and what's worse is that the employees seem completely broken, willing to just work and work until they die with no other purpose than making money for the company. Gets doubly horrifying with Reality Subtext: The entire song is based on a logical extreme of capitalism, and many employers would treat their employees like this if they could simply to earn an extra nickel.
  • Despite the tongue-in-cheek premise of the game it's based on, Vault Number 76 is not Played for Laughs. Its lyrics paint the tragic tale of a Vault Dweller progressively losing themselves to the barbaric horrors of life in the Wasteland. The lyrics (and many of the visuals) get darker to reflect their Sanity Slippage, going from the desperation of scrounging for supplies to glorifying their murder of other named characters in increasingly brutal ways. Now an absolutely ragged and black-eyed mess, the Dweller's last stanza is about how the horrors of war "are awesome" and stave off their boredom. Another overachiever becomes a monstrous killer in a world that encourages it. Even the back-up singers weren't safe; the lead singer has brutally murdered the rest of his band and his Slasher Smile ends the song.
  • "An Impostor Calls" ends on a Nothing Is Scarier note that INVOKES Fridge Horror: After the imposter (Stupendium) is ejected, he says "Who's to say I was the only one aboard?", and the text, which at first reads "0 Imposters remain.", changes to "0 Imposters remain?", implying that just because HE was eliminated doesn't mean the danger is over.
    • The version on Dan Bull's upload is worse. As the viewer is themselves a crewmate, you watch Blue get ejected, and Orange proceeds to ominously announce the task he's about to perform, then completely fails to do it. It's then that you see "Blue was not the Imposter" and realize that the Imposter is now all alone with you.
  • The original "Why did I say Okie Doki?" has a scene where Monika takes over the Stupendium's computer, which would be bad enough without the lips.
  • Stupendium's supervillain in "Fiend Like Me" brainwashing captured agents, executing a minion for failure and massacring world leaders at a peace summit.
  • All of "Tune Into The Madness", with it being set in a decrepit basement with Stupendium and Dan Bull portraying various creepy roles and seemingly getting more unhinged as the song progresses.
  • Despite the dubstep theme, "The Data Stream" is the most serious of his anti-capitalist songs, with the lyrics about the personal information that people freely hand over to corporations.


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