Cortez 1
Ulysses Cortez
Professor Coleman
English 1301.041
15 June 2017
Feeding the Beast: The Benefits of Violence
A pale, young woman with rose colored hair stands in a courtyard covered in
snow. Before her sits a man chained to a post. This man was the young woman’s
husband, as well as her tormentor and captor. With tables turned, the man is now the
captive and awaiting his fate. After a brief exchange of words, the young woman
releases a pack of attack dogs. The dogs were raised by the man and once used as a
tool of his terror. Now these dogs, starved for days, are now eating their master as he
screams. The woman stands stoic as she looks upon the unfolding carnage.
Conversely, I cannot wipe the twisted grin off my face as I watch. I can gladly inform you
I am not attending an ancient Roman Circus or medieval Auto-De-Fe, I am just simply
watching an episode of the television show Games of Thrones. After the episodes ends,
I reflect on how much I enjoyed the macabre scene. I ponder that there might be
something profoundly wrong with me if I enjoyed seeing someone become human
Puppy Chow. Those who ask similar questions of themselves may want to read “Why
We Crave Horror Movies” by Stephen King and “Violent Media Is Good for Kids” by
Gerard Jones to clearly understand their affinity with violent entertainment. Because the
question has been asked by others before: “Why do we like fictional violence and is it
good for us?” Cortez 2
Stephen King is one of the most prolific horror American authors of the past fifty
years with over fifty novels and numerous short stories to his credit. As the reigning
monarch of the horror, he has taken what was a niche market and pushed the genre
into the mainstream. His works were the basis of over twenty feature films and
television shows. So when I read King’s article “Why We Crave Horror Movies”, I believe
he not only accurate, but a reigning authority on the savage side of society.
King asserts that most people read and watch horror stories to feel the
excitement that one might at on an amusement park ride. That cinematic violence and
terror adds contrast to the bland tableaux of our lives. But King also believes that we
consume these movies to feed the primal side of our human nature. King understands
that “Love, friendship and kindness - these are all the emotions that we applaud…”
(563) and are looked upon favorably by most civilizations. Yet, King also adds that the
anti-civilized emotions also resides within us and must be occasionally addressed to
maintain a psychological balance. King illustrates this by suggesting that primordial
reptiles reside beneath our mild mannered human veneer. That these monsters have to
be emotionally placated at times so that they may be kept at bay. Ironically, King
concludes his article by exalting the words of Lennon and McCartney; that all you need
is love. But King issues a caveat to this utopian maxim. That in addition to love, we are
also required to “keep the gators fed” (563).
Gerard Jones came to the world of fictional violence thru the feats of
superheroes in comic books. Initially writing for National Lampoon, he reverted back to
his first love of graphic novels. Jones has written for major franchises such as Green
Lantern, Justice League, and Batman. Jones later used his craft of fantasy as Cortez 3
instrument of therapy, writing books such as Killing Monsters: Why Children Need
Fantasy, Superheroes, and Make-Believe violence. Jones’s article “Violent Media Is
Good for Kids” not only affirms the positive value of fantasy violence and proffers it as
an implement of childhood therapy.
Jones tells of his lonely, milquetoast childhood and how he found the violence in
comics as an outlet. Living vicariously thru the fictional heroes, Jones experienced the
strength and rage that he could not attain or express in reality. Jones also explains of
how comics and fictional violence later became a social tool, by discovering like-minded
classmates. As he became a parent he recognized a child’s need to of role playing and
fantasy violence. Jones found this so critical he partnered with a clinical psychologist Dr.
Melanie Moore. Together, Jones and Moore created Power Play. Jones describes it as
“a program for heling young people improve their self-knowledge and send of potency
through heroic, combative storytelling” (566). Jones gives examples of working with
both teenagers and young children going difficult stages of family life and using
combative fantasy as healthy escape and how it can later be harnessed for positive
growth.
The two author’s articles explains and rationalizes one’s thirst for the violent and
fantastic tales to which we retreat. Though both authors expound on their own theories
on the value of fictional violence, it is Jones who turns what might some call trivial into
treatment for those whose fantasies might turn to delusion and commit actual violence.
But even Jones can recognize the stigma of fictional violence. Jones plainly states “I am
not going to argue that violent entertainment is harmless. I think it has helped inspire
some people to real-life violence. I am going to argue that it’s helped hundreds of Cortez 4
people for every one it’s hurt, and that it can help far more if we learn to use it well”
(567).
These articles help me recognize the value and appeal of fictional violence and
how it can drive my actions. That there are legitimate reasons I watch and enjoy violent
entertainment and that I am not alone in my pleasures. I guess I have always known
that known that there are both civil and savage sides to my psyche. Now I know why it
is acceptable to have my savage nature fed, but to be careful that I am not consumed
by its dark nature. I guess I better keep the beast on a short and tight leash, lest I
become the next dish of human Puppy Chow. Cortez 5
Works Cited
Jones, Gerard. “Violent Media Is Good for Kids” The Bedford Guide for College
Writers with Reader Research Manual and Handbook 10th ed. Eds. X.J. Kennedy,
Dorothy M. Kennedy, and Marcia F. Muth. Boston: Bedford/St. Martin’s, 2014.
565-568 Print.
King, Stephen. “Why We Crave Horror Movies” The Bedford Guide for College
Writers with Reader Research Manual and Handbook 10th Ed. Eds. X.J.
Kennedy, Dorothy M. Kennedy, and Marcia F. Muth. Boston: Bedford/St. Martin’s,
2014. 561-563 Print.

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