Las Ventanas de la Injuria. Concept Title Sequence.

Bienvenidos a La Injuria.

The Windows of La Injuria is an anthological horror series. It is fictional and has not been created yet. The show takes place in an outskirts neighborhood located in Madrid, where all horrors fit in. It’s inspired by the great works of the genre.

Each season has a unifying thread that guides the stand-alone nature of the episodes and presents a main antagonistic (called witness) in each season as an excuse to travel though different horror subgenres. As the series unfolds, all the elements join together to create a mythology of its own that helps the atmosphere as much as the creation of horror.

Through the Window. 

The idea was to create a credit sequence in honor of that personal project. The hardest part was choosing the way in which the series would be told through the visuals, but the conclusion was to do it using the element that merges all the horror since the dawn of humanity: the shadows.

Since the project was inspired by films like Candyman (Nia DaCosta, 2021) or Werewolf by Night (Michael Giacchino, 2022), the development of the sequence was turned into a shadow puppetry in order to evoke a gloomy and ancient nature. 

When it comes to putting on display the cosmic horror, I was committed to the gentleness instead of proposing a design based on the typical use of tentacles and beings of other dimensions. Due to Uzumaki (Junji Ito, 1999)’s influence, the spiral was used to define the intuition of something beyond that causes and puts together the horror during the series. 

Colors from out of space.

The color represents such a crucial element when it comes to creating the atmosphere, but also to make a distinction between the characters. Each witness has a unique story, personality and role in the plot, and that’s supposed to result in a different treatment for each of them.

Touching the Darkness.

Besides the shadows’ concept, the illustration is based on the exaggeration of the peaks and angles so that it gives not only a feeling of cut paper, but also of threat. Moreover, since it is not a real shadow puppet, it gave me more freedom in terms of doing a more surrealist approximation that wasn’t limited by the medium.

Styleframes.

Letters from the dead.

There have been several typography tests, which were aimed to represent the horror and also to pay tribute to the inspirations that precede it. Therefore, the graphic identity of great works of horror cinema was studied in order to give the show its own identify.

At the same time, the typography’s animation was treated in a way to integrate them within the shadow puppetry through the blurs and lights. Self-made animations were also added, which consist in lengthening the letters slowly in order to enrich the animation.

Songs from the Void.

Since the beginning I was sure that the music that resonated with the project the most was the soundtrack of The Last Door, by Carlos Viola. It was fuel for my imagination and creation of the video. For that reason, I wanted to thank Carlos Viola and The Game Kitchen for letting me use it for the opening sequence.

"Crows Over The City", The Last Door.

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