Every Horror Slasher Victim Type EXPLAINED
Every Horror Slasher Victim Type Explained
Welcome to WatchMojo, and today we’re breaking down the most iconic character tropes in horror films, and exploring how they’ve evolved over the years.
The Jester
A large chunk of slasher films sit on the thin line between fun and fright, and no trope embodies that more than the Jester. All work and no play makes even horror diehards a little antsy! So, that’s where the comic relief comes in, injecting a bit of levity between bouts of killer carnage. Fittingly, you can always count on them dying in hilarious fashion, too. Usually, with an iconic last line! The role hasn’t changed too much over the years, but that’s partially because it’s a somewhat recent addition to the classic slasher cast. Since it took a few decades for slashers to fully embrace the comedic shtick, the Comic Relief has stayed pretty consistent thus far. Whether they’re a goofy best friend, a bumbling cop, or just someone with a good sense of humor, you can always rely on them to get some laughs.
The Scholar
Also known as the “Nerd” or “Brains,” this type is often characterized as a walking stick-in-the-mud. But, it’s hard not to root for them nonetheless. After all, they’re usually the only ones thinking with logic. The Scholar will rightfully point out flaws in the rest of the character’s decision-making. Like, hey, maybe we shouldn’t split up to explore this abandoned house when there’s a bloodthirsty killer on the loose? However, their brains don’t always save the day. In fact, The Scholar is usually long-gone by the time the final act rolls around. Probably because, if they stayed alive, they’d keep poking holes in the script! The Scholar is an interesting trope in that it hasn’t evolved so much as it’s been dispersed into other caricatures. Over the years, slasher characters on the whole have begun wising up, eliminating the need for a sole voice of reason. They haven’t completely faded away, but they’re not quite as special as they were back in the day.
The Promiscuous One
More interested in getting laid than escaping death, every slasher in the 70s and 80s came with some form of… Well, a woman embracing her desires. You get the point. Oftentimes, this scantily-clad character is loud, brash, and not afraid to say what they think. They’re also positioned as something of a moral foil to the virginal leading lady. In layman’s terms, the Promiscuous One almost always gets it on, and usually dies for it. If all the violence didn’t get these films an R-rating, the full-frontal definitely would! However, as slashers began to push beyond the idea of purity versus desire, the Lady of the Night changed, too. Most films reimagined the archetype as an edgy best friend-type. They’re still spunkier than the true leading lady, but have a lot more agency over their role in the story. That doesn’t always mean they die with more dignity, though!
The Stoner
At first glance, you might think this is an offshoot of The Jester. And, in a way, you’re right. But, there’s one important distinction between the two. The Stoner isn’t here to crack jokes or have fun. They’re just here to vibe! Similar to how early slashers played into the idea of lust as a sin, they also condemned drugs and rock-and-roll. That’s where The Stoner comes in; traditionally on their way to an early grave. Still, we have to admit, there’s something endlessly entertaining about someone realizing there’s a killer out there, and deciding to light up. It’s an excellent character-type to play with. So much so, recent flicks have expanded The Stoner’s role by giving them some traits of The Scholar. It leans into an easy joke that the only way to behave rationally in a horror movie is if you’re under the influence. Either way, The Stoner is the only one you can confidently say dies at peace.
The Jock
No pre-2000s teen group is complete without someone to stir the pot. Full of sexism, swagger, and sex-drive, The Jock is the quintessential hyper-masculine himbo. You know the kind. He’s the star football player, and dates the Queen Bee. AKA, the Promiscuous One. He’s basically the tormentor from any teen drama, ever, just plopped into a movie where a masked killer runs around with a knife. It goes about as well as you’d expect. The Jock almost never makes it to the end. More often than not, they die alongside the Promiscuous One after bumping uglies. And, just like their partner-in-arms, The Jock has also become increasingly more sympathetic as the years go by. In some cases, he’s missing entirely, instead merged with the Scholar into a good-spirited boyfriend. That doesn’t help their survival rate, though. Instead of getting it on, they most likely die in some valiant bid to save the others. That, or they end up part of the killer’s plan in some dramatic twist. As they say, it’s always the boyfriend!
The Token Minority
The days where horror icons only targeted upper-class white kids are long over. That’s not to say slashers are particularly diverse, though. Starting in the late 90s and early 2000s, it seemed like every group of victims-to-be had one black friend. Occasionally, they interchanged for another minority, but very seldom was there more than one. They also get seriously shortchanged on screentime, usually being the first or second of the main cast to bite the dust. It’s a shame, since these token minorities traditionally step into the role of The Scholar, which make them inherently more likable than anyone else. Even with the disappointing results, it’s still a far cry from the earliest slashers, which were as diverse as white bread. On the bright side of things, several notable directors of late have brought a distinctive cultural lens to other corners of the horror genre. Unfortunately, when it comes to slashers, being anything other than straight and white is usually still a sign to start writing your will.
The Final Girl
You know ‘em, you love ‘em, it’s the leading lady herself. There’s not many tropes in all of fiction as firmly established as The Final Girl. The Laurie Strode’s, Nancy Thompson’s, Sidney Prescott’s, and Julie James. They’re almost always defined by their moral uprightness. While their comrades are off engaging in all forms of debauchery, the Final Girl remains pure and innocent, which saves her from the killer’s rampage until the obligatory third-act bloodbath. Or, at least, that’s how it went for decades. And we mean decades. The trope became so ingrained in pop-culture, modern slashers began to play on those expectations. Nowadays, it’s not uncommon for there to be a fakeout heroine who dies in the first act. Sometimes, as early as the opening scene! To go along with that, Final Girls themselves have slowly become more complex. Just like the Promiscuous One grew beyond their lustful origins, Final Girls are no longer solely defined by their virginity. These days, it’s all about the character’s ingenuity or connection with the killer. Even so, Final Girls are still an iron-clad staple in slasher films, and quite frankly, we wouldn’t have it any other way.
What’s your favorite horror trope? Let us know in the comments below!