‘Opal’ (2020) is a musical psychological horror short film and album created by American musician, animator, and internet personality Jack Stauber. Known for his eclectic blend of genres and surrealist, often unsettling lyrics, he marries music and visual art through distinctive animated music videos. Stauber’s work tends to explore themes of human frailty, existentialism, and the absurdities of daily life. ‘Opal’ is no different. The soundtrack and narrative deals with the tragedy of child abuse, and centres around the personal introspection of a young girl named Opal as she uses fantasy to cope with her harsh reality. 

‘Opal’ was originally published on the ‘Adult Swim’ Youtube channel, the channel for the Cartoon Network’s programming block to broadcast both old content and new media. Jack Stauber encapsulates the participatory media landscape (Lindgren, 2017), a place where ordinary users can become content creators. David Gauntlett states, ‘…people are not just consumers of content, but also active producers, contributing their own media and ideas to the world. This new creativity is not just about the creation of traditional forms of media, but also about people expressing themselves.’ (Gauntlett, 2011) Stauber’s transition from internet consumer to multi-media artist has given him the space to tell important stories such as ‘Opal’ in a manner that communicates to new audiences. ‘Opal’ has also allowed for creative discussion amongst loyal fan communities on platforms such as Reddit and Quora, they have amassed hundreds of comment threads analysing hidden messages in lyrics and visuals in an effort to decipher new meanings. Jack Stauber is the sole artist behind his work, producing the music and voice acting behind his bizarre claymations. Giving creators like Stauber a place to display his films signify a shift in both the definition of a music video and how they are produced and consumed. They are no longer masterly crafted by conglomerate producers and musical icons, they no longer rely on budgets of millions or perfectly altered faces and figures. Instead, they give a voice to those begging to be heard. They give opportunity to those whose visions are too-often overlooked. Just like ‘Opal’ they are made for the same people that created them.

S, Lindgren (2017) ‘Digital Media and Society: An Introduction’ SAGE Journals

D, Gauntlett (2011) ‘Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0’ Polity Press.

Written by Lara Shaw 33695257