Unpacking the Symbolic Monster and Lingering Enigmas of ‘Backrooms’

Kane Parsons’ adaptation of the “Backrooms” phenomenon introduces a haunting entity that stalks the labyrinthine corridors of the liminal space, blending digital folklore with psychological allegory. While the original creepypasta, first posted to 4chan in 2019, hinted at an unseen threat, Parsons reimagines it as a manifestation of the protagonist’s inner turmoil.

The creature, dubbed “the Lifeform” in Parsons’ YouTube series, originates from a black, bacterial mold infesting the yellow wallpaper and carpets. This mold forms a tall, skeletal figure reminiscent of a distorted stick figure. In the film, the monster takes a more human form—a warped version of Clark (Chiwetel Ejiofor), clad in a pirate costume symbolizing his despised career as a furniture salesman. Whether this entity shares origins with the Lifeform remains ambiguous, though its lanky proportions suggest a possible evolutionary link.

Thematically, the monster embodies Clark’s shadow self, representing his stagnation, despair, and self-loathing. When Clark discovers the creature’s lair—filled with accumulated mementos and soiled laundry—he initially flees in fear. However, after reconciling with his presence in the Backrooms, he embraces the monster as a companion. This uneasy truce shatters when Clark, influenced by his therapist Dr. Mary Kline, rejects the possibility of change, prompting the monster to devour him—a scene echoing Francisco Goya’s “Saturn Devouring His Son.” The act symbolizes Clark’s rejection of growth, as the monster consumes him to replace his identity.

The film also introduces other enigmatic figures: lifeless duplicates of real people, whom Clark consumes to sustain himself. These entities, resembling memories absorbed from visitors, mirror the “Still Life” beings from Parsons’ online content but lack aggression. Notably, a red-haired figure evokes Clark’s ex-wife, underscoring his preference for hollow imitations over genuine human connection. The presence of a seagull, potentially a trapped soul or symbolic omen tied to sailor superstitions, hints at the Backrooms’ ability to draw in lost souls like those targeted by Async—a research firm that has weaponized the space’s mysteries.

Async, previously a manufacturer of MRI machines, now exploits the Backrooms’ entrances to recruit traumatized individuals. Their objectives include capturing entities and understanding the space’s expanding ecosystem, symbolized by recurring caveman cutouts. These dummies, stationed with multilingual greetings, serve as beacons to lure wanderers into their experiments, suggesting a narrative of evolution and control within the liminal realm.

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