“…The diverse, flexible nature of the series' predominantly "Monster of the Week" (MOTW) format, typical of short-form horror television (Rudy and McDonald 2016) and particular to Scooby-Doo, enables SD!MI to adapt elements of Lovecraft's work and to flesh out the specific political and sociocultural traumas that inform the series' Lovecraftian tulpas. Similarly, Hollywood animation's use of a "hyper-realist" aesthetic (Brown 2021), or a "a stylised realism that ha[s] a lifelike feel without actually being photorealistic" (Price 2009, 213), in tandem with humour provides a familiar, nostalgic, but experimental medium through which to visualise these traumas in accessible but no less nuanced terms. As such, I argue that SD!MI foregrounds semi-anthology short-form horror animation as uniquely capable of "unmasking" Lovecraft's legacy and the horror of perpetuating intergenerational trauma for a contemporary audience in the best way Scooby-Doo knows how: the revelation of a grim reality lurking beneath a rubber mask scapegoat, with a dash of the supernatural for emphasis.…”