Halfway through Doom: The Dark Ages, everything snapped into place for me, like the demon bones I had been barreling my way through for hours. I ran at breakneck speed, firing energy weapons at a group of shielded foes to blow the mob to smithereens. I switched to my railgun, setting up an explosion that led to a finishing blow, zooming me towards the unlucky enemy. Now deep in the mob of enemies, I parried a muscled demon’s jump attack with impeccable timing and crushed it with three meaty swings of my iron flail. A Spartan kick finished things off.

The non-stop rhythm of raining doom on my enemies continued for eight straight minutes, culminating in me ripping out the heart of the largest foe before me. With sweaty palms, I let out a sigh of relief and fist-pumped the air as if I just scored a touchdown in the playoffs. These are the awesome highs that this game dispenses at a steady clip.

Doom: The Dark Ages is a much more agreeable game than its predecessor Doom Eternal. It’s far less demanding on the normal difficulty. There are virtually no design decisions as divisive as Eternal’s dearth of ammo. Even its presentation has less bite than before despite the clear increase in budget. And while that does mean the game loses a bit of the mechanical depth and charm first-person shooter diehards have sworn by these last five years, what id Software has delivered makes for a very satisfying shooter in its own right.

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The story of Cinderella is one of opportunity, luck, and fantasy, at least for the eponymous princess. Everything works out for her good, from the glass slipper that fits only her foot to the woodland animals who guide her path. But woe befalls anyone who dares to stand between Cinderella and her destiny, like her ugly stepsisters. In the Brothers Grimm’s original version of the tale, they cut off their own toes to fit her slipper and woo the charming prince, only to get their eyes plucked out for their presumption. And they fare even worse in Emilie Blichfeldt’s genre-bending take on the fairy tale, though The Ugly Stepsister goes to great lengths to show us that these women are all victims of the patriarchy.

“I have myself lived under the burden of feeling ugly under the tyranny of beauty,” Blichfeldt tells Inverse. The more she “tried and failed to fit in,” the more she found herself relating to the desperation driving Cinderella’s stepsisters.

Blickfeldt poured that feeling into her unconventional, tragic heroine, Elvira (Lea Myren), who goes to bonkers lengths to win the prince’s affections. The Ugly Stepsister channels Cronenbergian body horror and Scandinavian provocateurs like Lars Von Trier in depicting Elvira’s descent. Its seamless mix of heady fantasy and black humor naturally entranced audiences when The Ugly Stepsister debuted at Sundance earlier this year. As it makes its way to Shudder, Blichfeldt sits down with Inverse to explore her influences, the tragic irony of Cinderella, and the film’s secret weapon: tapeworms.