By T.A. McElrath

Staff Writer

Twenty years ago, I was 2 years old and “The Nightmare Before Christmas” was released in theaters.

Too young to venture to the theaters, my mother eventually bought it for us on VHS. It fit her dark sensibilities and her whimsical take on the ordinary, something I adopted as my own when I finally started to develop a personality. It marked the mainstream arrival of the incredible stop-motion director, Mr. Henry Selik. As most people know, Nightmare was the brainchild of none other than Tim Burton, but because his image and personality saturates most people’s minds, I will turn my attention to the person I credit most with Nightmare’s success. Selik pours imagination into the worlds he animates, from the popular Coraline, to the 1996 favorite James and the Giant Peach. All of Selik’s films share an essence, something I link to Selik’s soul, for even though Burton designed the entirety of Nightmare’s look and story, Selik was the one who gave it life. Now, 20 years later, Nightmare is still hailed as a classic, bounding out of the “cult” classification and into the hearts of families the world round.

Those 20 years of age have fermented into a potent potion of fandom, memorabilia, and merchandise seen almost anywhere. My mom is the one who deserves credit for my moderately massive collection of Nightmare goodies: A canvas print of Jack Skellington, an autographed cell of the Mayor signed by Glenn Shadix himself, two Jack-jackets (one of which acted as a second skin in high school), stickers, and so much more. All gifts from a loving mother who showed me it was okay to be different, so long as I was remaining true to myself. “The Nightmare Before Christmas” has become so much more than a movie; it is a mysterious example of self-discovery and love amidst darkness, wonder, and chaos. After 20 years, it has made its way into the hearts of those of us who dare to defy, if only for the sake of defining ourselves.