This is the same “based on a true story” gambit utilized by genre efforts as diverse as The Last House on the Left (1972), The Texas Chainsaw Massacre (1974), Picnic at Hanging Rock, and Return of the Living Dead (1985) to name just a few.
|Title Card: Last House on the Left.|
|Title Card: The Texas Chainsaw Massacre.|
|Title Card: Picnic at Hanging Rock.|
|Title Card: Return of the Living Dead.|
|Title Card: The X-Files: "Pilot."|
|The Gothic, Enchanted Forest.|
|The Gothic, Enchanted Forest #2.|
Again, this idea boasts very clear antecedents. Wieland concerns strange lights in a forest, the paranormal phenomenon of spontaneous combustion, and “modern” psychological disorders such as schizophrenia (played out through the new art of “ventriloquism”). That tale is in every way as cutting edge in terms of science and "belief" for 1789 as The X-Files is in 1993.
With its cutting-edge 1990s science, setting and investigative techniques The X-Files similarly places its heroes in direct conflict with things that seem magic because they can’t be proved. These things would similarly be described as magical, exotic or foreign because they originate from another world, the mists of prehistory, or genetic mutation.
|An epistolary structure, like Stoker's Dracula?|
Or for that matter, how could the World Wide Web and Jeffrey Dahmer exist side-by-side?
In both cases, the one who buries important knowledge is the U.S. Government. However, in the conspiracy-heavy age of the 1990s, that act of hiding the truth is much more important in The X-Files than it is in Raiders.
|Raiders of the Lost Ark, denouement (1981).|
|The X-Files "Pilot," denouement.|