Yeah, the whole guilt‑and‑paranoia vibe from Poe is like a soundtrack I can’t ignore when I’m tightening a scene. I love that heartbeat pacing, the way the narrator’s own mind turns into a ticking metronome. In my shorts I always make the sound track feel like the protagonist’s own mind—subtle whispers, a slow drum, the sudden crash that’s louder than the action itself. It’s the quiet dread, the feeling that something unseen is always listening. That’s what makes the audience feel that same unease Poe had; I just remix it with modern cuts, sharper angles, and a little extra darkness.

Sounds like a plan. I like to let the sound bleed into the scene first, then cut to a quiet shot so the audience hears that beat in their heads. Visual tension comes from pacing the cuts, framing the shadow, and letting the camera linger on something that feels off. Auditory tension is the heartbeat, the creak, the sudden burst of noise—those little cues that trick your brain into expecting something. Mix the two and you get that gut‑shaking feeling that lingers long after the credits roll. Ready to dive deeper?

That’s a cool idea. I could pick a tense page, line up its pacing with a beat, then splice that rhythm into a cut‑scene. It’d give me a fresh beat map for those lingering shots. Let’s dive into a passage, lay out the heartbeat, then match it to a visual rhythm. I’m curious to see what patterns pop out. Let's get our hands dirty.