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Labby is the main antagonist of the 2013 - 2016 animated psychological horror "film" The Alfred Alfer Movie.
He is a dark, mysterious, abusive and sadistic Labrador who psychologically, verbally and physically torments the film's titular protagonist throughout the movie and is eventually revealed to be a mental manifestation of the trauma and abuse he suffered throughout his life. He was based on his original incarnation from the controversial 2012 animated horror anthology film Where The Dead Go To Die.
In Alfred's Big Surprise, he was voiced by Emily Youcis, who also voiced Alfred, Dictator Pickles, Lucifer, and Schoolgirl Alfie in the same movie, Phat Dawg in Alfred Alfer and Phat Dawg, and herself in DA EMILY SHOW. In Return to the Playhouse, his voice was provided by Jimmy Screamerclauz, who also played the original Labby from Where The Dead Go To Die.
Appearance[]
Labby is a large black anthropomorphic cartoon dog with glowing red eyes, black fur, dirty teeth, a large grimace, red outlines, a purple nose, and occasionally a purple fedora. He drives a black-and-white striped flying car with dead bodies burning in the trunk.
Biography[]
Conception[]
From a young age, Alfred the dog suffered heavily at the hands of all three of his caretakers, these people being his parents and the balding man who adopted him after they abandoned him, which resulted in Alfred developing an alternate personality called Dictator Pickles to endure his pain for him. Pickles, in a hell of Alfred's subconscious' making, simmered and grew a strong hatred of Alfred, and one day emerged when Alfred got a promotion at his job.
After Pickles sabotaged Alfred and made him appear like a fool to the workers he had power over (Which were later killed by him), Alfred retreated to his childhood home and underwent a horrible mental breakdown with terrible traumatic flashbacks. Pickles then took advantage of Alfred at his lowest, persuading Alfred into giving Pickles full control over his body, permanently thrusting Alfred's conscious mind into itself, where Alfred indulged in the Playhouse, finally having some form of clarity, albeit false.
Within his mind, Alfred eventually met and fell in love with Labby, who seemed to share his violent tendencies, and Alfred grew a bond with Labby. Eventually Labby began to torture Alfred in numerous ways, starting with abandoning him.
The Alfred Alfer Movie[]
Labby first appears in "Alfred's Big Surprise" alongside Alfred, driving a flying car with burning bodies in the trunk through the sky, singing happily with Alfred. He drops him off in a wasteland called "WHERE THE DEAD GO TO DIE" and asks Alfred if he's ready for his surprise, before ditching him, laughing, flipping him off and calling him a bitch, and leaving Alfred distraught and stranded.
He appears again in "Dead Girl Strip Club" when Alfred, who is drinking his depression away at a club called "WHERE THE DEAD GO TO DRINK", notices his shadow looming over two red shot glasses, reminding him of Labby and making him sad. Labby materialises himself through the shot glasses and tells Alfred he should be "Taken out back and shot" as a skeleton gives Alfred a revolver, implying that he wants Alfred to commit suicide. He nearly does, but gets distracted when a mysterious shadowy figure behind the curtain places a sexy stripper corpse on the stage, prompting Alfred to abandon his suicide and go on a necrophilia rampage that lasts until "Return to the Playhouse", which is when Labby next appears physically.
His car is seen briefly flying through the sky in the background during "G.G. Alfred" while Alfred has sex with dead bodies, but he doesn't directly influence anything during this part of the film.
He's then seen again during "Return To The Playhouse", appearing in Alfred's living room and threatening to molest Alfred if he doesn't bring his bag of defiled bodies down to the basement, holding a popsicle menacingly, revealing that he's actually a manifestation of Alfred's childhood abuse. Alfred attempts to comply before getting swarmed by his twisted Playhouse Friends, to which Labby molests Alfred anyway.
He's last seen briefly during "Alfred's Ascent" witnessing Alfred's titular ascent alongside the shadowy figure from "Dead Girl Strip Club", loosely implying that they were conspiring to get Alfred to defile several corpses.
Trivia[]
- Alfred Alfer and Labby's appearances in each other's respective movies are a result of the at-the-time relationship between Emily Youcis and Where The Dead Go To Die creator Jimmy Screamerclauz. However, these mutual crossovers seemed largely one-sided with most of it being on Emily's side, as Alfred had a very minor cameo of only two sentences in WTDGTD whereas Labby appeared as the main antagonist of TAAM, and both WTDGTD Alfred and TAAM Labby were voiced by Emily.
- Why they deleted the original Labby's villains wiki article is unknown. They say it "violated the new TOS", but how a rule is worth deleting an article over but somehow not worth mentioning or explaining is beyond me.
- Labby is heavily implied to be not the same Labby as his Where The Dead Go To Die counterpart, but a manifestation of Alfred's sexual trauma:
- In Alfred's Big Surprise, he abandons Alfred in the land of Where The Dead Go To Die after promising him the titular "big surprise", similar to Alfred's parents, who abandoned him on his birthday and also apparently attempted to abandon him at goodwill.
- In Return To The Playhouse, he molests Alfred with a popsicle, like the figure from Alfred's flashback in Alfred's Playhouse Part 1.
- According to Dictator Pickles in Alfred's Big Surprise, Alfred is reminded of Labby's "love" when he cuts his paws and tongue on the barbed wire fence, implying that he was wildly abusive.
- In Where The Dead Go To Die, Labby is a pedophile who commits statutory rape.
- Labby (specifically in Return To The Playhouse) appears as an ungodly amalgamation between the two overarching antagonists of the Alfred saga: He resembles the popsicle man from the flashback in Alfred's Playhouse Part 1 and a dog (which one would assume Alfred's parents would be as Alfred is also a dog).
- The song "Black Dog" by Led Zeppelin plays during the rape sequence in Alfred's Playhouse part 3. Labby is also a black dog. (This connection likely wasn't intentional, as Alfred's Playhouse was created six years before The Alfred Alfer Movie and five years before Where The Dead Go To Die. However, Emily mentions in a 2009 Newgrounds news post that she started writing TAAM after she finished Alfred's Playhouse, so this is up for debate).
- Labby (specifically in Return To The Playhouse) appears as an ungodly amalgamation between the two overarching antagonists of the Alfred saga: He resembles the popsicle man from the flashback in Alfred's Playhouse Part 1 and a dog (which one would assume Alfred's parents would be as Alfred is also a dog).
- In Where The Dead Go To Die, Labby is a pedophile who commits statutory rape.
- According to Dictator Pickles in Alfred's Big Surprise, Alfred is reminded of Labby's "love" when he cuts his paws and tongue on the barbed wire fence, implying that he was wildly abusive.
- In Return To The Playhouse, he molests Alfred with a popsicle, like the figure from Alfred's flashback in Alfred's Playhouse Part 1.
- With how much Alfred enjoys watching TV, it could be theorised that he canonically saw (And maybe, considering his cameo in the film, appeared as an extra in, with his outgoing showboat bravado) Where The Dead Go To Die, and upon witnessing Labby's heinous actions in the film and his lines about CSA, was reminded of his childhood sexual trauma.
- However, there's no evidence that Labby isn't simply how Alfred imagined his childhood abuse incarnate - a dark, overarching, threatening presence with glowing red eyes that hurts him at every corner.
- In Alfred's Big Surprise, he abandons Alfred in the land of Where The Dead Go To Die after promising him the titular "big surprise", similar to Alfred's parents, who abandoned him on his birthday and also apparently attempted to abandon him at goodwill.
- This incarnation of Labby could be considered closer to the standards of pure evil than the original Labby, considering that the actions of this version of Labby (Or the people he represents) are shown having definite detrimental consequences on other people that are (for the most part) not played for laughs.
