He also wears a black suit with colorful polka-dots, a bow tie (usually red, sometimes rainbow), and a top hat (of varying sizes) or less commonly a trilby hat, both seen with a red stripe. Unlike The Slender Man, The Splendor Man has a visible face, which consists of black dots for eyes and a black mouth, but he lacks teeth (in most portrayals) and a nose.
Splendorman, as portrayed by actor Julie Becker. His personal relationship with his brother is unknown, as the two are only shown together in fan art, although many fans believe The Slender Man does not approve of his older brother's cheerful nature, and that The Splendor Man either does not understand his younger brother's behavior or disapproves of his murderous behavior. He often brings people gifts such as flowers. He is often portrayed as happy-go-lucky, and very kind, especially to children. His purpose is to cheer up people who do good deeds. The Splendor Man is supposedly the Slender Man's older brother and, as opposed to his younger brother, loves everything happy and joyful. Towards the end of the video, he threw glitter at them. He then proceeded to give them flowers and dance for them to make them happy. When they’re taken, it means next to nothing, because they were never anything but the sum of their fears.The Splendor Man first appeared in a Marble Hornets parody from the YouTube channel " Neil Cicierega", where he was spotted by two very nice girls named Becky and Tiffany. But like the victims in Freddy’s movies, the characters in “Slender Man” have a way of being tremulously emotional and, in that very desperation, entirely disposable. The actresses make their presence felt, especially Joey King as Wren, a soulful waif in a punk choker, and Jaz Sinclair as Chloe, who beams with life until she calls up a video of Slender Man, only to watch in frozen horror as he films himself entering her house and coming up the stairs (which lends one more layer to the film’s borrowings - a whisper of “Halloween”).
But where do they go when they’re taken? There’s no answer to that other than “away,” and that’s why the film has a murky, vague, grasping-at-straws-of-evil quality. The girls try to protect each other, which means that each abduction into the great dark beyond is also a sacrifice, a way of shielding the next girl.
But “Slender Man” is the kind of movie in which images come before logic, because there really isn’t much logic. He’s also pictured standing in front of bare-limbed trees at night, because he’s like a tree himself, and there’s imagery of twiggy black foliage erupting out of victims’ mouths, mostly because that looks sort of cool. The movie, written by David Birke and directed by Sylvain White, lifts a great deal from “Ringu” and its American remake and sequels, notably the merging of paranormal horror and staticky technology - which means, in this case, that Slender Man turns out to be a “bioelectric” force, so that when he shows up we often hear crackling voltage on the soundtrack. The more it tries to sketch in the rules of who Slender Man is and what he means and how he operates, the more you realize that the film is just winging it, stitching together old tropes and hoping that they blossom into something coherent. Yet apart from its occasionally spooky images, “Slender Man” is a fundamentally derivative and empty-headed horror film. “Slender Man” takes off from a “creepypasta” Internet meme that originated in 2009, and it’s the character’s abstract quality that results in a handful of shivery moments, especially when the four high-school girls who are the film’s main characters call up underground video files in which he lurks like an outlaw with a smudged face. He’s the walking-dead spirit of formula teen horror - the monster who, no matter how many times you kill him, never goes away. He’s coming to get you, but who he is remains a mystery. In this case, though, when you glimpse the character of Slender Man (Javier Botet) in the background of photographs or amateur videos, or even when you see him up close, he remains an oblique phantom: tall and spindly, like Ichabod Crane, in a black suit and parson’s tie, with long arms like tree branches and a blank blob of a face. He’s like Candy Man, in that he’s a historical ghost with a two-word name ending in “Man,” or Pennywise from “It,” in that he targets a close-knit group of friends, knocking them off one by one.
He’s like the force from “ Ringu,” in that the trouble all starts when you watch an evil black-and-white digital file full of flickering imagery that looks like “Un Chien Andalou” crossed with a Tool video. He’s like Freddy Krueger, in that he targets teenagers and spirits them away the moment they let their defenses down. In “ Slender Man,” the title demon is one of those spectral showbiz creeps from another dimension who’s coming to get you.