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The author suggests that the symbolic image of the doll, pushed to its extreme limits, touches upon Dionysiac ritual games. In this realm, a blend of the spiritual and the religious, bound together by the psychological, which enables human creativity to flower, the negative amplified by the reserve, censorship, and unilateralism of our collective consciousness at last finds legitimacy. “Garbage Pail Kids”, “Crados”, and “Bratz”, as well as Mangas and other everyday contemporary objects, or even dolls which some might say are of incredible vulgarity: these objects, mirrors of ourselves, provide a space in which the horrible, if not horror itself, can be represented, and this space is a necessity.