This directness is right in line with the ramshackle house he’s constructed on the grounds of Camp Crystal Lake, complete with an altar to his dead mother, whose beheading at the hands of Friday the 13th’s final girl prompts him to track her down and murder her two months later.
The utilitarian one that came before it, though – denim overalls, plaid shirt, sack hood – goes with the Jason Voorhees who’s the most recognizably human, with all the limitations that entails and the clearest motivation for going on a killing spree. When Friday the 13th Part 2 was made without them in 1981, it had as its antagonist an adult Jason, but it wasn’t until Part III came along the next year (on August 13, 1982, making it the first in the series to actually be released on a Friday the 13th in the U.S.) that Jason stole a new outfit off a clothesline and commandeered a hockey mask from a weekending weirdo, finally settling on his signature look. If pressed, some might also describe the deformed boy seen in the brief flashbacks to his drowning in the first Friday the 13th, and then in the dream sequence the film’s backers took as the setup for a sequel its screenwriter and director never intended to make. It’s hardly a revelation that the most common conception of Jason Voorhees in popular culture is a man in a hockey mask wielding any of a number of sharp cutting instruments.
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