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ordinaryschmuck · 3 years

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What I Thought About "Hunting Palismans" From The Owl House

Salutations, random people on the internet who certainly won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Today, I present to you reason #4,693 for why The Owl House is the best thing at the moment: It's the perfect balance of serialized storytelling with an episodic format. The story always moves forward with an exact order for how episodes should be watched, but each episode still functions as its own standalone tale. Having prior knowledge of what happened before adds more to the experience, but you can still watch whatever you want and still have an enjoyable time. Take "Hunting Palismans," for example. It adds so much more to the overarching narrative while slightly continuing other threads. But it's still something you can watch as is without remembering the past or wondering about the future.

However, to properly explain how requires spoilers. I wasn't kidding when I say that this episode adds so much, so you're going to want to be wary of that when you continue reading.

With that said, let's review, shall we?

WHAT I LIKED

Coven Heads Meeting: We already saw these fellow schmucks in the trailer, but that doesn't take away how cool they are! It's not explicitly stated which head belongs to which coven, but you can already tell who goes where just from their designs alone. And I love that. I love that just by showing us some excellent character designs, anybody with half a brain can already figure out the particular type of magic each Coven Head specializes in. It's a perfect example of the show-don't-tell level of storytelling that is always at its best through animation, and I'm all for it because of it.

What the Day of Unity is: Several fans, myself included, have already speculated that the Day of Unity was that Emperor Belos planned to combine the human world with the Boiling Isles and rule it all with an iron fist. That being said, figuring it out is one thing, but being told that it's true is a whole different level pants-s**ting horror that I AM NOT READY FOR! Even when it's going to happen, I can assure you that I will not be prepared to witness it ...and I am scared of when it does.

Belos Body Horror: ...Disney, I was already scared s**tless of this guy. I DO NOT NEED THIS!

That being said, seeing Belos do...whatever the f**k that was, helps explain further why he needs the magic in palismans. I always assumed because it's like fuel for a car, giving him the power he needs. Now, even though the answer is more apparent, there are still some questions to be had. Is he cursed, and the magic keeps it at bay like Eda's potions? Or did he experiment with the wrong type of magic, and the palismans keep him stable? Only the future can say for sure...and I'm also not prepared for the answers from that either.

Golden Guard is Belos’ Nephew: Gosh dangit, THE INTRO HASN'T EVEN STARTED YET, AND THIS EPISODE IS ALREADY GIVING SO MUCH!

But, yeah, the most powerful witch on the Isles is apparently Golden Boy's Grunkle Belos. That very knowledge is incredibly interesting to discuss while presenting possibilities for future narratives. I don't know about you, but I see the Golden Guard going down the path of Zuko, learning that the magic of friendship is worth much more than whatever power he gains from being Belos' nephew. And possibly earning his uncle's love seeing how he's the only family he has. It's a situation that's vastly different from Amity's because even when she defies her parents, she'll still have Edric and Emira at the end of the day. For Golden Guard, knowing that he lost a great family to wild magic, the inclination to go against Belos is a lot weaker due to him being all he has left.

Oh, and also, Belos' family getting wiped out because of wild magic. Yeah, not only does that give the best type of motivation for Belos' distaste for it, but it also explains the Golden Guard's hesitance to use it. He's inclined to so he can save his uncle, sure. It's only the fact that he knows what happens with wild magic that causes some resistance...Also, we're less than a minute in, and I'm already getting all of this from one discussion between two characters.

HOW IS THIS SHOW SO GOOD?!

Intro Changes: It's about time too. It seems weird that the crew waited to change Eda and King's designs in the intro this late in the game, but it also tells me that Amity dying her hair lavender is the last huge change this season will present. Otherwise, why change the intro at all if you were going to alter Luz, Willow, and Gus' designs anyway? It just doesn't make sense to me.

Luz Keeping the Echo Mouse as a Pet: The fact that she keeps the most important creature in the world to her as a pet...it's...it's adorable, alright? And as we established several times, I cannot hate adorable things.

Don't judge me!

Amity Staying Home: There are two plausible ways why Amity didn't go to school that day. Either she's getting punished for dying her hair or because she's trying to avoid Luz so they won't talk about the you-know-what. Either could work and seem understandable to Luz, thus explaining why she admits how "that makes sense." Although, there is something to discuss in how Luz is curious as to where Amity is. Judging from the tone of her voice, it's pretty clear that she wants to talk about the little peck on the cheek and maybe get some confirmation as to what it means. Because there is no going back from that. You can explain away saying or doing something stupid, but you cannot un-kiss a cheek. That is a point of no return, and if Amity really is avoiding Luz because of it, that means it's up to our favorite weirdo to make the first move. As for what that may entail...we'll just have to wait and see.

Frewin: We get two bits of information here for the price of one reveal here. Knowing that Frewin is a palisman is shocking enough, but the knowledge that Bump is partially blind and needs Frewin to see? That is an intriguing piece of intel that I would have never expected to get revealed. This is reason #5,279 for what makes The Owl House so good. Even when the show presents information you wouldn't guess, it's all so interesting anyways that you can't help but go along with it.

Adopting Palismans: First of all, love the fact that the Bat Queen makes a return to provide a solution to the palisman trees being rare and solving her own problem regarding the discarded palismans. It's a situation where everyone wins in a way that is so clever that I can't help but admire it.

Second, the idea of students choosing to adopt palismans instead is cute. I'd say it gives further insight into who these characters are in how they say what they want to be, but there's nothing really new added that fans couldn't figure out from the get go. But I will say that it's pretty cool to know that these characters have official staffs now. Speaking of which, if you're upset that their palismans don't match up with your headcanons...grow up.

This was a cute and smartly written scene that should not be bogged down by whiney fans who can't accept a series doing something different from what they expect.

Little Rascal: I’d take a bullet for this bird. That is all.

Luz Being Uncertain of her Future: A lot of fans offer several ideas of what the future could look like for Luz. Will she stay in the Boiling Isles? In Connecticut? Or will she go back and forth? We don't know, but one question we rarely brought up is what does Luz want? More specifically, what does she want to do? After everything Luz went through, the adventures she's gone on, and the lessons learned, what is something that Luz wants her future to be? That's an answer she doesn't really figure out, and I'm genuinely ok with that being a question that's tabled for another day. Most kids who ask that question themselves aren't always going to find an answer after a short amount of time and sometimes even need to spend their lives trying to figure it out. So having it be something Luz has to consider and probably find out in a future episode is the smarter option, as it allows time for it to simmer in her own mind and provides more insight into her character. As stated several times in this episode, she doesn't think things through, so it's nice that the writers finally allowed her some time to wonder what's next when the adventure is over.

Luz Having to Improvise Without Paper Glyphs: You want to know what my favorite Spider-Man moments are (this is relevant. Trust me). My favorite moments are when Spidey's web-shooters run out of fluid, and he's forced to improvise with that big brain of his to find a solution. That's sort of what happens with Luz in "Hunting Palismans." She didn't bring her glyphs with her (why would she), so she's forced to use the environment around her to make new ones. Plus, Luz also flexes her knowledge of the Boiling Isles by mixing her glyphs with a magical plant (which Willow certainly told her about) so that she and the Golden Guard could knock out Kikimora's dragon. It's yet another showcase of her intelligence that a lot of fans are too keen to overlook. Unfortunate to see, too, because looking at how well Luz can craft the perfect solutions by fighting smarter, not harder, is a fantastic add-on to her personality. I love characters who win through their wits rather than their raw powers, and I once again hope more people will catch onto that aspect of her too.

Golden Guard Whistling the Theme: Look, I love it when a show acknowledges its own theme song, ok? Leave me alone.

Luz and the Golden Guard: This is one of those dynamics you didn't know you wanted until you have it. And now that I have it, I DEMAND MORE!

Seriously, seeing these two interact off of each other was a ton of fun to watch. When Luz and GG are initially at each other's throats, their threats and mockery towards one another aren't out of spiteful anger between two mortal enemies. It's more like...two siblings who get on each other's nerves yet are supposed to deal with one another. It's equally adorable and hilarious, and yes, I absolutely loved that they're forced to work together in this episode because of it.

Although, while the entertainment value is fantastic, it also adds more proof of why Luz is the best character in the series. She spends one night with this guy, and that's more than what she needed to make a difference with him. I wouldn't go so far as to say that they're buddies now, but Luz definitely sowed the seeds into his redemption. He's far from willing to join her side, but he still does something he rarely does with anyone else: He told her that his name is Hunter. And this is what Luz does. Through nearly every person she meets on the Boiling Isles, she always manages to change them for the better. It'll be a while before Hunter deflects from Belos, but if Amity proves anything, Luz has a way of sneaking into people's hearts. They just need to spend more time with one another, and I can't wait to see what happens next because of it.

Kikimora Wanting to Kill Hunter: This shows a lot about who Kikimora is, but it potentially proves just how dysfunctional the Emperor's Coven can be. If Kiki proves anything, the coven must be filled with people willing to backstab and cheat their way to get on Emperor Belos' good side. Just look at Lilith. She literally cursed her own sister just to get in and received all the rewards because of it. The Emperor's Coven may be the best choice for witches to do magic, but if you're surrounded by people you can't trust, then is it really worth it?

The Guards Not Knowing Who Hunter is: This helps add to how much of a big deal it is for Hunter to reveal his name to Luz. If people can't even recognize his face, there's a chance it means that he keeps his true identity a secret except for those in his inner circle.

And the coven guards brushing off his brand is more than believable to me. They may be aware that Belos' right hand is young, but teens will be teens. Anybody with enough artistic talent can fake a brand. So it isn't too far off for those two to think Hunter was just a kid pulling a prank.

Hunter is Powerless Without his Staff: Not much to say here. It's just some more neat insight into Hunter's character that makes me wonder if even Belos' magic is real magic.

But I will say this: The fact that Hunter comes from a lineage of powerless witches, well, who's to say that isn't because of a...certain ancestor?

(*Cough* Hunter is related to Philip *Cough*)

Hunter vs Kiki: A pretty well-animated fight scene that adds potential drama to the story for the future. Now that Kikimora knows that Hunter helped Luz escape with the palismans (albeit unwillingly), she may or may not hold that over his head when the time comes. Or, at the very least, decides to keep a closer eye on him whenever he makes a slip-up.

Eda and King Getting Luz her own Palisman Wood: These last two weeks have been severely lacking in the Eda and King department, but scenes like this more than make up for it. Those two have formed such a bond with Luz to the point where they would do the impossible if it meant she would feel better. It proves just how much of a family they all are and the lengths they would go for each other. After all, weirdos have to stick together.

Little Rascal going to Hunter: Hunter is right. That was surprising.

Given how much Little Rascal stuck by Luz, I was more than positive that she would be the one he chose. So seeing Little Rascal pick Hunter instead is a much nicer twist. There could be multiple reasons why, and I'm just going to leave that to the analyzers in this fandom to decide. Especially since the answer isn't really all that important.

So, instead, I'm going to go ahead and sit in the corner as I wOrRy AbOuT tHe DaY tHaT bElOs FiNdS lItTlE rAsCal!

IT'S GONNA HAPPEN! AND I SWEAR TO ALL THAT IS HOLY, IF THE WRITERS KILL HIM, I WILL NOT BE HAPPY!

WHAT I DISLIKED

First, there's...um...

Well, there was this...

Ok, as much as I liked--No, that turned out well anyways...

…

...

...I've got nothing.

I, honest to goodness, have no complaints about "Hunting Palismans" Not even the tiniest of nitpicks I would usually ignore due to how well-executed everything else was.

It's all written fantastically to the point where it's...perfect.

IN CONCLUSION

"Hunting Palismans" is an easy A+. It introduces even more plot threads, gives insight into characters, and despite being essential to the story, it still manages to be a fun episode all on its own. And, I'd go so far as to say that it's one of the best, if not the best, episodes in the series. There's nothing bad about it, and that surprises me. I rarely find nothing bad to say about any story, even the ones I enjoy greatly. I'm sure there are some flaws that others would be more than happy to point out, but why bother hunting for the imperfections when I could accept that, for once, an episode is simply perfect.

(And that’s six hits in a row...THAT STINKER IS GOING TO HAPPEN! It hasn’t happened yet, BUT IT’S GOING TO HAPPEN! I CAN FEEL IT!)

#the owl house #the owl house season 2 #the owl house reviews #luz noceda #the golden guard #hunter the owl house #emperor belos #what i thought about

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wispy-fox · 3 years

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@projectdarkstache

Darkstache Week: Day 3 - Horror Movies/Autumn

𝕲𝖊𝖗𝖔𝖓𝖎𝖒𝖔

"I told you to bring a jacket." Dark lightly chastised, glancing at his shivering lover, who hid their hands under their armpits in an attempt to keep warm. The two were taking a stroll through the nearby park, simply to enjoy the autumn scenery. It was quite the sight with the reds, yellows and oranges covering the ground, especially with the sun shining down upon them. Yet, unlike everyone else there, Wilford was the only one without a hoodie or jacket. Something the pink-haired fella was regretting at this point.

The only reason the entity wasn't in the same predicament was due to naturally having cold skin, so he wasn't really affected by the weather. Though, he still took a lightweight jacket to blend in more, and to avoid the possibility of catching a cold. He did try persuading the other to do the same before they left, but of course the fool was stubborn and insisted he'd be fine. That obviously wasn't the case after they were twenty minutes into their walk, but Wil was too proud to admit it.

"But I'm not cold! I'm just… giving myself a hug!" The man lied, earning a quirked brow since it hardly appeared like a self-hug. "Don't look at me like that, Mister! It's true! I'm just giving myself some well-needed affection since someone won't do it."

"Oh? Is that so? Well, perhaps someone should've listened to me earlier, otherwise they wouldn't need "affection" right now." Fingers raised and bent for that word, knowing that wasn't exactly what was needed at the moment.

Though, as the other grumbled in return and continued to tremble, Dark finally decided to show mercy. Besides, he couldn't have the man getting sick on him now. Not when Halloween was just around the corner. If the colorful male were to get sick, he'd be completely miserable and upset about not being able to participate on the holiday. Even though he already did so much for it by decorating the mansion all by himself. Well, up until the end at least.

So once his jacket was off, he caught up to Wilford who didn't notice he had stopped, and wrapped it around his lover's shoulders. He chuckled when a "Oh!" escaped the other at the action, watching as they looked over at him with wide eyes and a dusting of pink on their cheeks. "I hope this will suffice until we're back home." He said, and by the fond smile that bloomed across the eccentric's face, he knew it would. Though, he still listened nonetheless as the other spoke.

"Aw, you're such a gentleman! Thank you Darkling," he said. Truly appreciative of the gesture as he slipped his arms through the sleeves, zipping the front up. The warmth that almost instantly greeted him elicited a satisfied hum, more content than ever now. Especially since it was his boyfriend's jacket that he was wearing, making it all the more perfect.

However, before the dark entity could say a thing, an "Ooo!" suddenly came from the man beside him. Or at least, they were next to him. When the grey being shifted his gaze over, his boyfriend was running full speed ahead, immediately making his brows furrow. Why was he- Oh. Even before the yell cut through the air, drawing the attention of passerbys, he was already shaking his head in mild amusement. Not at all surprised at the male's antics.

"GERONIMOOO!!!" Shouted Wil as he jumped into a huge pile of crunchy leaves. Not caring at all how he must look to strangers for acting like a child. And honestly? Dark didn't mind either. While the man could be a handful half the time, Dark wouldn't have it any other way as long they were happy. Even if that meant his jacket getting dirty.

…Wait.

★・・・・・・★・・・・・・★・・・・・・★

"WILFORD!"

Please don't steal my story.

Have a wonderful day/night! :D

#markiplier egos #wilford warfstache #darkiplier #darkstache #darkiplier x wilford #projectdarkstache2021 #darkstacheweek2021 #mine #my story #my fanfiction #wispy-fox fanfic

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blackjack-15 · 3 years

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Two Can Keep a Secret (if the Family Tree is Dead) — Thoughts on: Ghost of Thornton Hall (GTH)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH, DOG, CAR, DDI, SHA, CUR, CLK, TRN, DAN, CRE, ICE, CRY, VEN, HAU, RAN, WAC, TOT, SAW, CAP, ASH, TMB, DED

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with my list of previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: GTH; SPY; mention of ASH (and the ASH meta); mention of Nik/HER’s spoilery hints about GTH.

NOTE: THIS META CONTAINS DISCUSSION OF AND REFERENCE TO SEXUAL ASSAULT. MORE DETAILED SECTIONS ARE MARKED, BUT THIS WARNING STANDS FOR THE WHOLE META.

The Intro:

It’s time to get our Spooky on, lads. And we’re gonna do it in a meta of truly staggering length, so maybe go to the bathroom and get a snack before you start. My apologies.

Due to the (to be quite frank) absence of nostalgia surrounding them, there’s not really many games that are post 2010 that the fandom tends to agree on, but Ghost of Thornton Hall happens to be a standout in that pretty much everyone has found something to like about it. It often tops the charts of “best newer game” polls, and puts in a valiant effort against the more nostalgic mainstays.

There are a lot of reasons for this, in my mind – the quality of the writing, the choices that Nancy can make that actually affect the outcome of the game and especially affect Nancy, the fabulous voice work, the purposely-unanswered questions that give a deeper sense of horror — but if you ask me, the love for GTH really boils down to one thing:

Atmosphere.

Nancy Drew game fans (and I’m including myself in this) tend to prioritize atmosphere in the games, probably because without good and proper atmosphere it’s easier to pick apart the formula as you’re playing and to avoid being immersed in the game’s story, and GTH has it thick on the ground (figuratively and literally). The fear, unease, and overall sense of being an Intruder in this story comes from the overwhelming atmosphere provided by the grief of the characters, the time-sensitive nature of the crime, the secrets of the house and family, and, of course, the rather stellar visuals and locations.

The Thornton’s house and grounds really feel alive, but dead — in fact, they almost feel alive in the way that a zombie is, where they function and feed but have no heart. The gloriously (and meticulously) decorated walls are cast in shadow and grime; the portraits feel ominous and disapproving rather than lifelike and nostalgic; even the graveyard, as spread out and opulent as it is, feels claustrophobic and unwelcoming.

In a word, the game is – visually, thematically, story-wise, and atmospherically — haunting. And I think that overwhelming feeling of being haunted is, in large part, what draws fans back to this game again and again.

It should come as no surprise, then, that the scariest parts of this game are the things that you, as the player, do not see. Sure, the apparitions of Charlotte, the ghostly figures, the appearance of Harper — these are all scary, but the fear is gone after a moment, leaving the player unsettled but not running to hide under a blanket. The deaths of the fifty-four souls, the secret behind Clara’s birth, Harper’s breakdown — all these things that you don’t see, that you can only hear about or have hinted at are where the fear of the game kicks in, especially for older players.

It’s no secret that, despite the games being labeled for ages 10 and up, that the actual age of the Nancy Drew games fandom hasn’t been around 10 for some time — most people playing these games are in their 20s or 30s, or have siblings who are in their 20s and 30s and got into the games through them. Sure, there are some outliers, but the Clue Crew is much closer in general to the ages of the River Heights crew than they are to the age that that box says.

Because of this, the writers (and I’m going to especially hat-tip Nik here) behind the games have been able to slowly graduate the topics of the games to be a little bit older, hiding the true horror behind things that younger kids just won’t think about. This is especially the case with GTH and SPY, but you see it in a lot of the newer games, where the implications of events are normally scarier than the events themselves.

GTH takes that and runs with it, choosing to hint at and dance around truly upsetting — for any age — topics, presenting a mystery and a story that only get scarier once you’ve finished staring at the screen. The characters’ emotional problems and issues — loss, abandonment, anxiety, guilt — are like this too; while they’re present in the game itself, when you take a step back after finishing the game you realize just how badly scarred everyone is in the story.

Because answers were purposely left vague in order to 1) make the player work for it and 2) keep the 10+ rating, pretty much everyone who plays GTH has a slightly different opinion on what went down at Charlotte’s party, who the Thorntons really are, the circumstances of Clara’s birth, why the children of a female Thornton take their mother’s name — you name it, and there’s around 10 distinct opinions on it, and many more offshoots of those opinions besides.

I’m going to talk a little bit here about a couple of the “biggies”, since I don’t want it cluttering up the Suspect portion of this meta, so bear with me. I’m not so much interested in “this is the Correct answer” as much as just presenting the information from the game and wondering about its conclusions…but I (like everyone else) have my little pet theories, so what follows will be a little bit of reporting, a little bit of inference, and a little bit of supposition.

What follows is a frank discussion of topics such as rape and incest as they apply to GTH. If this is something you’d rather not consume, skip down to the next bolded line.

The most talked-about question left hanging in the game is, of course, who Clara’s father was. I think this question is best addressed from a two-pronged approach, however, because to figure out who Clara’s father could have been is a question that requires another question to be answered: why would Clara’s mother not tell her, even on her deathbed.

The most popular — and horrifying — answer to this is that Clara’s father is Jackson, and that she was a product of rape and incest. Now, just looking at the timeline, this theory adds up; Rosalie (Clara’s mum) would have been 25 when her father was 51 and would have raped her — young enough (especially in relation to her father, a middle-aged man of a lot of power in and out of the family) that she would have been scared to tell anyone anything, but old enough to not have it be super out of the ordinary that she got pregnant and had a baby — especially in 1968.

To add to this theory, there’s the note in the cellar that asks “who was this Jackson?...what’s he hiding, and who put it there? Was it Charlotte?”. If you’re looking for clues with the incest theory in mind, this seems to point directly to it — “who was this Jackson”? both Rosalie and Clara’s father. “What’s he hiding”? his crime of raping his daughter and impregnating her. The mention of Charlotte alludes to the supposition that Charlotte found proof of this crime — tangible proof — and put it somewhere; this pretty much supposes that there’s a document somewhere that names Jackson as Clara’s biological father, such as an admission of guilt or a paternity test.

The final “proof-positive” to this theory is that Rosalie refused to tell Clara who her father was even on her deathbed. We know from the family tree and Wade that Clara was between 5-10 when her mother died (I’m inclined to believe the family tree, and chalk the discrepancy up to either the writers not being concerned with math or, more likely and more charitably, to show that Wade isn’t a Perfectly Reliable source, just like everyone else), and Rosalie’s protection of Clara from the truth makes sense with a child in that age span. It’s one (horrible, horrible) thing to be forcibly impregnated by your father, but to have to say it out loud, and to say it to your child — that’s something that no one can even remotely blame Rosalie for not being up to, especially when weakened by sickness.

There are smaller points — like pointing out that this might be why Virginia (Wade’s mum) was skipped over in inheritance — but these small points have dozens of explanations, so they’re not really good for bolstering a theory unless you’re already dedicated to it and are looking for crumbs to shore it up.

End of frank discussion. The previous topics may be alluded to and/or mentioned, but not discussed in detail from this point on.

Now, let’s talk about another explanation. I think there’s a tendency to jump on the “Jackson Theory” because 1) there are clues that support it, but more importantly 2) because it’s horrifying, and it’s natural to leap to the scariest thing you can think of when considering a game that relies on fridge horror in the first place.

In the “Jackson Theory”, Rosalie would have hidden Clara’s parentage because of shame, horror, and trauma, and probably to (at least momentarily) spare Clara’s feelings — but Jackson isn’t the only explanation for her reticence.

Generally, we can break apart the reasons for Rosalie’s silence into three distinct emotions or emotional states: shame (supports the Jackson Theory), trauma (supports an assault by a known wolf), or, often overlooked, ignorance.

Clara is mentioned repeatedly as being outwardly and obviously scared about her place in the family — a fear borne from and exacerbated in her childhood, as Nik plainly states (“her insecurity wasn’t just a personal flaw, it was a response to her uneven upbringing,” emphasis mine).

An easy way for Rosalie, worried as she must have been about leaving her daughter alone, to fix this if Clara really was a product of incest, is to name a distant Thornton cousin, preferably one who was already dead or out of the picture, as the father, which would assure Clara’s place in the Thornton line by both blood and her future adoption. This way, if Clara’s parentage was tested, she’d show up as a Thornton from both sides in a way that wouldn’t be suspicious, and her daughter would have an easier life.

But Rosalie didn’t do this — she never even hinted at the identity of Clara’s father. As a woman known primarily for secret keeping — not just about Clara, but about everything (“She loved her secrets,” Wade says), Rosalie would have been adept at hiding things through various means, including through lies and subterfuge, not simply staying silent. Given the little we know of Rosalie’s character, then, let’s consider why she wouldn’t have said anything — even something false — to ensure her daughter’s safety when she died.

Looking outside of Jackson (and with any other known Thornton being quite unlikely), the vast majority of assaults are committed by those known to their victim — friends, acquaintances, classmates, etc.

The Thorntons were — and are — an incredibly powerful family, both monetarily and socially. Having dealt with families such as the Thorntons before in matters like this one, it is frankly incredibly unlikely that, had Rosalie been assaulted by someone she knew, that the truth wouldn’t have come to light through another source, and that the perpetrator would have been punished in every way possible.

BRIEF DISCUSSION OF ASSAULT STATISTICS AS THEY RELATE TO ROSALIE’S POSSIBLE CASE.

Some people familiar with only the post-20th-century world as “the modern age” and with a less stellar grasp of the pre-tech-boom world might raise an eyebrow at this supposition of punishment, but this is Exactly what would have happened — and did happen with regularity — even as “far back” as ’68 — especially when the crime was committed against a young, privileged, wealthy woman of the community.

Note, this is after the USMPC adjustment to the definition of rape in ’62, but before the adjustments in the early 70s; in 9 years, forcible rape rates (this number includes only female victims, so the true number of victims is indisputably higher, given the enormous jump in rape statistics in 2016-present as male cases have been included) had soared in the United States from around 17,000 per year in 1960 to, in the year Clara was born, 31,000 reported cases (source: DisasterCenter). With these soaring numbers came soaring awareness, and combined with Rosalie’s identity as a rich, powerful young woman in a rich, powerful family, it’s on the outside of belief that, had her attacker’s identity been known or suspected, that it could have remained a secret and gone unpunished.

END OF BRIEF DISCUSSION OF ASSAULT STATISTICS AS THEY RELATE TO ROSALIE’S POSSIBLE CASE.

Given this historical and social backing, the simplest and unavoidable potential answer to why Rosalie wouldn’t have either told Clara who her father was or made up a “brief love” who abandoned her Dishonorably, is this: she didn’t know.

(I’ll spare a mention here to say that, ignorance because of being a “wild child” in the 60s and having had multiple partners would be a possible theory, but it disregards everything else we know about Rosalie and her behavior, and that her reputation as a party girl would have been common knowledge, unable to be hidden from those who were alive at the time. So let’s move on to what else would cause ignorance.)

Though attacks by a person unknown to the victim are, in relation to known assailants, rare, in the absence of other evidence, the simplest answer to Clara’s parentage was that Rosalie was assaulted by someone that she did not know and had no way of knowing — and who had no idea of the social power of his victim.

Rosalie truly left nothing behind that points to her daughter’s parentage, even for later discovery or for Clara’s private eyes in a bank lockbox when she came of an Age that Rosalie deemed appropriate — so the conclusion to be drawn is, in the absence of evidence, that Rosalie didn’t answer Clara’s question because she simply couldn’t.

This ties into the other theory/mystery I want to cover here — that of what happened the night Charlotte died, and how (and in what way) Clara was culpable and responsible for Charlotte’s death. We know that, according to her, Clara went there simply to “scare” Charlotte — and given the circumstances that Clara gives this confession in, I’m inclined to believe her — and it’s my opinion that the reason didn’t have anything to do with the truth of the identity of Clara’s father.

My stance here — and it’s here that I take a solid stance, rather than presenting options — with Charlotte (and I’ll talk more about her general character in the Suspects section) is that Charlotte found the same breadcrumbs as the players did and came to the same conclusion — that Jackson was Clara’s biological father. The difference, however, is that I believe Charlotte’s conclusion to be understandable, but ultimately incorrect, and that Rosalie’s assaulter was a stranger.

Horrified, this is where Charlotte’s “cryptic obsession with Jackson” (mentioned in the note in the cellar) began, and what led to her changing the beneficiary of her will from Clara — poor, pitiable Clara, already a victim of so much, whose insecurities would be compounded by this truth — to Harper.

An important part of this theory — and of really any theory — is the consideration that Clara was pregnant with Jessalyn at the time. Not only does this partially explain why Clara’s thought was to save herself (and her baby) rather than dragging Charlotte out with her (regardless of any other factor), but it also brings a potential answer as to why Charlotte would change her will to favor Harper, rather than Clara. Just as the cellar note asks “Who was this Jackson?”, I find myself asking a similar, but no less important question:

“Who was this Austin Neely?”

Listed as Jessalyn’s (still living) father on the family tree, Austin Neely isn’t present anywhere else in the game — not by name and not through mentions of “Jessalyn’s father” or “Clara’s ex-husband/ex-boyfriend” or anything like that. There’s not even a mention of Clara contacting him as a guest for the wedding or to help search for their daughter. His absence is glaring, especially in a game so focused around family — so the question of who is Austin Neely is a question that seems incredibly important to me, given that Clara was pregnant at the time of Charlotte’s death.

In mentioning this theory, I do fully acknowledge that I have only some circumstantial evidence — mostly emotional, and based off of who the characters are/were — to support it, but given the total lack of information on Austin Neely, my guess is as good as anything else.

So here’s my theory: Austin Neely is not Jessalyn’s father, and Clara, like her mother, became pregnant via some type of assault (and given that this was the late 80s and given Clara’s age at the time, I would say the most likely culprit is date rape). When Clara became aware that she was pregnant, given her insecurities about her place in the Thornton clan and her lack of knowledge of her own father, would have come to this conclusion: she was not going to let her baby go through what she herself went through. So she did what her mother could have — and honestly speaking, probably should have — done, and lied.

Austin Neely was probably a friend or an acquaintance of Clara’s — someone her family didn’t really know, but that she could make up a story about dating/being engaged to and became pregnant by before it all fell apart. He would have likely received a payout (probably a rather large payout, given the Thornton’s money and influence) and disappeared from the area and the Thornton’s lives, signing off any responsibility or claim to “their” child before he left.

As a result of this, her child now has a father and doesn’t have to grow up wondering, and Clara avoids the stigma, court case, and general Uproar that would come with attempting to find her attacker. She also, importantly for her, avoids that mess for her child, who will grow up in a semi-normal atmosphere, surrounded by family, not doubting her place in the world — and no one has to know.

Except, of course, one person would know. The head of the family: Charlotte Thornton. From then on, based on this series of events, the story behind Charlotte’s death becomes quite straightforward.

Clara’s paranoia and general cleverness clue her in to the fact that Charlotte has changed her will in Harper’s favor, and is scared out of her mind; having recently experienced a trauma and being pregnant with a child, she’s afraid that she will be left with absolutely nothing, that her machinations with Austin Neely and all her striving will have been for nothing, and she will be cast off, unable to give her child the life she wants to give her.

Compounded by her ground-in fear that she does not belong, she decides to try to settle it with Charlotte — she’s going to scare her, to punish her, and make Charlotte rethink the changed will.

And Charlotte, bearing the weight of the family name and business, not to mention its continued propagation on her shoulders, sees a woman who has been — like her mother — assaulted and left pregnant, whose mental state is already fragile, and who the “revelation” of who Charlotte thinks her true father is would topple her completely — sees poor, pitiable, emotional, suspicious Clara, and refuses.

I think that, more than anything else, would have set Clara off. Remember what she yells at Charlotte’s ghost?

“You had so much, so much, and I had nothing.”

In answering some of the questions about the game, Nik/HER’s response is to say that Clara did not literally light the match that burned Charlotte alive — but we know that Charlotte burned all the same. In the video of her birthday, there are candles; in the dust and soot on the floor where Charlotte died, we see candlesticks. And in the response, again, we know that Charlotte lit the candles for the celebration.

In my ASH meta, I discussed the many meanings of the word “fire” and the term “setting the fire” — and that’s important here too. In this case, the fire was set by Charlotte refusing to reconsider the terms of her will; in her refusal, she probably touched on the same point that she makes in the note in her room — that Clara isn’t stable enough to take over the company. Now, I doubt she would have said that straight to Clara’s face, but even framed as a “you have enough to be going on with and I don’t want to burden you” sort of thing, that just would have reaffirmed all of Clara’s fears — that she was unwanted by the Thornton clan, that her child would be unwanted as a matter of course, and that she would truly have nothing.

And so my guess would be that Clara shoved her. Not hard enough to break anything, not even into a direct flame, but shoved her, and Charlotte jostled the table, and a candelabra fell to the floor, where we see it still in the modern day.

When Nancy sees Charlotte’s ghost out in that house — and yes, I’m firm on that being Charlotte’s actual ghost, as she’s out in the open air so carbon monoxide doesn’t figure in, and there’s no way for that to be Harper/Jessalyn — she burns from the skirt up, which follows with a candle falling to the floor and lighting that incredibly flammable dress on fire.

The last thing to note from HER/Nik’s response is that at the end of the game, Nancy faces the exact same choice that the Thorntons have: to help, or to save herself. In this, we have to look back to Clara and Charlotte, and conclude this: Clara chose not to help. It’s debatable how much help she could have really been — we’re not sure how pregnant she was at the time — or if it even occurred to her until she was already out and chose not to go back in — but at the very least, Clara’s guilt comes not only from the fact that she quarreled with Charlotte right before her death, but that she could have tried to prevent it, and didn’t.

Given the supposition that Charlotte was literally on fire, I really do doubt that getting her out or finding water to throw on her would have been successful, but it doesn’t matter — because Clara looks at it as a choice, and Clara (more importantly) looks at it as the wrong choice, and a choice that she’s been punished for since the day it happened. That’s why, when speaking to Charlotte’s ghost, she says this:

“Haven’t I suffered enough for you?”

The last point I want to make in this OBSCENELY long introduction is about GTH’s place in the pantheon of “Haunting Games”. When you look at the bare-bones (heh) circumstances that make up GTH, you’ll start to see shades of other games.

A relationship/marriage gone a bit wrong, a family secret, an ancestral home, a relative/ancestor whose spectre looms over the story, mysterious apparitions and appearances, and Nancy’s status as an outsider and a skeptic — yeah, both CUR and HAU should come to mind immediately.

Having said my piece about, well, the badness of CUR and HAU and their unsuccessful approach to their basic plot points, it delights me that GTH takes a good hard look at them and says “well, what if we did this well this time? What if we gave our characters the complexity, the emotional resonance, the secrets and lies that we should have the first time?”

Like CUR and HAU, the Family is at the center of the game — except this time we believe in this family, in their relationships to one another, and we feel the effects of the family and their choices, not just hear about it from a diffident 9-year-old or a cranky caretaker. The history of the Thornton clan comes alive through the house, the graveyard, the books and journals that we have of them. We understand what this family is and the choices that they make — even if we don’t approve of them — and they feel real, not just like a background chucked in to Make The Spooky Things Happen.

Also like CUR and HAU, we deal with a central relationship and the complexities that come over two people deciding to get married. Happily, this game (unlike CUR and HAU) treats the central relationship as a thing of Import, and comes to the conclusion that it’s the happiness and well-suitedness of the couple that matters, not the family that surrounds them or anything else. It asks the question “what happens if one person runs away from the relationship?” and answers it, quite satisfactorily, with “there are probably some issues that need ironed out before anything else should happen”.

Interestingly, GTH also takes the good points of CUR and HAU – especially HAU’s atmosphere and CUR’s love of family tidbits — and improves upon them as well. Instead of Jane showing off her studies so that Nancy can solve a few puzzles, Wade walks her through the Thorntons were (at least in his eyes) and helps her get to know the people she’s helping. Instead of being duly impressed at the atmosphere in a bombed-out castle, everywhere on the island is teeming with fog — literal and figurative — as Nancy tries to decode the past to help the future.

Now then, let’s leave the general behind, and focus on the specifics of GTH.

The Title:

Ghost of Thornton Hall is a great title in the way that Secret of the Scarlet Hand is a great title – moody, evocative, gives us our location/focus right away, but not in a way that spoils anything, etc. If anything, it’s a little more flexible – are we dealing with The Ghost of Thornton Hall (Charlotte), the ghost(s) of the Thornton family, the ghosts of those who died on the island, or — in a very fun way — are we talking about the ghost of Thornton Hall — the spirit of the building where so much life and death has happened?

As a title for a Haunting game, you really don’t get much better than GTH, and it centers the player’s attention right where it should be — on the messed up family that the game centers around, and how their past impacts their future.

The Mystery:

Nancy’s phone rings in the middle of the night, with Savannah Woodham’s drawl on the other end, informing her of a kidnapping that’s taken place. She’d go herself, but believes wholeheartedly – and is frightened by — the ghost that’s taken up residence on Blackrock Island, Georgia, and doesn’t believe she’d be enough help.

Of course, this isn’t the whole truth, but we’ll get into that later.

Armed with both her detective skills and her inherent skepticism, Nancy sets off for Georgia to find the missing bride-to-be. Of course, when she gets there, she quickly discovers that the family — and family history — is even murkier and laced with tragedy than the presence of a ghost would suggest, and that, even with everyone searching for Jessalyn Thornton, she is nowhere to be found.

To find her, Nancy has to delve deep into the Thornton family lore, Jessalyn’s relationships with her family and friends – not to mention her preoccupied fiancé — and figure out what really did happen to dear, sweet Charlotte Thornton nearly two decades ago…

GTH, as a mystery, is chock-full of hints, clues, red herrings, and background facts that make figuring out the truth behind everything a joy and a delight — not to mention a task that will take more than one playthrough. GTH is also unique in that its mystery can end in more than one way, and that Nancy’s choices actually have more of an impact than just what souvenir she sends home to her erstwhile boyfriend. Choosing to save herself, to save just the “innocent” (for a certain value of innocence), or to save everyone leads to different endings not just for Nancy but for everyone involved with the Thornton Clan, from its matriarch all the way down to a certain spook-hunting ex-girlfriend.

Underpinning the mystery is this question: did Charlotte really come back as a ghost to haunt Blackrock and the Thorntons, or are her appearances just the result of sneaky relatives and atmospheric maleficence? Can all of the sightings be explained by a mixture of carbon monoxide poisoning, a few relatives playing dress-up, and huge amounts of suggestion and guilt? Is it the case, as Rentaro posited a few games earlier, that a ghost doesn’t have to be real to haunt you?

In a word, no. In a few more words, of course not.

Tying the whole of the ‘haunting’ mysteries together is this (previously mentioned) fact: Nancy is not remarkable for being a Skeptic, she is remarkable for being a Skeptic in a world where ghosts exist. The moving wood (and possibly the silhouette) in MHM, Camille’s ghost dancing along in TRN, the reflection of Kasumi in the water in SAW, the ghost of the Willow in GTH — these are all real, unexplainable-by-tech-or-imagination ghost sightings, and the fact that Nancy doesn’t believe in them doesn’t change their reality one bit.

In the house, you can cite carbon monoxide and Jessalyn/Harper running around in a costume for at least some of them — though not all. But the sightings outside — carbon monoxide does not stay in the system for very long in clear air, blessedly — of Charlotte? The consistency of the spectre? The apparition of her burning up at the site of her birthday party? These aren’t things that you can explain by costume theater — especially since these sightings have been happening for over a decade by people who haven’t stepped foot in Thornton Hall.

When they say that Blackrock belongs to Charlotte and has since the fire, it’s not a literary turn of phrase — Charlotte is there, and refuses to be forgotten. Nancy’s status as a Skeptic prevents her from hysteria, but it does not stop her from being haunted by the Ghost of Thornton Hall.

Now, let’s talk about the players — dead and alive — that make this mystery as complicated and dark as it is.

The Suspects:

Beginning with the matriarch of the Thorntons seems as good a place to start as any, so let’s talk about Clara Thornton. Cousin to Charlotte and Harper, Clara was taken in after her mother’s untimely death (but before her aunt and uncle’s equally untimely deaths) and became the equivalent of a sister in at least Charlotte and Harper’s eyes — though Clara herself was always unsettled and wary about her place in the family.

After the events of Charlotte’s tragic birthday (covered above), Clara visited Charlotte’s grave every night for a year, and was hospitalized after being pushed off of the widow’s walk (more on this later). Whether due to her upbringing or her Thornton blood – or, most likely, both — Clara is secretive, paranoid, wracked with guilt…and a loving mother and extremely capable businesswoman.

Though GTH doesn’t actually have a culprit —Jessalyn wasn’t kidnapped and Charlotte wasn’t murdered — Clara is, as the resident secret keeper and witness to Charlotte’s death, the closest thing that we’ve got. Clara’s sense of guilt is far beyond anything that she could have done, and is haunted so completely as to turn her rather cold.

I have a lot of sympathy for Clara, who made a mistake in a fit of anger (whether that’s pushing Charlotte or just not helping her when she started to burn) at the age of 21 and has been wracked with guilt and haunted by the spectre — real and imagined — of her ‘sister’ ever since (not to mention knowing that her other ‘sister’ blamed and hated her for it). Charlotte died before she had the time to make too many mistakes, but Clara had the entirety of the estate and the business — thousands of people’s livelihoods — thrust into her hand when she was a single mother of 21 years of age. Even had Clara been completely stable, it would have been a lot, and it’s no wonder that she rules the company with an iron fist.

I also want to point out that, due to Harper’s breakdown at the funeral and her afterwards, that even had Charlotte’s second will been found right then, Clara still would have inherited until at least Harper received her bill of mental health, as the closest heir to Charlotte of (legally) sound mind and body.

Let’s talk then about the other heir, Harper Thornton. A fan favorite for a myriad of reasons — her Helena-Bonham-Carter-esque design, her wonderful VA (props to Keri Healey, voice of Hotchkiss, Sally, Paula, Simone, and Madeline!) knocking her lines out of the park, and her dark sense of humor, Harper is, like most of the Thorntons, incredibly unstable, paranoid, violent…an affectionate aunt, and a pretty darn good detective in her own right.

Since GTH doesn’t have a ‘culprit’, Harper stands in her own guilty/not guilty paradigm along with Clara. She had nothing to do with Charlotte’s death personally, but was the one who caused assorted injuries and thousands of dollars in property damage at the funeral, and the one who pushed Clara off the widow’s walk and hospitalized her. Yes, Harper was young — 18 when Charlotte died, but pushing your cousin/sister off of a balcony is wrong at any age.

It’s worth noting that of the three Thornton ‘sisters’, one is guilty of some degree of manslaughter/criminal negligence, and the other of attempted murder. When Charlotte notes that she herself has a dose of the “Thornton paranoia”, she’s not just whistling Dixie.

The biggest problem the Thorntons have, honestly speaking, is that all of them are way too emotional and react without thinking. Clara confronting Charlotte, Charlotte not taking Clara aside to talk about the will, Harper’s injuring of others and blaming/pushing Clara, Wade destroying machinery, Jessalyn disappearing rather than talking things out…none of the Thorntons, past or present, have seemed to think with their brains since the woman who received the land on Blackrock Island after the Civil War in the first place.

In keeping with the theme, I want to talk about Charlotte Thornton next. A girl who inherited the Thornton land and business at way too young an age — I don’t even wanna know why Jackson hated his adult daughter Virginia (and yes, I know that there’s a supposition to this in the “Jackson Theory”, but it’s pure supposition) so much that he would stake the family future on a 20-year-old, no matter how much everyone liked her — after the death of her parents four years prior, Charlotte was the darling of the Thornton family.

Well-liked by everyone with a beautiful singing voice, Charlotte was nonetheless every inch a Thornton; she outright acknowledged her own paranoia, kept secrets and locked rooms closer to her than her family, and had a flair for the dramatic and emotional. After considering her cousin/sister Clara too unstable for the task of inheriting the family Business, Charlotte, rather than turning to her older aunt or naming multiple beneficiaries to ease the load, instead leaves 100% of it to her younger sister Harper.

I do want to point out the irony here in leaving the business to Harper over Clara on the grounds of mental stability. Whatever else Charlotte was good at, she was not a good judge of character, even giving leeway for her being 21.

After her death, Charlotte haunts the family home, unable to leave the place that was, for a year, hers to inherit. But why would ‘dear, sweet’ Charlotte haunt, frighten, and otherwise unsettle those around her — from family to neighbors to curious kids — especially to the extent that she does?

To answer that question, we need to talk about the family member that everyone says is incredibly close to Charlotte in personality — our missing bride, Jessalyn Thornton.

Clara’s daughter, Jessalyn is painted as being a sort of return of Charlotte; everyone loves her (all Thornton employees are combing the island looking for her, for heaven’s sake), everyone agrees on her, and she’s next in line to inherit the Thornton family business. She’s even around Charlotte’s age (24, rather than 21, but close enough) during the game, for heaven’s sake — the comparisons are not subtle, nor are they meant to be.

Since it’s more than halfway through the game that Nancy meets Jessalyn, the things that people say about her are the best clues to her personality that we have…right?

Everyone agrees that Jessalyn would never run off and make people worry like this, that even if she was scared or had second thoughts about the wedding or even just needed to be alone, that she would never do this to her family. And, as it turns out, everyone — her mother, her uncle, her best-friend-cum-fiancé — everyone is wrong. Jessalyn did exactly that — she ran off, made everyone worry, and didn’t think about her family, friends, fiancé, or employees one bit.

It also takes her no effort at all to fully believe a woman she’s never met that her mom is a vicious, cackling murderer just because her (single, incredibly busy) mother is a bit emotionally cold, so she’s also not a great judge of character.

And remember, we’re told over and over again — Jessalyn is just like Charlotte. Sure, Jessalyn is also our Nancy foil in this game — a young woman who needs to learn the truth about her mother, coerced/guided by a quasi-unreliable source, worrying her family by running off — and that’s important for Nancy’s character, but Jessalyn is first and foremost our Charlotte analogue. Jessalyn’s family and friends don’t understand who Jessalyn is…so I think it’s fair to say that Charlotte’s family and friends didn’t understand who Charlotte was, either.

We see Charlotte, through her writings and actions, could be thoughtless, was a poor judge of character, was secretive and paranoid — all things that no one even alludes to when speaking of her. Sure, there’s the idea of not speaking ill of the dead, but someone would have noted these things, even fondly or mildly.

So why would Charlotte haunt this place, haunt these people, when she was so good and kind and loved everyone? The simplest answer, the least convoluted explanation, is just that she wasn’t. That the Thorntons didn’t understand Charlotte, as much as they loved her, just like they didn’t understand Jessalyn.

Speaking of Thorntons who may be misunderstood, we’ll focus on Wade Thornton next. A little more rough-and-tumble and a little less refined than his relatives seem to be, Wade is introspective, superstitious, hard-working, and a bit gloomy…along with having some anger issues, vast amounts of distrust, and a bit of egotism.

Wade’s (at least legally) guilty of a few things in the past, but since he won’t even go into Thornton Hall, he’s a pretty easy cross-off of our list of suspects. Wade’s there to give Nancy information on the Thornton Clan, to provide the explanation as for (partially) why Savannah isn’t there herself, and to show another facet of the Thorntons — their anger.

Whether or not you agree with Wade’s actions that led to Clara pressing charges — though I think everyone can agree it’s pretty stupid to destroy your own family’s machinery, especially when the only danger to the employees was caused by him scaring them half to death — and it highlights that Wade, philosophical though he is, is just as much a Thornton as those he despises. He even calls himself out on it – that while he used to think he was on the side of “Good Thorntons”, he’s not so sure anymore.

The best (serious) line in the game does come from Wade — I will be in love with his description of dating Savannah as “[falling] for her like a Black Tuesday banker” until I die. It’s a perfect metaphor without sounding pretentious, and shows just how bleak his own worldview really is.

Next is The Fiancé, Colton Birchfield, who has the most hilariously WASP-y name to ever come out of a Nancy Drew game. A man who’s struggled with depression and anxiety all his life, Colton was born to two politicians and has lived in the spotlight — and his marriage to Jessalyn is getting just as show-stopper-y as a campaign trail before she disappeared.

I mentioned above that the resolution to Colton and Jessalyn’s relationship is the healthy, sane version of what should have happened in CUR and HAU, and I stand by that. While I don’t necessarily like him going back to Lexi after the game is over — a relationship interrupted by one party being paid off is not the healthy, loving, loyal relationship that Colton needs — it’s clear that he and Jessalyn would have made each other content, but never fulfilled romantically.

Colton’s guilty of nothing more than not being in love with his best friend, and he’s a refreshing breath of air as someone related tangentially to, but not cast down by, the Thornton family drama. He may get less sympathy than our other cast members, but he’s no less deserving of it, and I’m really rooting for him to find someone that will give him the same amount of love and loyalty that he’ll give them.

We’ll journey outside the Thornton family and their (almost) relations for our next ‘suspect’. Addison Hammond, Jessalyn’s friend and bridesmaid, makes a cameo phone appearance here to tell us that Thornton Hall is Totes Spooky, and that Jessalyn vanished not once, but twice in the night.

I quite enjoy Addison, not because she plays a big part or because she’s an exceptional character — she’s as bare-bones as we get in the later games (ignoring MED/SEA/MID), honestly — but because she’s simply a girl in her 20s reacting the way that most of us would if our unnecessarily spooky friend dragged us to an old haunted house and then vanished twice. Good for you, girl.

Coming in for a wonderful appearance is Savannah Woodham, ex-ghost hunter, ex-girlfriend of Wade Thornton, and the detective who was supposed to be on the case. Savannah’s too scared of the Ghost (and too reticent to talk to Wade face-to-face) to risk stepping foot on Blackrock Island herself, but she’s more than willing to send the biggest skeptic she knows, hoping that Nancy’s skepticism will keep her safe.

As lovely as Savannah is in SAW — and I adore her in that game — she really shines in GTH. Probably the biggest moment she gets in the game — and probably my second favorite moment in the game period — is her tale of tracing the shape of the old willow tree on her wall, only to have a body discovered under that exact willow tree after a storm. It’s a delightfully creepy — and most importantly, completely inexplicable by any means other than accepting that the supernatural exists — moment, and I think it’s key to understanding Savannah as a character in GTH.

Savannah suffers under the weight of knowing that there truly are Things that Go Bump in the Night, that can’t be arrested or captured or gotten rid of by normal, legal means. Her background knowledge of the Thorntons helps Nancy to get an initial feel for the family, and it helps to not have an ex-girlfriend wandering around that the Thorntons might have a grudge against or dislike for.

She is, in effect, the mirror image of Nancy — what Nancy might have become without her inborn skepticism — and that alone, even ignoring everything else about her, is fascinating to me.

Our other phone contacts are Ned Nickerson and Bess Marvin, teamed up due to George’s absence while doing an internship (at Technology of Tomorrow Today, no less!) and Bess’ extreme boredom without anyone else to hang out with.

The lovely thing about Ned and Bess is that we get to see Ned when he’s not Solo Boyfriend Ned, but a college guy hanging out with his friend. Their light-hearted banter is hilarious and comfortable (Bess dramatically asking permission to do a spit-take in his living room is of particular note), and we really get to see a different side of Nancy’s oft-abandoned boyfriend.

You can tell that their voice actors are having a terrific time as well (Scott Carty’s pitch-perfect imitation of Jennifer Pratt’s cadence and tone makes me laugh every time), and it really helps bring a bright and colorful spot to this otherwise rather tense and grim mystery.

We’ll round out our character list with the quasi-amateur, quasi-professional detective herself, Nancy Drew. Through her foil with Jessalyn — discussed above, so I won’t get too into it here — we get to see Nancy in a slightly different light, and get to look at the effect that she has on those around her when she disappears.

We know Carson and Ned (and occasionally Bess/George, and even more occasionally, Hannah) worry about Nancy while she’s off on a case, but this is the first time Nancy herself is dealing with what she leaves behind every time she jets off to Venice, or gets trapped in a lava tube, or lost in a rock maze. Nancy hasn’t investigated a straight-up kidnapping (or what appears to be one) since Maya in FIN (no, I’m not counting HAU, as it’s not played as a kidnapping nor does anyone think it is until 2/3 of the way through the game), and she has the same sense of urgency here that she did back then.

Upon replaying the game, the player will lose that sense of urgency for Jessalyn — we know she’s alive and well, and was never kidnapped — but Nancy’s reactions to the family are what stay interesting. She’s concerned for Jessalyn, but does most of her detective work through getting a sense of what the rest of the family thinks of the missing girl.

Given Nancy’s reputation as a good girl, a solid presence (if an occasional one) who loves her family and friends, and who is always responsible, it’s easy to see why she misses the one question that would have helped her solve the case in half of the time: what if Jessalyn isn’t missing? After all, Jessalyn, like Nancy, would never jet off after hearing an unsubstantiated claim about her mother without telling anyone or pausing to confirm it through a different, more trustworthy source, right?

In this game, we discover a huge characteristic about Nancy: she is reckless. Now, we know this already from other games — that Nancy is reckless physically, confronting bad guys alone, diving down into murky catacombs, jumping from pillars in ancient tombs — but here we see that she’s also reckless emotionally. Even though it interferes with her investigation, Nancy gets personally involved in this case; she’s mad at Colton for “cheating” on Jessalyn, she’s upset by the tragedy of Charlotte’s death, and she’s concerned for Jessalyn’s safety in a different way than she usually is with a victim or suspect.

Nancy’s always been willing to take huge risks, but she always stays emotionally on the surface level of a case — a good and necessary trait for a detective, and one that allows her to face down killers, saboteurs, and forgers without blinking. Here, Nancy’s dragged down into the web of the Thorntons, and — as we see in the middle and bad endings especially — she doesn’t quite recover from it. Nancy loses a bit of objectivity here, but what she gains is humanity — and she’ll need that for the last two games in this meta series.

The Favorite:

With such a well-executed game — even though it doesn’t fall in my personal top 5 ranking — there’s going to be a lot to love, so let’s get down to it.

My favorite puzzle is probably Nancy’s trek to ‘discover’ the ‘ghost’ — aka completing Harper’s tasks in order to meet her, culminating with reciting Charlotte’s rhyme while blindfolded. It’s a different kind of puzzle than the type we get commonly with Nancy Drew games, and really helped spark and keep the tension needed to maintain such a spooky game.

My favorite moment in the game is a quieter one — it’s Nancy’s remarks on Charlotte’s room. She’s taken aback at how, after a game of everyone talking about Charlotte, that it’s opening the door to her room that cements Charlotte as a living, breathing person. She continues that she can’t let that feeling distract her, that she needs to treat the room like the rest of the house and gather tools that will let her find Jessalyn, but it’s lovely to see the effect of the Thornton’s history really settle into Nancy’s bones as Charlotte Thornton turns from a scary rhyme that children chant to a girl who lived and died in the same walls that Nancy’s exploring.

There are, of course, other things that I love — the objectively creepy poem (“we’ll let you share with Charlotte/a gown of coal and glowing flame” is an incredible line), Savannah’s story about the willow tree, the small Francy crumbs of Frank being sullen after his Very Revealing voicemail in DED and considering an MBA, the multi-layered relationship that Wade and Savannah have, the gorgeous detail of Thornton Hall — and all of these add up to a game that’s frankly just enjoyable to play.

The big thing to mention in this game, as I talked a bit about in the intro, is its atmosphere.

Throughout the entire game, there’s this palpable feeling of death and grief and loss and pure pain, and those emotions are what GTH relies on to keep itself Scary, not the few spectre scares and swinging scythes that it also has to offer.

I don’t normally quote things other than the games/words of the cast and crew in these metas, but I do make exceptions when the quotation is this good, so I tip my hat here to Tumblr user aniceworld, speaking about ranking GTH their top Nancy Drew game of all time:

“The reason GTH is so successful as a scary game is because there’s such a pervasive sense of sorrow at Thornton Hall. People have died here who shouldn’t have. A family has been destroyed. The house has seen so much trauma it can literally no longer stand on its own. There are ghosts that live here, whether you can see them or not.”

This horror is far better than bloody slashers or obnoxious “continuous mysterious accidents”-style thrillers that tend to permeate the genre; instead of random death-by-umbrella or scary-guy-in-the-shower incidents driving the plot, the emotion behind death and loss and betrayal gets to take a turn at the wheel, and the game is much better for it.

The Un-Favorite:

As with any game, however, no matter how good the atmosphere, there are some things that I don’t love.

I’m not actually the biggest fan of Harper; while her design is great and her VA does a spectacular job, she’s a little cartoonish among a cast that endeavors to stay as far away from broad stereotypes as possible.

It’s fine to have a large personality, it’s fine that she’s a bit cracked, it’s great that she has her own reasons and motivations beyond “expose the truth” (especially since she’s not interested in exposing the truth, just in proving that Clara’s a murderer) — she’s just really not my cup of tea, and I prefer Harper as the Anonymous Note Leaver to Harper the Conversational Partner.

Even if she does get some of the best lines in the game.

I don’t really have a least favorite moment or puzzle that sticks out to me; there are puzzles I struggle more or less with, but none of them are immersion-breaking or so frustrating that I have to get up and walk away. The ones I love, I enjoy solving; the ones I don’t love, I turn to the walkthrough and finish them up to get on with the story.

The Fix:

So how would I fix Ghost of Thornton Hall?

Even given my small problems with Harper, I’m not sure I’d change her. Sure, she’s a bit Broad for the game, generally speaking, but she’s also another example of what loss can do to a person — it can make you cold and withdrawn, it can make you righteously angry and dismissive…or it can turn you malicious and violent. She’s an important presence regardless of my personal taste, and while I might tweak a line of dialogue or two, it’s important to note that her Persona is just another thing for Nancy to discover and re-discover as she investigates the Thorntons.

While not a perfect game — very few, if any, of the Nancy Drew games qualify for that title — Ghost of Thornton Hall is an excellent entry in the Nancy Drew series as a whole, and in the smaller series of Nancy-centric games. Through it, we get to see what happens to those who are left behind after a tragic, sudden, and even violent loss — and that becomes more and more important as we leave behind the gloomy Georgia island and leap across the pond to Glasgow.

#nancy drew #nancy drew games #clue crew #ghost of thornton hall #nancy drew meta #GTH #my meta #long post #video games

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rvmmm21 · 3 years

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[ V V S her diamonds ]

summary : seungwan is an idiot, joohyun is an idiot. cupid rips his hair out in frustration.

small note : please yell at galaxygerbil for me. for putting justin freaking bieber’s ‘anyone’ in my head on loop for centuries and for the hectic mess that i am when i read their fics. this is an attempt the only genre i have been skirting around because i just cannot read/write angst. if this ages decently, yay.

p.s. characters are from my first wenrene university au (you know who i am?) so it’s identical in regards to characters and the au itself, but a different plot.

tw : slight angst (but it’s all cupid’s), perpetual urge to scream.

[senior!irene x junior!wendy]

. . .

[5:15p.m.] Seungwan rushes past the temptation of bookshops, restaurants and arcades. She silently curses when she very nearly falls flat on her face from an uneven bit of pavement.

. . .

“Seungwan-ah!” Yerim calls out, retracting her debit card from the exasperated cashier and waving Seungwan towards her. “Come, hurry up and order something.”

The blonde shyly weaves through the crowded little arcade cafe, eliciting pointed looks and grunts from hungry patrons. She leaves the ‘I-dare-you-to-challenge-my-best-friend-right-now’ stare to Yerim.

Seungwan reaches the counter with a huff. “What are you guys getting?”

“I got bibimmyeon.” The younger glances over her shoulder at Seulgi who’s scrolling through her phone at the table in the corner. “Uh, i think Seul got pork mandu.”

Seungwan holds up two fingers and a polite smile. “Two bibimmyeon, please.”

The cashier inputs their orders with a click of a button, swiping Yerim’s card through the reader.

The duo shuffle away with a number card on a metal stand, heading for the table under the stairs. A harassed Seulgi barely notices her friends sitting down.

“You’re here?” She clicks her phone off and begins rummaging through her Muji pencil case for a pencil. “What did you get? I think we’re pulling an all-nighter.”

“Bibimmyeon, same as Yerimie.” Seungwan grimaces, more at the possibility of another sleepless night. But such is university life. Plus, she’d much rather her friends keep her accountable than procrastinate alone. Especially on projects that weighed so heavily on her final grade.

Yerim elbows Seungwan, who suddenly notices she’s the last to get her materials out.

Like clockwork, the three get to work, the clicking of their keyboards overtaken by frantic plastic clicking of various 90’s arcade machines.

Thankfully, food is served right as they’re wrapping up chapter three, the worst one of them all. Seungwan, Seulgi and Yerim scarf down their food like girls ten years starved, focused on feeding the demands of their stomachs rather than their assignments.

. . .

The sun retires past the blue-purple horizon, leaving three burnt out students standing outside a closed cafe, clutching laptops and notebooks in the dark. They hastily make plans again for next week’s study date, sweeping the forgotten all-nighter under the rug, all too eager to head home and shut the door in the faces of their due dates and exams.

“Same time next week?” Seungwan asks after a yawn.

Seulgi shakes her head, squinting at her calendar app. “I have dance tryouts then. Can we do Thursday instead? We can meet at the same time then, or even earlier.”

Yerim agrees to everything, seconds away from falling asleep on her feet.

“Alright,” the blonde sighs, plugging the aux cable into her phone and flipping through her Spotify. “See you guys then. Yerimie bring your own highlighter next time.”

Everyone mumbles, turning their own ways.

. . .

“YAH!”

The rude exclamation of a tall, red-faced boy while his smaller friend stands meekly behind him blares attention bells to the furthest corner of their university cafeteria.

Seungwan pauses mid-chew to shush a pouting Yerim, who’s upset that her funny dog story was interrupted right as it was getting good. They face the commotion and Seungwan beholds a pair of steely eyes gazing boredly from underneath the brim of a black Yankee baseball cap.

That signature glare belongs to none other than Bae Joohyun, someone the junior recognises instantly from (truthfully much more than) one of their shared literature electives. And of course, beside her stands her equally as intimidating friends, Park Sooyoung and Kim Jennie.

And the hothead is the only person who’d be stupid enough to challenge a trio like that: fresh campus casanova, Wong Lucas. Seungwan’s eyebrows shoot up to her hairline, but she isn’t surprised.

Everyone’s attention has been commanded now, but if the boy cared, he didn’t show it.

“Yah, freshman.” Jennie snaps, gripping her mocha latte and stepping to the front while Sooyoung suspiciously eyes him and his friend. “Speak with some respect. What’s wrong with you! We’re your seniors.”

The meek girl behind him looks terrified, curly mousy-brown ponytails shadowing the cold sweat visibly beading on her forehead. She almost moves to say something but Lucas stops her with a firm hand, turning back to continue berating the girl in the cap.

“You couldn’t even let her talk?!” The irony is lost on him, as a frown settles on his arched eyebrows, frustration frosting over his features. “She told me you rejected her before she could finish. Did you have to speak so rudely? Do you know how hard it is to confess?”

A hint of apprehension creeps into Sooyoung’s expression and Jennie fights the urge to splash her drink right in his face. Followed by the cup.

Bae Joohyun simply resists a yawn.

“Can you move? We’re busy.”

It’s the first time she’s spoken since the outburst, and Seungwan feels her palms sweat.

The girl behind Lucas finally speaks. Her eyes are glossy and wide, overflowing with hurt and betrayal. “It’s okay, s-sunbae. B-but I… I was hoping we could still–”

“I’m not interested,” comes the cut and dry reply.

A bystander innocently tries to diffuse the rising tension. He lightly places his hand on the boy’s shoulder, darting his gaze between the two teams. “Alright I think that’s enough.” He turns to Lucas. “No need to be so hostile, be a gentleman and apologise.”

“Whatever.” Lucas irritatedly shrugs him off, piercing stare fixed on the senior who couldn’t look more disinterested. “You deserve it. You think you can just talk however you want just because you’re pretty? Self-centred trash, fix your attitude first.”

Sooyoung’s jaw drops, Jennie goes wide-eyed, and Yerim is fumbling around with the record button as quietly as she can.

Seungwan’s heart quickens in pace.

Joohyun doesn’t even realise she’s lunging forward.

. . .

The cafeteria disperses with hushed whispers and repeated glances over shoulders until it’s just Seungwan, Seulgi and Yerim left. They’re glued to their seats, astounded at the sight of Wong Lucas on the ground, clutching his nose in pain while Song Yuqi stands frozen to the spot, paled in horror at witnessing her crush just sock her older brother square in the face.

It’s so silent save for the moaning and groaning from the floor.

“Did you see that?” Seungwan murmurs back at her friends, unaware that her eyes glint with obvious admiration. “That was kinda cool.”

Seulgi’s lip quirks in disbelief. “It’s definitely broken. Look at her, she’s insane.”

“Right?” Yerim snickers, already posting the video clip to their group chat. “Insanely co-ordinated. Best thing that’s happened all day.”

“I’m gonna offer her a Band-Aid,” Seungwan spontaneously decides, ignorant to the horror plastered on both her friends’ faces.

Yerim makes tiny, urgent neck slice motions while Seulgi quickly yanks an eager Seungwan down hard by the sleeve.

“Ow, Seul!” The blonde mouths, brows furrowing in annoyance.

The dancer takes the opportunity to knock some sense into her. “Seriously, are you crazy?” she whispers harshly, her own nerves flaring at the thought of being overheard. “It’s an insult! She’s going to kill you.”

Both girls try to stop their friend from making the dumbest decision of her life, but Seungwan frees herself from their frantically grasping limbs, slinging her bag over her shoulder and heading to the crime scene.

She reaches just in time to feel Lucas brush angrily past them and out the doors. Yuqi slinks after him, casting Joohyun an apologetic look.

Way to get rejected twice, Seungwan sympathises. Poor kid, with a sibling who’s an idiot Hercules.

It takes all her willpower to wrestle her racing heartbeat and her self-preservation instinct into submission. The junior approaches with care, trying with everything she has to convey that she comes in peace.

Joohyun shifts her focus to her and Seungwan’s legs almost go jelly, but something about Joohyun draws her in like a spell. She hated playing good samaritan in situations like these, but it isn’t as though Seungwan hasn’t been dying to talk to her impossibly attractive senior since the first day of class.

You miss any chance you don’t take, right? Yes, obviously.

“H-hi sunbaes,” Seungwan greets with a cautious bow. This is the closest she’s been to the black velvet trio and it’s certainly leaving an impression. She doesn’t even have to look back to know that her block-head friends are gawping at the scene, wondering how their loser of a friend is so okay with dying at the age of twenty two.

Blinking, Seungwan washes her thoughts of how dazzling Joohyun looks, even when she looks like she’s out for blood. Especially when she looks like she’s out for blood.

Suddenly remembering the other reason she came over here, the small blonde holds out some alcohol wipes and Band-Aids like gifts. “Are you h– are you okay?”

“Of course I am,” Joohyun responds curtly. She surely knows her icy stare crumples Seungwan’s insides like butter paper. Perhaps that’s why she does it. “It’s over.”

“A-are you sure your fist knows?” The junior tries, all too aware the girl in front of her could have her wiped off the face of the earth with the snap of her fingers.

A scowl ghosts across Joohyun’s face before she drops her eyes to where her fist is still clenched and trembling slightly.

Seungwan fills the silence with an awkward chuckle. “Just thought you might want to clean up after the battle.”

Jennie and Sooyoung’s unimpressed looks are replaced with shock when Joohyun actually accepts a wet wipe from the younger’s shaking hands. Her eyes are pinned to the wipe as it glazes over bruised, rosy knuckles.

The shorter girl internally swoons. Her mere offering has been received! – and not just received regularly, but received with a frosty ‘thank you’, to top it all off.

As the three seniors are leaving, Seungwan secretly prays that Yerim used her brains and recorded this moment too.

She flinches out of her thought bubble when Seulgi lands a palm clumsily on her shoulder.

“Wah, daebak,” the Cadbury-haired dancer congratulates her crazy, bodacious friend. “So what was that, like your first date or something?”

Yerim scoffs, hooking her arm around Seulgi’s bicep and dragging her out. “Come on Seul, we might as well start eating bugs and singing ‘Can You Feel The Love Tonight’. Wannie unnie can’t see us anymore.”

Seungwan rushes after her best friends, picking up her pace when they break into a power walk to the bus station.

“Yerm-ah! Did you get that? Please tell me you got that!”

#red velvet #wenrene #wendy #irene #seulgi #yerim #university au #light angst #slow burn #sorry lucas i love you #you are a true casanova #red velvet writing #yuqi you stay faithful to your soyeon okay #jennie has a latte always i swear

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taehyungiejiminie95 · 4 years

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BTS Reactions – You’re dating another idol

You laugh kindly as your boyfriend speaks casually with the reporters lining the red carpet. It’s nothing you’re not used to – you’re well used to the limelight by now, by way of your famous boyfriends both past and present. You’re not some kind of fame hunter, you don’t dream of being adored by everyone, you don’t even particularly like going to coveted events like this. But you do it to support the man you’re with. At some point, you become aware of somebody watching you with intense eyes. Although you’re no stranger to being watched, this feels… different. More accusatory. You know without looking back who’s glaring at you and the hand your boyfriend has wrapped around your waist.

Jin

“Jimin, stop staring,” Jin whispers gently to Jimin, guiding his groupmate away from the sight and towards the next red carpet interview, “It’s just going to cause a scene, and I don’t think we really want that kind of publicity,” Jin’s voice is controlled and calm, as he flat out refuses to let any of his emotions bubble to the surface. With years upon years of practice, he lets his eyes pass right over you and your new boyfriend without even a hint of recognition. Jimin shakes his head in wonder and Jin elegantly dodges a few questions regarding your presence here, acting as if he hasn’t seen you yet – but must find you for a brief catch up, surely.

You and Jin seem to keep brushing shoulders all night, but he makes no move to acknowledge your presence if he can. As he walks up to the table where his group and a few others will be seated and sees you there, he stalks straight past to where some of his idol friends are sitting, naturally integrating himself into the conversation while Namjoon rushes to make quick amendments. It’s all sorted by the end of his conversation.

Jin holds onto his composure all night, smiling and waving and cheering as if there’s nothing wrong. Even his groupmates wonder what’s going on, why he isn’t bothered by it at all. It’s not until much later on that Jin’s true feelings show. The van doors have just closed, and everybody is inside. It seems like all the air is let out of Jin, and he crumples forward, his first few tears slipping out as they’ve been threatening to all night.

Yoongi

“I can’t believe she has the nerve to show up here! It’s barely been 6 months and she’s already got somebody else draped over her. Who even is that?” Yoongi mutters to Namjoon as he glares at you. The leader tries to discourage his staring, knowing that the press will just be eating Yoongi’s horror up, as disgustingly predatorial as that is. Nothing sells like rivalry, and if Yoongi doesn’t stop staring and muttering, that’s going to be what happens,

“Look, I know. I get it. But unless you want this to be front page news, you’ve got to stop this,” Namjoon pushes gently, trying not to be too harsh. Your breakup really did affect Yoongi, so it’s not fair to expect him to be okay with this,

“I just feel like I should say something, you know? It’s obvious some reporter is going to ask me a question about it, but maybe if I go over there then that will be a story enough and they won’t have to,” Yoongi tries to control his voice and convince the leader that him going over there wouldn’t end in a fight. However, his voice betrays him and Namjoon is forced to quickly drape and arm over Yoongi’s shoulders to hold him in place for the next bout of pictures. He wouldn’t be surprised if Yoongi bolted at any moment. It’s been a long time since any of the group has seen Yoongi in this much pain and turmoil. Namjoon silently curses you in his head. How could you do this to him? Showing up here after everything… yeah, in Namjoon’s opinion, Yoongi has every right to be mad.

Hoseok

“Should I go over and do something? Maybe act all happy, like I support the relationship? Might be good for our image, especially with our upcoming album being what it’s about,” Hoseok asks Namjoon under his breath. He likes to think his leader will always know what to do, but Namjoon just shakes his head and shrugs. There is no right way to act when your ex-girlfriend (who you had been with for years) turns up at an awards show you’re about to sweep clean ay with a new nearly-as-famous idol boyfriend just a few months after the public announcement of your break up. Not exactly any manuals based on the correct etiquette. Hoseok swears softly and decides it would probably be best. If he’s lucky, it might make him feel better.

The rapper walks through a crowd that parts like the Red Sea for him, and he approaches you and your new boyfriend with bated breath. You catch sight of him first and try not to show how much you’d been dreading this. You couldn’t avoid coming, but you knew that he would do this. Hoseok was always a sociable person, wanting to appear as good-natured and as friendly as possible. After so long together, you know him like the back of your hand,

“I hope I’m not interrupting!” Hoseok says brightly, giving your boyfriend a friendly smile as he shakes his hand, “Just thought I’d come over and introduce myself, make sure nobody feels awkward,” His smile widens externally as a few reporters catch wind of the situation and hurry over, but inside his dread multiplies. He’s sure this is the right thing to do in this situation, but why does it hurt so much to see you so happy? He swore he would always support you, but he can feel a green-eyes monster stirring in his belly. It’s ugly.

Namjoon

Immediately upon registering your presence, Namjoon straightens his back, squares his shoulders and sets his jaw. He is not going to play into whatever kind of sick game is at play here. He’s certain everyone expects him to react in some way, maybe even go over and try and say something. Some fans are probably even hoping he’ll start a fight. No. He will not stoop that low. He bites his tongue and decides who he is going to be tonight. He won’t be the cheap headline of some failing tabloid. He’ll be the front cover of MTV and Billboard after cleaning house at yet another top-flight awards show. That’s who Kim Namjoon is.

It gets really hard to be Kim Namjoon when you and your boyfriend end up sitting right behind him, talking in such a soppy way to each other. He’s forced to sit there and listen to the two of you simper and kiss each other for the sake of the cameras all night. Namjoon refuses to even flinch, just playing his role in these shows. To be fair, it’s not like he spends long sat down anyway. Award after award is given to them, and he receives a few on behalf of his company as well. This is who Kim Namjoon is. Untouchable. Unfazed. He will not let this get to him. He will not let this get to him. He will not let this get to him. He will not…

The mantra starts to break down towards the end of the end, when he catches fragments of a conversation that he wishes he was having with you. Talks of going home, of cuddling, of having breakfast together. A single tear escapes Namjoon’s eyes, and he hopes deeply that if a camera did catch it, they would assume it was the emotional video being shown on stage to support the ending of racism.

Jimin

“Jimin! How does it make you feel that your ex has a new boyfriend already?” A reporter shouts over the din of voices in the red carpet area. Jimin rounds on them with a dark expression, staring directly into the camera as the question registers slowly in his brain. A deep frown settles on his face as he considers how best to address this question he knows is going to be screamed and shouted at him all night. He might as well get something out now, and stick to it,

“I think that’s a really personal question. I’ve already spoken with ARMY about how I feel, as you should know. What others do doesn’t affect me. I’ve been on a journey with my group, my brothers, to learn to love myself. The first lesson is not to let things you can’t control upset you. I’m happy for her. I hope she finds what she’s looking for,” Jimin’s teeth are clenched together as he speaks, but he knows his voice sounds as melodic and as friendly as always. The reporter nods in thanks and is about to call out another equally intrusive question when Taehyung tugs his best friend forwards for an important photo with a big artist also attending,

“That was a pretty good response, hyung. I wonder if it’ll keep them happy for now,” Taehyung states absent-mindedly as he gets into a memorable pose. Jimin does the same, pulling on his most endearing smile. Inside, he doesn’t know what to think. He knows the answer to Taehyung’s thought – no. The media are never happy unless Jimin is crying on his knees, in pain and suffering. That’s the only way half of them will sell a story. They want to see him hurt. It’s all he can do to swear he will never let them see the truth. How it feels like you’ve got his heart in that little clutch of yours. Like you’ve stolen it. Like he’ll never get it back.

Taehyung

Taehyung’s face falls as your new boyfriend tightens his arm around your waist, tugging you into his chest for a cute couple’s picture. Your smile looks so radiant and overjoyed. He can’t remember when you ever looked at him like that. Maybe you never did. Taehyung tried so hard, day in and day out, to be good enough for you, but he never was. You still decided to leave him just before he went on tour. He was devastated. None of the group look fondly on you after you left him in such a sorry state,

“Come on, we’re moving on now,” Jin whispers in his ear, trying to be subtle as he moves Tae along. The eldest of the group doesn’t want to be harsh, but if Taehyung doesn’t get his expression under control then they’re going to have front page news on their hands. And not for the right reasons, “Hey, isn’t that Seojoon over there? I haven’t seen him since you went on your Hwarang promotions with him!” Jin exclaims a little louder, trying to draw away the attention of reporters on Taehyung and Taehyung’s attention on you. It seems to work, even if Taehyung’s enthusiasm is a little lack-luster,

“Woah! Hyung, you’ve gotten taller,” Taehyung marvels, bounding straight past where you’re stood to hug his actor friend, “Thank you for the food truck you sent me last month, me and my members really enjoyed it,” He continues, beaming up at Seojoon, trying his best to fulfil his happy-go-lucky image. All he can do is pray it works as Seojoon does his best to pick up the slack for his hurting friend.

Jungkook

“I’m going over,” Jungkook huffs, and before anyone can grab him, he’s broken off from the group and elegantly stalked over to where you and your new boyfriend are stood, recounting for the hundredth time how the two of you met – well, his version of it anyway. Your boyfriend’s management had been eager to leave out the part where you met through your ex, Jungkook. But the singer has no intention of letting that fact remain buried, “I think you two have missed a detail in there,” Jungkook interrupts casually, giving the camera his most innocent smile. He gives off the aura of an old friend, a hint of a laugh in his tone,

“Jungkook?” You gasp, not quite as well-practiced in acting unbothered by things. Your shock (and horror) is evident on your face for a split second, long enough for everyone to notice, before you’re able to rearrange your features into something more pleasant, “What were we missing? I’d hate to not be giving the full story,” Your smile is strained, but only Jungkook and your boyfriend really notice that tiny detail,

“I feel the same. The fans need to know the full story, how else are they supposed to love you like you love each other?” He lies tactfully, “I believe the part where you actually met because I was mentoring your lovely young man at the time. Did that part slip your mind? It was a little after he debuted, he reached out for some tips on how to be on the camera. We worked closely, and clearly you did too,” Jungkook amends, looking directly into your eyes as he sees you panic. Good. Jungkook bids his goodbye as naturally as he gave his hello, and sweeps off back to his group. He hopes it hurts. You cheated on him; you deserve it.

#bts #bts angst #bts reactions #bts jungkook #bts taehyung #bts v #bts jimin #bts hoseok #bts jhope #bts jin #bts seokjin #bts yoongi #bts suga #bts namjoon #bts rm

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life-rewritten · 3 years

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SPOOKY SEASON! An ode to Mo Dao Zu Shi: one of the best BL story created!

HAPPY HALLOWEEN!!!!! One last Halloween post and it's about one of my favourite pieces of media in the world of BL, romance, and supernatural stories. Roll your eyes because once again I'm talking about Mo Dao Zu Shi (The grandmaster of demonic cultivation) I mean already with the demons, and cultivation is already hinting why this is Halloween themed, and trust me MDZ has much more than that: from zombies to ghosts, to magical instruments and weapons, and we love our fantasy cultivation sects and clans. Anyhoo, I am here to write a fun post another verdict/review on each of the adaptations available so far for MDZ, yeh you heard me I've listened, read and watched all versions of this masterpiece, and I'm here to tell you to go and do the same for Halloween. Also in case, you haven't heard MTX (the author of MDZ) has another show on its way TODAY! And that's the magnificent, the excellent and incredible Heaven's Official Blessing after marathoning MDZ do that too.

As always with my verdicts: we have ratings: From 1 to 5 (1 being least excited to watch, 5 being most,) how excited am I to delve into these again?

Country: China Genre: Danmei, Supernatural, Action, Fantasy, Romance, Comedy, BL, Horror,

1.The Book

We begin with the one that started it all. The reason for my devotion and love for this world, for Wei Wuxian and Lan Wang Ji. My heart hasn't stopped loving this book experience. And at first, it wasn't easy to understand all the logic and terms needed to know for this world of cultivation and sects and clans, and magical skills. But once I got the hang of it (maybe after reading it three times I wonder how I had time to do this by the way), this is a book that I keep on returning to, crying to, and just breaking down into a mess too. This book is the most original source for the love story of Wangxian and to be honest its a masterpiece. Now onto the pros and cons, I guess about this adaptation.

Pro:

First, I would say that this is the most non censored version of MDZ, meaning China couldn't mute the romance or delete scenes because it's the original written story. The romance between Wangxian stands out and makes your heart go through a lot of emotions, from frustration at Wei Wuxian not realising how he feels for Wang Ji, to pain because of Wang Ji's perceived unrequited feelings for so long, to happiness when they're just together, to confusion at some drunk scenes and then to all-out shock as the story reveals its self to the villains, the background of Weiying's death and more.

The introduction to all these characters, all of them have a role in the story, all of them are important to keep an eye on, and they all grow and develop throughout the story as we find out more about their circumstances and their own perspective on Wei Wuxian.

Cons but not actual cons

The book is longggggg. The first time I read it I wondered when we would finally get a resolution or hint that Wei Wuxian finally understands what he's been feeling for sooo long, but it took forever and to be honest even though this is a con to me, it also is a positive for those who love slowwwww burns, and slow reveal to the background and development of Wangxians feelings for each other. There are many missions although essential to the world-building and the actual plot/mystery that at first seem so useless and not needed, but they are there for a purpose, and they do help us find out more clues about what's been going on and why Wei Wuxian was brought back from the dead.

The book is the most non censored version of MDZ, and so there are many questionable moments/questions about Non-consent that occur during moments when Wangxian are drunk. Honestly, these scenes are so weird to me, because they hold so much truth and revelations to Wangji's feelings for Weiying. After all, he's drunk and the most authentic version of himself. There are so many moments (like stealing chickens or showing him the bunnies) that make you just want to cry at his love Weiying and the pain he had to endure when he thought he was never coming back. Still, at the same time, there are many moments where you're like oh wow that escalated, and you feel just a tad discomfort at the idea of the non-con. But like I said these scenes are required for these two to really like give into what they've both been trying to push away or ignore, and it's nice to see how Weiying reacts to his feelings becoming uncontrollable and more prominent.

There are some moments in the book where things seem vague or unexplained (which the other sources did their own thing with), some characters who are mentioned but not really given enough detail, some plot details where it's not fully understood. However, I do think that because the book is already so long, the most critical information needed was there and the reveal of the mysteries were all done well. I think though that it's better to see how it materialises visually hence the other media adaptations.

Ratings: 4/5 -It's not easy to pick up the book and read, but I have so much fun returning to it and laughing along with Wei Wuxian's thoughts and ideas about Wang Ji.

2.The Manhua

I was so shook when I found out MDZ has a manhua. Mostly because China wouldn't really make it easy for the book adaptation to be honestly portrayed visually. But the manga shocked me, it is censored, but the writers and the artists are all so obsessed with this book and this couple that despite having to remove or edit some scenes, they draw some additional scenes and post it online so that international fans can still get to see these moments visually. That is incredible, and I'm so grateful that we have a team of people who respect and love the piece as much as the fans do.

Pros:

With any graphic novel/manga the art of MDZ is fantastic to see, the characters are brought to life with colour and also the inclusion of chibi drawings to make a moment incredibly cute or funny. Weiying is very naughty, so a chibi drawing of him makes us see him like how he's acting a child. I enjoy the manhua of MDZ so much, and I love how they drew each of the characters and the world.

Cons but not really cons:

I think, however, there are better visual sources for MDZ available that is more detailed in terms of characters and includes more information about the world-building. The plot also has to be condensed as well because you can't draw everything from the book. The manhua is also still in the works so, its a very slow upload and it will take years for it to be completed. But this is understandable, and I can't wait to read the full completed copy. If you hate reading and can't stand words, I think the manhua version is for you!

Ratings: 3.5/5 -It’s the waiting that lowered the ratings for me and the fact that I prefer other sources but I’m so grateful for the manhua.

3.The Show

The one that brought international fans like swarms to this story. Untamed shocked all of us in the BL community as the first time we heard about it, sure it was nice to see that Yibo was cast as Wang Ji, but even then his acting wasn't that profound or praised so we didn't care, and Zhan also seemed like an interesting choice for out Weiying. I think there were an outrage and confusion when we heard this was going to be censored and a bromance. It felt like it made no sense because there's no way really to edit the relationship and love of Wangxian, so people went into the show resentful and worried. But after 20 episodes, the anger, worry and upset were erased. Untamed is a masterpiece, and it blows my mind how censored it is but still not really censored? It deletes the questionable moments in the book but adds the essential parts even where we get to see Wang Ji's feelings (Though obviously not mentioned as feelings but respect). We get to watch Weiying realise how much he cherishes whatever he has with Wang Ji and how much he misunderstood the latter, and how much Wang Ji cared for him. The show as Netflix says is not about just friends. Still, it emphasises the connection between these two using subtext clues and symbolisms, and visual metaphors to make sure the audience knows that these two are soulmates and are meant for each other. Here are the other pros and cons of the show:

Pros:

The acting is incredible, like so good and I can't think of two people who were more suited for Wangxian, Yibo shocked me as Wang Ji because although I knew him (because of Kpop), I didn't really think he would pull of stoic but still vulnerable Wang Ji. He was good at showing the emotions of love and longing that has been connected with Wang Ji. Zhan was an excellent Wuxian, he made me smile, he made laugh, he made me so happy because of his mischievous aura, but he also played serious and emotional and resentful Wuxian well as well. I keep crying every time I see the death scene in the show because it's just so done well.The directors and producers who didn't care about hiding the relationship between these two, they still wanted to be respectful to the writer and the source, and they still wanted to show as much as possible that these two loved each other. For that, I'm so grateful and they did a brilliant job with what they could. The character arcs and development and depth; Its the way they took the other characters from the book and fleshed them out giving each of them more depth, more understanding, more dimensionality and more story connecting to our plot, and it broke my heart how much I loved everyone in this show. The actors all performed so well, and some gave me goosebumps at how well they portrayed their characters (Xue Yang!!) like stunning and just a great cast.The storyline was also written in an innovative way, the flashbacks were first shown to the audience, how Wangxian became Wangxian and so the audience felt every single hurt and pain that Wang Ji was feeling. We understood why he acted the way he did. The flashbacks also provided plot structure to the mystery and the actual plot of the show, it left clues, and we watched the villains become villains (secretly), we saw how some characters grew. Each of the arcs in the book was told in a way that it flowed together and made sense. Due to this way of structuring the plot the show became so much more profound in the way it messed with our emotions, every death mattered, and every character had their own story and importance to the audience.

Cons:

The censorship. I've praised how they overcame it, but it's still there, the ending of the show was done this way because of censorship and to be honest I still think everyone should read the book because there are moments where the romance of Wangxian is fun and memorable to see (the confession scene whilst it was done okay in the show because of censorship it doesn't hold as much oomph as it did in the book. Mainly because the events that happened before it was already so filled with angst and drama and the results of the confession Wangxian clinging onto each other despite being in danger is a must-see, the censorship is annoying because it shouldn't be there, it's something that whilst it did help with some stuff, it still feels like an insult to the piece, and it still doesn't sit well with me that China censors their BL. So its a con.

Ratings 5/5 I think I could spend so much time breaking down why Untamed is a masterpiece BL show, but all I can say is despite 50 episodes (longgg) it is worth the time and effort and if you watch BL, go see it.

4.The Audio

The audio for the MDZ is like my favourite thing in the world. I love Chinese audiobook dramas; it's an incredible experience to listen to. With MDZ, this is what the show would be if it wasn't censored. The actors for the audio drama are amazing, and I love them so much. The audio drama is three seasons with some extra scenes and it's incredible if you don't want to read the book, then just watch and listen to the audio drama because its the same story but its brought to life by the acting and storytelling. Also though there are some scenes removed, I think the audio drama is the next uncensored gem of MDZ that shows Wangxian's romance the best way possible. I squeal, and I laugh, and again I cry at every single moment; their first kiss, the inn scene, the confession (i spend time pausing it just to cry at how good it is) and more. I just love it, and I prefer it to reading the book. Other pros and cons:

Pros:

The story is structured and told properly, follows all the arcs and events in the book and brings them life by voice acting, and the music is incredible. It's nice to listen to and hear Weiying's thoughts and to also listen to an audible version of the book. The audio drama has all the pros from the book as well.

Cons:

Nothing much to say about the cons. It is not easy to attain the audio drama in English subs, its hard to download and store it, but once you overcome that it's great. I think the audio drama is the most difficult to obtain.

Ratings: My favourite adaptation 5/5

5.The Donghua

Lastly, we have the Donghua or the anime version of MDZ. What can I say about this, its brilliant, masterpiece, it's gorgeous. If you think the art for the manhua is good, the donghua takes it to a different level. The visuals are stunning, the animation is breath-taking, and the story is again following Untamed ways of censoring the story but making sure it doesn't remove the romantic connotations and symbolism to Wangxian. The donghua also follows Untameds way of starting with flashbacks to explain what happened to Weiying before it started. I have nothing else to say about how great this is. It's the same thing I've been saying about all these adaptations. The donghua though is the best visual masterpiece for MDZ, in my opinion.

Pros;

Packed full with symbolism and clues to the plot, it's detailed so well for the storyline and its an excellent way to tell this story. The music and ost for the donghua are also beautiful and gets me emotional each time I hear it.

Cons:

Censorship. That's it, that's what it always is. For me, I think the donghua is the most censored version of MDZ? Or maybe I just feel that way despite the subtext clues; I do feel irritated at the censorship in the donghua. Let's pray Heaven's official blessing overcomes that.

Ratings: 3.8/5 - I love it so much because of the visuals but apart from that I prefer other sources for MDZ. Still the best donghua that exists.

So here you have in an in-depth and messy conversation about one of my favourite media pieces to existing right now in BL. I think I will never stop singing praises at MXT for creating this story and I think there's nothing else I rather do than just spend times when I need a distraction watching, listening or reading this story again and again. What about you all. What do you feel about MDZ? What pros and cons do you have for each adaptation? Which is your favourite. And have you been able to get any rest when we know that Heaven's official blessing is out TODAY!! Let me know your thoughts. Happy Halloween, Enjoy it.

#mo dao zu shi #the untamed #mdzs #wrpup #FVete #october #halloween #wei ying #wei wuxain #lan wangji #mdzs donghua #wwx #lwj #chen qing ling #cql #bl series #danmei

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demoisverysexy · 3 years

Text

An Open Letter to the Person who Blocked Me for Being Mormon

For context:

If you’re reading this, I hope it finds you well.

This letter is mostly for me, so I can get my feelings out. I’ve already talked about this with a few of my friends, and I’m feeling better than I was than when you blocked me. I’m still upset. Mostly because of general trends I see on tumblr of hatred for Mormons. A lot of it comes from ignorance and misunderstanding. Some of it comes from a place of genuine hurt that can’t go unaddressed. I don’t want to be dismissive of those who have faced trauma at the hands of my church. I am one of those people, and I know how deeply pain associated with my church can be. After our interaction, I felt that talking about it would help me process this.

Before I go on, I must be clear that this is not an attempt to get you to unblock me. As nice as it would be to be able to see your blog again – you’re very witty, and I enjoy your content! – I can live without it. This is more a response to the trend on tumblr specifically of hatred against Mormons, and assuming that they’re all bad people who are complicit in every single bad thing that the church does. You just happened to force me to be a little introspective about my church and my relation to it. Thank you for that.

First, however, I would like to clear up some misconceptions:

Your initial joke that prompted me to tell you I was a Mormon was a joke about Mormons and polygamy. The largest two organizations that can be classified as “Mormon,” The Church of Jesus Christ of Latter-Day Saints and the Community of Christ (which incidentally allows for gay marriage and has female clergy, though I am of the LDS sect), both disavow polygamy. There are other, smaller offshoot Mormon groups who do still practice this, which is where horror stories of polygamists marrying teenagers arise. These people are also Mormons, though I wish they weren’t, in the same way that problematic Christian groups are Christian, though many Christians wish they weren’t.

I do recognize that mainstream Mormonism has been labeled as a cult by many people, though the reasons people provide generally don’t hold up. Often the proof that people provide of my church’s cult-like nature is to take note of corruption that can be found in almost every church. These issues – such as racism, homophobia, and misogyny, to name a few – while real and important to address do not a cult make. Sometimes the proof is to point towards practices that are demonized in my church, but are practiced in other religions with no comment, or even celebration. Other times people will point to their own experiences with toxic church congregations, and while those issues are very real, they are by no means universal. My experience growing up Mormon was a lucky one in many ways. I personally don’t think that most people who study my church from an academic vantage point would call it a cult. I would consult them on this matter. After all, someone in a cult is rather hard-pressed to be able to tell whether they are in one or not.

Another point often levied against Mormonism is how it leaves its queer members with religious trauma due to its homophobic teachings. I understand this well. I have experienced deep religious trauma associated with my political stances in favor of LGBTQ+ rights (though that wasn’t the whole story). I won’t go into detail about this right now, but suffice it to say, I had a very traumatic time on my mission that led me to a very dark place, and ended with me contemplating choices I would never be able to take back. I’m fine now of course, but I carry those memories with me.

So why would I stay despite all this? Is it because I’m brainwashed? You would have to ask a psychologist about that, but I would say probably not. I knew, and know now, that the ways I was being treated were unfair and wrong. I don’t have time to go point by point to address every grievance I or anyone else has with my church and explain my position on it, as much as I would like to clear the air once and for all on this topic so there is no misunderstanding. Here’s the reasoning that has kept me here so far:

I think that every person of faith must, at some point, deal with the problematic aspects of their church’s history and doctrine. This comes with the territory. Whether it be disturbing stories in scripture, imperialist tendencies, doctrines that chafe against us, or problematic leaders, no person of faith is exempt from wrestling with the history that accompanies their faith. I have studied my church’s history in depth. Many of the horror stories I heard were provably false. Many were true. Where does that leave me?

I believe that God is bigger and better than us. We make terrible, awful mistakes all the time. But I don’t think that makes God less willing to work with us. If anything, I think it means he wants to help us more. He wants to help us move past our histories and become better. My church has a long way to go in this regard. For too long we have been silent when it mattered, and people have been wounded by our silence. Or even the words we have said out loud! If you look at my Mormonism tag on my blog, you will see some examples of what I am talking about. I have been wounded by the things my church has said and not said. It hurts awfully, and I ache for those who have been wounded more deeply than I.

But at the same time, I cannot deny the healing my faith has brought me. Whatever problems my church has – and it has many, deep and pressing issues – it is because of my faith that I am the person I am today. I can draw a straight line from my religion to the positions I hold today. Because I am a Mormon, I became a Marxist. Because I am a Mormon, I became nonbinary. Because I am a Mormon, I became a leftist. I cannot ignore that my religion, flawed as it may be, has led me to where I stand now. I am at the intersection of the hurt and healing the church offers. It is a difficult line to walk. But I hope that in walking it, I can bring healing and love to those who hurt in the ways I do. To let them know that they are not alone, and that they have a friend who can help them wherever they choose to go.

Yes I am queer. Yes I am a Mormon. I am here because I am trying to fix things. If at some point in the future I realize that I cannot change things, perhaps I will leave. I hope it does not come to that. And things are changing. They have changed before, and they can change now. I am confident that my God is willing to lead my church where it needs to go. I hope I can help speed things along. We shall see.

But spreading unequivocal hatred and disdain for Mormons does not help those of us who are Mormon who are trying to fix things. Yes, those who have left Mormonism due to trauma need a safe place to be away from that, and acknowledging the church’s many faults can be helpful to those people. I myself have criticized my church quite vocally. But refusing to listen to the stories of those of us who choose to stay, telling others that we are evil or stupid or what have you, is also quite traumatic to us. We are people too, with thoughts and feelings. It is easy to dismiss us out of hand if you assume we aren’t.

I try to be open about my religion and political stances on my tumblr. See for yourself: It’s a mix of Mormonism, LGBTQ+ activism, Marxism, and pretty much every other leftist political position you can find. Along with all the furry stuff, of course. But despite all this, I am still terrified every time someone follows me to tell them I am Mormon. More than I am to tell them that I’m queer. Tumblr is not representative of how things work in the “real world,” of course, but I have received hatred for being a Mormon there as well. And it’s mostly other Christians. So on the one hand I’m hated by LGBTQ+ folks, on the other hand I’m hated by my church for being queer, and on the third hand (as apparently I have three hands), I am hated by other Christians. I do not face hatred to the same degree from other Christians. I saw it most on my mission. But still, it exists.

(Incidentally, Evangelicals, who you seem to have problems with, and perhaps rightly so, though I have not done a study of the matter myself, largely despise Mormons, from what I have heard. Something to consider.)

I want allies. I want help. I want understanding. If I am to push back against bigotry in my church, I need your help. I need everyone’s help. Fighting bigotry wherever we see it is a worthy pursuit, I think. And if we can succeed, we can make the world a better, safer happier place. I want to fight off the ghosts that haunt my church. You don’t have to fight them with me, but I would appreciate it if I could have your support. It would make my job much easier.

We aren’t enemies. At least, I don’t think you’re my enemy. We both have been hurt by homophobia and bigotry. We live in a capitalist hellscape where police brutality and racism are on the rise. Fascism is looming over the political backdrop, along with the ongoing threat of ecological disaster. I think we would be better off helping each other than going after each other. I ask that you please listen to us when we say you are hurting us. The Mormons you blocked knowingly followed you, an openly queer person who calls out racism and bigotry and pedophilia. Yet you assume we are in favor of those things. Someone can at once be part of an institution while recognizing it’s flaws. (Aren’t we both Americans? Why not move if we hate it so much?) And perhaps we have used the “No true Scotsman” fallacy to justify why we stay. I don’t believe I have. I don’t feel I need to.

I hope that you consider what I’ve said here. I hope we can work together. And I hope that no matter what, you find peace wherever you end up.

Yours truly,

Demo Argenti

#religion #leftism #mormonism #LGBTQ stuff #marxism #racism #misogyny #feminism #homophobia #queerstake #shouting into the void #ok to rb

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comrade-meow · 3 years

Photo

[‘Assignment to Slave Labour’, Auschwitz, Poland, c.1940. US Holocaust Memorial Museum.]

Menstruation and the Holocaust

Periods are a fact of life, but little talked about. How did women in the concentration camps cope with the private being made public in the most dire and extreme circumstances?

Menstruation is rarely a topic that comes to mind when we think about the Holocaust and has been largely avoided as an area of historical research. This is regrettable, as periods are a central part of women’s experience. Oral testimonies and memoirs show that women felt ashamed discussing menstruation during their time in the concentration camps, but, at the same time, they kept bringing the subject up, overcoming the stigma that is attached to them.

Typically, menstruation has been seen as a medical problem to be overcome rather than as a natural occurrence and a part of life. Medical historians, for example, have explored the forced experiments in sterilisation that were conducted in Auschwitz. Sabine Hildebrandt examined the research of the pathologist Hermann Stieve, who experimented on female political prisoners awaiting execution in Plötzensee. Stieve looked at the effect stress had on the reproductive system. Similarly, Anna Hájková has written about the Jewish Theresienstadt prisoner and physician František Bass’ research on amenorrhoea, the loss of menstruation, which focused on how it was caused by the shock of incarceration. Interestingly, however, almost all this research discussed ovulation (and its lack) rather than menstruation, even though both are part of the same biological function.

Periods impacted on the lives of female Holocaust victims in a variety of ways: for many, menstruation was linked to the shame of bleeding in public and the discomfort of dealing with it. Periods also saved some women from being sexually assaulted. Equally, amenorrhoea could be a source of anxiety: about fertility, the implications for their lives after the camps and about having children in the future.

A much-cited argument in Holocaust scholarship, made by Hannah Arendt, is that the totalitarian regime of the camps broke human solidarity, making them a very isolating place to be. But, contrary to this view, periods could provide moments of bonding and solidarity among prisoners: many older women gave help to teenagers, who experienced their first period alone after their families had been murdered. When we look for it, many survivors talk with great openness about their periods. Having or not having a period could shape daily experience of the camps.

What is a woman?

After deportation to camps and ghettos, due to malnutrition and shock, a significant number of female Holocaust victims of reproductive age stopped menstruating. Many were afraid that they would be left infertile after their bodies were forced to their limits, making the intrinsic link between periods and fertility apparent and increasingly central to their lives. Gerda Weissman, originally from Bielsko in Poland and 15 years old during her incarceration, later reflected that a key reason she wanted to survive was because she wanted to have children. She described it as ‘an obsession’. Similarly, the French publicist, resistance fighter and Auschwitz survivor Charlotte Delbo mentions a discussion that took place among a room full of women:

“It’s upsetting not to go through those unclean period … You begin to feel like an old woman. Timidly, Big Irene asked: ‘And what if they never come back afterwards?’ At her words a ripple of horror swept over us … Catholics crossed over themselves, others recited the Shema; everyone tried to exorcise this curse the German were holding over us: sterility. How could one sleep after that?”

These reactions reflected both religious and cultural diversity, showing that regardless of faith, culture or nationality, it was a worry all could relate to. The historian of Holocaust literature S. Lillian Kremer argued that, in addition to the fear of becoming infertile, the prisoners’ uncertainty over whether their fertility would return if they survived made the loss of menstruation a ‘dual psychological assault’ on female identity.

Upon entry into the camp, prisoners were given shapeless clothing and had their heads shaved. They lost weight, including from their hips and breasts, two areas commonly associated with femininity. Oral testimonies and memoirs show that all of these changes compelled them to question their identities. When reflecting on her time in Auschwitz, Erna Rubinstein, a Polish Jew who was 17 when in the camps, asked in her memoir, The Survivor in Us All: Four Young Sisters in the Holocaust (1986): ‘What is a woman without her glory on her head, without hair? A woman who doesn’t menstruate?’

[Untitled drawing by Nina Jirsíková, 1941. Remembrance and Memorial Ravensbrück/SBG, V780 E1.]

It is only due to the commercialisation of a natural physical occurrence that we now have resources such as pads and tampons that are specifically geared towards easing the ‘inconvenience’ of menstruation. Terms such as ‘sanitary equipment’ show that menstruation is treated as a health and hygiene concern - something to be sanitised. The reality of the camps, however, meant that menstruation was hard to avoid or hide. Its suddenly public nature took many women by surprise and made them feel alienated. An additional obstacle was the lack of rags and the lack of opportunities to wash. Trude Levi, a Jewish-Hungarian nursery teacher, then aged 20, later recalled: ‘We had no water to wash ourselves, we had no underwear. We could go nowhere. Everything was sticking to us, and for me, that was perhaps the most dehumanising thing of everything.’ Many women have talked about how menstruating with no access to supplies made them feel subhuman. It is the specific ‘dirt’ of menstruation more than any other dirt, and the fact that their menstrual blood marked them as female, that made these women feel as though they were the lowest level of humanity.

The humiliation was furthered by the struggle of finding rags. Julia Lentini, a 17-year-old Romani from Biedenkopf in Germany, spent her summer months travelling through the country with her parents and 14 siblings. She was placed on kitchen detail during her time in Auschwitz-Birkenau and later Schlieben. She discusses in her testimony how women had to learn tricks for survival when it came to menstruation in the camps. ‘You took the undergarment slip they gave you, ripped it and made little rags, and guarded those little rags like they were gold … you rinsed them out a little bit, put them under the mattress and dried them, then nobody else could steal the little rags.’ Rags were precious and, being so, they were not immune to theft. Some people compensated by using other materials. Gerda Weissman recalls: ‘It was a hard thing because you had no supplies you know. You had to find little pieces of paper and some things from under the loos.’

Rags could almost be considered to have their own micro-economy. As well as being stolen, they were given away, borrowed and traded. Elizabeth Feldman de Jong’s testimony highlights the value of second-hand rags. Not long after she arrived at Auschwitz, her periods disappeared. Her sister, however, continued to menstruate every month. Experiments involving injections in the womb were common, but if a woman was on her period doctors often avoided operating, finding it too messy. One day, Elizabeth was called to have an operation. There were no clean clothes as opportunities to wash were limited, so Elizabeth put her sister’s underwear on and showed the doctor, telling him that she had her period. He refused to operate. Elizabeth realised she could use her sister’s situation to save herself from experimentation and did so another three times at Auschwitz.

Shame and salvation

Livia Jackson, barely old enough to menstruate, felt repulsion at seeing blood flowing down the legs of another girl during roll call: ‘I would rather die than have blood flowing down my legs.’ Her reaction conveys a common attitude: although the lack of access to supplies to stem their menstrual flow was not their fault, many women still felt ashamed.

Scholar Breanne Fahs argues that women’s bodies are viewed as ‘leaky and troublesome’ and their bodily functions are seen as inconvenient, distasteful and unhygienic. Men, on the other hand, tend to receive praise for their secretions: urine, flatulence and semen can be seen as humorous, even sexy. Yet the very notion that periods are repulsive could save women during the Holocaust from being raped. Doris Bergen’s classic discussion of sexual violence in the Holocaust includes an interesting example of two Polish-Jewish women assaulted by Wehrmacht soldiers:

On 18 February 1940 in Petrikau, two sentries … abducted the Jewess Machmanowic (age eighteen) and the Jewess Santowska (age seventeen) at gunpoint from their parents’ homes. The soldiers took the girls to the Polish cemetery; there they raped one of them. The other was having a period at the time. The men told her to come back in a few days and promised her five zlotys.

Similarly, Lucille Eichengreen, a young German-Jewish prisoner, recalled in her memoir that during her imprisonment in a Neuengamme satellite camp in the winter of 1944-5, she had found a scarf and was thrilled: she planned to use it to cover her shorn head. Worried that she would be punished for owning a prohibited object, Eichengreen hid the scarf between her legs. Later, a German guard took her aside and, while attempting to rape her, groped her between her legs and felt the scarf. The man exclaimed: ‘You dirty useless whore! Phooey! You’re bleeding!’ His error protected Lucille from rape. In discussing these stories, we must discern the irony at hand: it is rape that should be viewed as disgusting and menstruation as natural and acceptable.

Camp families

Some teenagers experienced their first period in the camps alone, separated from their families or orphaned. In such cases, older prisoners provided help and advice. Tania Kauppila, a Ukrainian in Mühldorf concentration camp, was 13 when she started her periods. She did not know what was happening and shed many tears. She was scared that she was going to die and did not know what to do. Older women in the camp taught her and others in the same position about periods. The girls were taught how to handle it and what they needed to do in order to cope with the blood flow. It was a different learning process than they would have had at home: ‘You tried to steal a piece of brown paper, you know, from the bags and do the best you can’, recalled Kauppila. This story reoccurs across numerous oral testimonies. Many orphaned survivors who had just started mentioned the help of older women, who took on both a sisterly and motherly role in helping these young girls, before they experienced potential amenorrhoea; older women usually lost their period within the first two or three months of imprisonment.

Feminist scholars such as Sibyl Milton have pointed out the female ‘camp families’ that formed. It is striking, however, that the sisterhood of menstruation has not been written about. As Lentini highlights, if a girl got her period and did not know who to talk to, an older woman would usually ‘explain it very simply’. Twenty-year-old Hungarian Vera Federman spent time in Auschwitz and the Allendorf. She and a friend were able to get work in the kitchen, a precious job. Eating extra potatoes caused their periods to come back and then both girls stole rags from the female guards. This theft, of course, put them in great danger (not to mention the threat of losing their job), but Federman stressed the solidarity with her friend as they teamed up to help each other. In the often violent world of the camps, older women were willing to help educate unknown young girls, expecting nothing in return.

Gendered social networks of support and help developed in the camps. Arendt wrote that ‘the camps are meant not only to exterminate people and degrade human beings, but also serve the ghastly experiment of eliminating, under scientifically controlled conditions, spontaneity itself as an expression of human behaviour’. The female solidarity brought about by the shared experience of menstruation, however, tells another story.

After the liberation, the majority of those who suffered amenorrhoea during their time in the concentration camps eventually started menstruating again. The return of periods was a joyous occasion for many. London-born Amy Zahl Gottlieb was, at 24, the youngest member of the first Jewish Relief Unit ever posted overseas. While discussing her work with liberated camp members in her interview with the United States Holocaust Memorial Museum, Gottlieb described how women began to lead normal lives and started to menstruate again; they were thrilled to be able to start having children. Menstruation became a symbol of their freedom. One survivor spoke of it as ‘my womanhood returning’.

The study of menstruation, a topic that has until now been perceived as irrelevant, or even disgusting, gives us a far more nuanced view of women’s experience of the Holocaust. We can see how notions of menstruation, rape, sterility and sisterhood changed in the camps. It seems that periods, a long-stigmatised topic, became, sometimes in the space of only months, a legitimate topic for women in camps.

Following the recent turns to cultural history, the history of the senses and the history of the body, we also need to recognise menstruation as valid and as defining victims’ experiences during the Holocaust.

(via)

European Network of Migrant Women

#Anglo.txt

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whetstonefires · 4 years

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a really weird take about the military ive seen a lot is this idea that the vietnam war was fought by white soldiers who had the gall to feel guilty only after the fact, when in reality plenty of the guys who actually went to vietnam didnt want to be there & werent always white? it was easier to avoid the draft if you were rich &/or white. end results of that should be obvious but for some reason wrt ragging on war movies its always 'how dare they have feelings' & not historical inaccuracy.

Yeah, the oversimplification applied by people who avoided being dragged into the war in Vietnam shitting on every returning soldier for being party to its horrors even though there was a goddamn draft is an archetypal example of the failures of the american left, imo.

People’s individual crimes are another thing, but generally you don’t know those to look at them, and you had no business punishing people for being drafted unless you personally went to prison as a conscientious objector that the government refused to exempt. In which case you should damn well know better.

Because it’s a failure of the left not simply because it was useless, cruel, and for the most part effectively punching down, but because the people actually responsible for the war and the way it was fought wanted anti-war people to scapegoat the troops.

It was a trap and people walked right into it.

Boys like Trump with his made-up bone spurs, not at all opposed to the war happening just to actually risking being hurt in it, and all the old men profiting from it in business or politics--they get away with everything when the people at the bottom can be tricked into clawing at each other.

Turning up at the airport with picket signs to shame returning troops as ‘baby-killers’ was just another face of the monster that created white supremacy to keep the white trash from allying with the enslaved. It’s a trap. You are not immune to propaganda. Stop falling for this shit.

As far as movies go, though--and a lot of this Vietnam soldier discourse especially by now is people uncritically expanding their feelings about media into real life--they really do, typically, have a fucked-up bias in favor of the American soldier.

They position this man or group of men as the main characters, the people in the story, and the Vietnamese as enemies and landscape--not explicitly but effectively dehumanized. Even when their deaths are played for horror it is typically as objects of American perception, not subjects with their own experiences of the invasion.

Which recreates the colonial dynamic that going in to fight a proxy war with China on their ground was to begin with. American-soldier-feelings-focused Vietnam media is, in its way, an act of violence.

Not because those soldiers did not have or now have no right to feelings, but because the prevalence of that framing legitimizes and reenacts the objectification of Vietnam.

However. A lot of the people who react to this cultural violence by hating 1) the soldiers in the media for their self-absorption and 2) the soldiers in real life they represent are very much missing the point.

Because the wrong those soldiers are doing is not in their suffering, or focusing on or even, entirely, in centering on their own suffering. What wrong they do is centered in specific harms done by themselves; inasmuch as collective responsibility for the Vietnam War existed it was rightfully shouldered only a little more by the drafted soldier than the at-home civilian, and in some cases less.

And they had every right to suffer, and in some case to be consumed by their own suffering. They were all in a traumatic circumstance, they had frequently not chosen to be there, and you can only live your own life. Invalidating your own feelings on the grounds that other people have more right to feel them is no more appropriate a reaction to a horrible situation than being so far up your own ass you forget that your sads aren’t a valid justification for hurting people.

The problem in these films is the narrative of the movie centering on these soldiers’ needs and feelings, rending them subjects and the Vietnamese objects, and the characters don’t actually control that. Some of them are in fact obnoxious and horrible and up their own asses, but even they aren’t actually responsible for the framing of the media they’re in.

They’re characters. Inasmuch as they exist, it is without reference to the framework of the media; inasmuch as the media exists, the characters become nonhuman objects themselves. (There are cases like diary-entry fiction that blur this distinction, but even then it still exists.)

So once again it’s the same mechanism of blaming the face of the upsetting situation and heaping coals on their heads, while letting the responsible parties with actual volition off practically scot-free.

I really do feel like the Step 1 of critical media engagement, which a vast majority of people attempting this activity online neglect, is in distinguishing between the narrative sphere and the creative sphere, and not cross-pollinating between character decisions made in the context of a world that is to them real, and creator decisions made in the context of representing or reflecting upon reality through their depiction of a world that is not.

In its simplest form we see this in how ‘coming up with in-universe justifications for the hot female character and only her to be mostly naked,’ or treating sexy costume discourse as a form of slut-shaming, is an attempt to sidestep the question of creator responsibility by assigning the character a form of agency she does not actually have.

Unfortunately there are a lot of cheap tricks like this for winning, or at least refusing to lose, arguments that rely on quick-switching back and forth between the two frameworks, so there’s a lot of inducement out there in the internet wilds for never learning to draw the distinction.

#media criticism #colonialism #vietnam war #class issues #military draft #ethics #hoc est meum #us politics #mostly from almost 50 years ago lol #but in historical terms that's practically yesterday #a nonny mouse #ask

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itsclydebitches · 4 years

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Enola Holmes: A Not So Elementary Adaptation

It's cliché and a bit unfair to say that the book was better than the film, but I'm afraid that's precisely where I need to start. Nancy Springer's Enola Holmes: The Case of the Missing Marquess is leagues better than Netflix's adaptation of it. They did her work dirty and to say that I'm shocked at the accolades other reviewers are heaping on the film is an understatement. Before I dive into any critiques though, it's worth acknowledging that not every minute of the two hour film was painful to get through. So what worked in Enola Holmes?

The film is carried by the talent of its cast, Millie Bobby Brown being the obvious heavy-hitter. She helps breathe life into a pretty terrible script and it's only a shame her talent is wasted on such a subpar character.

The idea to have Enola continually break the fourth wall, though edging into the realm of Dora the Explorer at times—"Do you have any ideas?"— was nevertheless a fun way to keep the audience looped into her thought process. Young viewers in particular might enjoy it as a way to make them feel like a part of the action and older viewers will note the Fleabag influence.

The cinematography is, perhaps, where most of my praise lies. The rapid cuts between past and present, rewinding as Enola thinks back to some pertinent detail, visualizing the cyphers with close ups on the letter tiles—all of it gave the film an upbeat, entertaining flair that almost made up for how bloated and meandering the plot was.

We got an equally upbeat soundtrack that helped to sell the action.

The overall experience was... fine. In the way a cobbled together, candy-coated, meant to be seen on a Friday night but we watched it Wednesday and then promptly forgot about it film is fine. I doubt Enola Holmes will be winning any awards, but it was a decently entertaining romp and really, does a Netflix film need to be anything more? If Enola was her own thing made entirely by Netflix's hands I wouldn't be writing this review. As it stands though, Enola is both an adaptation and the latest addition to one of the world’s most popular franchises. That's where the film fails: not as a fun diversion to take your mind off Covid-19, but as an adaptation of Springer's work and as a Sherlock Holmes story.

In short, Enola Holmes, though pretty to look at and entertaining in a predictable manner, still fails in five crucial areas:

1. Mycroft is Now a Mustache-Twirling Villain and Sherlock is No Longer Sherlock Holmes

This aspect is the least egregious because admittedly the film didn't pull this version of Mycroft out of thin air. As the head of the household he is indeed Enola's primary antagonist (outside of some kidnappers) and though he insists that he's doing all this for Enola's own good, he does get downright cruel at times:

He rolled his eyes. “Just like her mother,” he declared to the ceiling, and then he fixed upon me a stare so martyred, so condescending, that I froze rigid. In tones of sweetest reason he told me, “Enola, legally I hold complete charge over both your mother and you. I can, if I wish, lock you in your room until you become sensible, or take whatever other measures are necessary in order to achieve that desired result... You will do as I say" (Springer 69).

Mycroft's part is clear. He's the white, rich, powerful, able-bodied man who benefits from society's structure and thus would never think to change it. He does legally have charge over both Enola and Eudoria. He can do whatever he pleases to make them "sensible"... and that right there is the horror of it. Mycroft is a law-abiding man whose antagonism stems from doing precisely what he's allowed to do in a broken world. There are certainly elements of this in the Netflix adaptation, but that antagonism becomes so exaggerated that it's nearly laughable. Enola's governess (appointed by Mycroft) slaps her across the face the moment she speaks up. Mycroft screams at her in a carriage until she's cowering against the window. He takes her and throws her into a boarding school where everything is bleak and all the women dutifully follow instructions like hypnotized dolls. Enola Holmes ensures that we've lost all of Springer's nuance, notably the criticism of otherwise decent people who fall into the trap of doing the "right" (read: expected) thing. Despite her desire for freedom, in the novel Enola quickly realizes that she is not immune to society's standards:

"I thought he was younger.” Much younger, in his curled tresses and storybook suit. Twelve! Why, the boy should be wearing a sturdy woollen jacket and knickers, an Eton collar with a tie, and a decent manly haircut—

Thoughts, I realised, all too similar to those of my brother Sherlock upon meeting me (113-14).

She is precisely like her brothers, judging a boy for not looking and acting enough like a man just as they judged her for not looking and acting enough like a lady. The difference is that Enola has chaffed enough against those expectations to realize when she's falling prey to them, but the sympathetic link to her brothers remains. In the film, however, the conflict is no longer driven by fallible people doing what they think is best. Rather, it's made clear (in no uncertain terms) that these are just objectively bad people. Only villains hit someone like that. Only villains will scream at the top of their lungs until a young girl cries. Only villains roll their eyes at women's rights (a subplot that never existed in the novel). Springer writes Mycroft as a person, Netflix writes him as a cartoon, and the result is the loss of a nuanced message about what it means to enact change in a complicated world.

Which leaves us with Sherlock. Note that in the above passage he is the one who casts harsh judgement on Enola's outfit. Originally Mycroft took an interest in making Enola "sensible" and Sherlock— in true Holmes fashion—straddles a fine line between comfort and insult:

"Mycroft,” Sherlock intervened, “the girl's head, you'll observe, is rather small in proportion to her remarkably tall body. Let her alone. There is no use confusing and upsetting her when you'll find out for yourself soon enough'" (38).

***

"Could mean that she left impulsively and in haste, or it could reflect the innate untidiness of a woman's mind,” interrupted Sherlock. “Of what use is reason when it comes to the dealings of a woman, and very likely one in her dotage?" (43).

A large part of Enola's drive stems from proving to Sherlock, the world, and even herself that a small head does not mean lack of intelligence. His insults, couched in a misguided attempt to sooth, is what makes Sherlock a complex character and his broader sexism is what makes him a flawed character, not Superman in a tweed suit. Yet in the film Mycroft becomes the villain and Sherlock is his good brother foil. Rather than needing to acknowledge that Enola has a knack for deduction by reading the excellent questions she's asked about the case—because why give your characters any development?—he already adores and has complete faith in her, laughing that he too likes to draw caricatures to think. By the tree Sherlock remanences fondly about Enola's childhood where she demonstrated appropriately quirky preferences for a genius, things like not wearing trousers and keeping a pinecone for a pet. They have a clear connection that Mycroft could never understand, one based both in deduction and, it seems, being a halfway decent human being. We are told that Enola has Sherlock's wits, but poor Mycroft lucked out, despite the fact that up until this point the film has done nothing to demonstrate this supposed intelligence. (To say nothing of how canonically Mycroft's intellect rivals his brother's.) Enola falls to her knees and begs for Sherlock's help, saying that "For [Mycroft] I'm a nuisance, to you—" implying that they have a deep bond despite not having seen one another since Enola was a toddler. Indeed, at one point Enola challenges Lestrade to a Sherlock quiz filled with information presumably not found in the newspaper clippings she's saved of him, which begs the question of how she knows her brother so well when she hasn't seen him in a decade and he, in turn, walked right by her with no recognition. Truthfully, Lestrade should know Sherlock better. Through all this the sibling bond is used as a heavy-handed insistence that Enola is Sherlock's protégé, him leaving her with the advice that "Those kinds of mysteries are always the best to unpick” and straight up asking at one point if she’s solved the case. The plot has Enola gearing up to outwit her genius brother, which did not happen in the novel and is precisely why I loved it. Enola isn't out to be a master of deduction in her teens, she's a finder of lost people who uses a similar, but ultimately unique set of skills. She does things Sherlock can't because she is isn't Sherlock. They're not in competition, they're peers, yet the film fails to understand that, using Sherlock's good brother bonding to emphasize Enola's place as his protégé turned superior. He exists, peppered throughout the film, so that she can surpass him in the end.

You know what happens in the novel? Sherlock walks away from her, dismissive, and that's that.

That's also Sherlock Holmes. I won't bore you with complaints about Cavill being too handsome and Claflin being too thin for their respective parts, but I will draw the line at complete character assassination. Part of Sherlock's charm is that he's far more compassionate than he first appears, but that doesn't mean he would, at the drop of a telegram, become a doting older brother to a sister of all things. Despite the absurdity of the Doyle Estate's lawsuit against Netflix for making Sherlock an emotional man who respects women... they're right that this isn't their character. Oh, Sherlock is emotive, but it's in the form of excited exclamations over clues, or the occasional warm word towards Watson—someone he has known and lived with for many years. Sherlock respects women, though it's through those societal expectations. He'll offer them a seat, an ear, a handkerchief if they need one, and always the promise of help, but he then dismisses them with, "The fairer sex is your department, Watson." Springer successfully wrote Sherlock Holmes with a little sister, a man who will bark out a laugh at her caricature but still leave her to Mycroft's whims because he has his own life to tend to. This is a man who insists that the mind of a woman is inscrutable and thus must grapple with his shock at Enola's ability to cover the "salient points" of the case (58). Cavill's Sherlock is no Sherlock at all and though there's nothing wrong with updating a character for a modern audience (see: Elementary), I do question why Netflix strayed so far from Springer's work. The novel is, after all, their blueprint. She already managed the difficult task of writing an in-character Sherlock Holmes who remains approachable to both a modern audience and Enola herself, yet for some reason Netflix tossed that work aside.

2. Enola is "Special,” Not At All Like Other Girls

Allow me to paint you a picture. Enola Holmes is an empathetic, fourteen-year-old girl who, while bright, does not possess an intelligence worthy of note. No one is gasping as she deduces seemingly impossible things from the age of four, or admiring her knowledge of some obscure, appropriately impressive topic. Rather, Enola is a fairly normal girl with an abnormal upbringing, characterized by her patience and willingness to work. Deciphering the many hiding places where her mother stashed cash takes her weeks, requiring that Enola work through the night in secrecy while maintaining appearances during the day. She manages to hatch a plan of escape that demonstrates the thought she's put into it without testing the reader's suspension of disbelief. More than that, she uses the feminine tools at her disposal to give herself an edge: hiding her face behind a widow's veil and storing luggage in the bustle of her dress. Upon achieving freedom, her understanding of another lonely boy leads her to try and help him, resulting in a dangerous kidnapping wherein Enola acts as most fourteen-year-olds would, scared out of her mind with a few moments of bravery born of pure survival instinct. She and Tewksbury escape together, as friends, before Enola sets out on becoming the first scientific perditorian, a finder of lost people.

Sadly, this new Enola shares little resemblance with her novel counterpart. What Netflix seemingly fails to understand is that giving a character flaws makes them relatable and that someone who looks more like us is someone we can connect with. This Enola, simply put, is extraordinary. She's read all the books in the library, knows science, tennis, painting, archery, and a deadly form of Jujitsu (more on that below). In the novel Enola bemoans that she was never particularly good at cyphers and now must improve if she has any hope of reading what her mother left her. In the film she simply knows the answers, near instantaneously. Enola masters her travels, her disguises, and her deductions, all with barely a hitch. Though Enola doesn't have impressive detective skills yet, her memory is apparently photographic, allowing her to look back on a single glance into a room, years ago, and untangle precisely what her mother was planning. It's a BBC Sherlock-esque form of 'deduction' wherein there's no real thought involved, just an innate ability to recall a newspaper across the room with perfect clarity. The one thing Enola can't do well is ride a bike which, considering that in the novel she quite enjoys the activity, feels like a tacked on "flaw" that the film never has to have her grapple with.

More than simply expanding upon her skillset—because let’s be real, it’s not like Sherlock himself doesn’t have an impressive list of accomplishments. Even if Enola’s feelings of inadequacy are part of the point Springer was working to make—the film changes the core of her personality. I cannot stress enough that Enola is a sheltered fourteen-year-old who is devastated by the disappearance of her mother and terrified by the new world she's entered. That fear, uncertainty, and the numerous mistakes that come out of it is what allowed me to connect with Enola and go, "Yeah. I can see myself in her." Meanwhile, this new Enola is overwhelmingly confident, to the point where I felt like I was watching a child's fantasy of a strong woman rather than one who actually demonstrates strength by overcoming challenges. For example, contrast her meeting with Sherlock and Mycroft on the train platform with what we got in the film:

"And to my annoyance, I found myself trembling as I hopped off my bicycle. A strip of lace from my pantalets, confounded flimsy things, caught on the chain, tore loose, and dangled over my left boot.

Trying to tuck it up, I dropped my shawl.

This would not do. Taking a deep breath, leaving my shawl on my bicycle and my bicycle leaning against the station wall, I straightened and approached the two Londoners, not quite succeeding in holding my head high" (31-32).

***

"Well, if they did not desire the pleasure of my conversation, it was a good thing, as I stood mute and stupid... 'I don't know where she's gone,' I said, and to my own surprise—for I had not wept until that moment—I burst into tears" (34).

I'd ask where this frightened, fumbling Enola has gone, but it's clear that she never existed in the script to begin with. The film is chock-full of her being, to be frank, a badass. She gleefully beats up the bad guys in perfect form, no, "I froze, cowering, like a rabbit in a thicket" (164). This Enola always gets the last word in and never falters in her confident demeanor, no, "I wish I could say I swept with cold dignity out of the room, but the truth is, I tripped over my skirt and stumbled up the stairs" (70). Enola is the one, special girl in an entire school who can see how rigid and horrible these social expectations are, straining against them while all her lesser peers roll their eyes. That's how she's characterized: as "special," right from the get-go, and that eliminates any growth she might have experienced over the course of the film. More than that, it feels like a slap in the face to Springer's otherwise likeable, well-rounded character.

3. A Focus on Hollywood Action and Those Strong Female Characters

It never fails to amaze me how often Sherlock Holmes adaptations fail to remember that he is, at his core, an intellectual. Sure, there's the occasional story where Sherlock puts his boxing or singlestick skills to good use, and he did survive his encounter with Moriarty thanks to his own martial arts, but these moments are rarities across the canon. Pick up any Sherlock Holmes story, open to a random page, and you will find him sitting fireside to mule over a case, donning a disguise to observe the suspects, or combing through his many papers to find that one, necessary scrap of information. Sherlock Holmes is about deduction, a series of observations and conclusions based on logic. He's not an action hero. Nor is Enola, yet Netflix seems to be under the impression that no audience can survive a two hour film without something exploding.

I'd like to present a concise list of things that happened in the film that were, in my opinion, unnecessary:

Enola and Tewksbury throw themselves out of a moving train to miraculously land unharmed on the grass below.

Enola uses the science knowledge her mother gave her to ignite a whole room of gunpowder and explosives, resulting in a spectacle that somehow doesn't kill her pursuer.

Enola engages in a long shootout with her attacker, Tewksbury takes a shot straight to the chest, but survives because of a breastplate he only had a few seconds to put on and hide beneath his shirt. Then Enola succeeds in killing Burn Gorman's slimy character.

Enola beats up her attackers many, many times.

This right here is the worst change to her character. Enola is, plainly put, a "strong woman." Literally. She was trained from a young age to kick ass and now that's precisely what she'll do. Gone is the unprepared but brave girl who heads out onto the dangerous London streets in the hope of helping her mother and a young boy. What does this Enola have to fear? There's only one martial arts move she hasn't mastered yet and, don't worry, she gets it by the end of the film. Enola suffers from the Hollywood belief that strong women are defined solely as physically capable women and though there's nothing wrong with that on the surface, the archetype has become so prevalent that any deviation is seen as too weak—too princess-y—to be considered feminist. If you're not kicking ass and taking names then you can only be passive, right? Stuck in a tower somewhere and awaiting your prince. But what about me? I have no ability to flip someone over my shoulder and throw them into a wall. What about pacifists? What about the disabled? By continually claiming that this is what a "strong" woman looks like you eliminate a huge number of women from this pool. The women we are meant to uphold in this film—Enola, her Mother, and her Mother's friend from the teahouse—are all fighters of the physical variety, whereas the bad women like Mrs. Harris and her pupils are too cultured for self-defense. They're too feminine to be feminist. But feminism isn't about your ability to throw a punch. Enola's success now derives from being the most talented and the most violent in the room, rather than the most determined, smart, and empathetic. She threatens people and lunges at them, reminding others that she's perfectly capable of tying up a guy is she so chooses because "I know Jujitsu." Enola possesses a power that is just as fantastical as kissing a frog into a prince. In sixteen short years she has achieved what no real life woman ever will: the ability to go wherever she pleases and do whatever she wants without the threat of violence. Because Enola is the violence. While her attacker is attempting to drown her with somewhat horrific realism, Enola takes the time to wink at the audience before rearing back and bloodying his nose. After all, why would you think she was in any danger? Masters of Jujitsu with an uncanny ability to dodge bullets don't have anything to fear... unlike every woman watching this film.

It's certainly some kind of wish fulfillment, a fantasy to indulge in, but I personally preferred the original Enola who never had any Hollywood skills at her disposal yet still managed to come out on top. That's a character I can see myself in and want to see myself in given that the concept of non-violent strength is continually pushed to the wayside. Not to mention... that's a Sherlock Holmes story. Coming out on top through intellect and bravery alone is the entire point of the genre, so why Netflix felt the need to turn Enola into an action hero is beyond me.

4. Aging Up the Protagonists (and Giving Them an Eye-Rolling Romance)

The choice to age up our heroes is, arguably, the worst decision here. In the original novel Enola has just turned fourteen and Tewksbury is a child, twelve-years-old, though he looks even younger. It's a story for a younger audience staring appropriately young heroes, with the protagonists' status as children crucial to one of the overarching themes of the story: what does it really mean to strike out on your own and when are you ready for it? Adding two years to Enola's age is something I'm perfectly fine with. After all, the difference between fourteen and sixteen isn't that great and Brown herself is sixteen until February of 2021, so why not aim for realism and make her character the same? That's all reasonable and this is, indeed, an adaptation. No need to adhere to every detail of the text. What puzzles me though is why in the world they would take a terrified, sassy, compassionate twelve-year-old and turn him into a bumbling seventeen-year-old instead?

Ah yes. The romance.

In the same way that I fail to understand the assumption that a film needs over-the-top action to be entertaining, I likewise fail to understand the assumption that it needs a romance—and a heterosexual one to boot. There's something incredibly discomforting in watching a film that so loudly proclaim itself as feminist, yet it takes the strong friendship between two children and turns it into an incredibly awkward, hetero True Love story. Remember when Enola loudly proclaims that she doesn't want a husband? The film didn't, because an hour later she's stroking her hand over Tewksbury's while twirling her hair. Which isn't to say that women can't fall in love, or change their minds, just that it's disheartening to see a supposedly feminist film so completely fall into one of the biggest expectations for women, even today. Forget Enola running up to men and paying them for their clothes as an expression of freedom, is anyone going to acknowledge that narratively she’s still stuck living the life the men around her want? Find yourself a husband, Enola. The heavy implication is she did, just with Jujitsu rather than embroidery. Different method, same message, and that’s incredibly frustrating when this didn’t exist in the original story. “It's about freedom!” the film insists. So why didn't you give Enola the freedom to have a platonic adventure?

It's not even a good romance. Rather painful, really. When Tewksbury, after meeting her just once before, passionately says "I don't want to leave you, Enola" because her company is apparently more important than him staying alive, I literally laughed out loud. It's ridiculous and it's ridiculously precisely because it was shoe-horned into a story that didn't need it. More than simply saddling Enola with a bland love interest though, this leads to a number of unfortunate changes in the story's plot, both unnecessary additions and disappointing exclusions. Enola no longer meets Tewksbury after they've both been kidnapped (him for ransom and her for snooping into his case), but rather watches him cut himself out of a carpetbag on the train. I hope I don't have to explain which of these scenarios is more likely and, thus, more satisfying. Meeting Tewksbury on the train means that Enola gets to have a nighttime chat with him about precisely why he ran away. Thus, when she goes to his estate she no longer needs to deduce his hiding spot based on her own desires to have a place of her own, she just needs to recall that a very big branch nearly fell on him and behold, there that branch is. (The fact that the branch is a would-be murder weapon makes its convenient placement all the more eye-rolling.) Rather than involving herself in the case out of empathy for the family, Enola loudly proclaims that she wants nothing to do with Tewksbury and only reluctantly gets involved when it's clear his life is on the line. And that right there is another issue. In the novel there is no murderous plot in an attempt to keep reform bills from passing. Tewksbury is a child who, like Enola, ran away and quickly discovers that life with an overbearing mother isn't so bad when you've experienced London's dangerous streets. That's the emotional blow: Enola has no mother to go home to anymore and must press out onto those streets whether she's ready for it or not.

Perhaps the only redeeming change is giving Tewksbury an interest in flowers instead of ships. Regardless of how overly simplistic the feminist message is, it is a nice touch to give the guy a traditionally feminine hobby while Enola sharpens her knife. The fact that Enola learned that from her mother and Tewksbury learned botany from his father feels like a nudge at a far better film than Enola Holmes managed to be. For every shining moment of insight—the constraints of gendered hobbies, a black working class woman informing Sherlock that he can never understand what it means to lack power—the film gives us twenty minutes worth of frustrating stupidity. Such as how Enola doesn't seem to conceive of escaping from boarding school until Tewksbury appears to rescue her. She then proceeds to get carried around in a basket for a few minutes before going out the window... which she could have done on her own at any point, locked doors or no. But it seems that narrative consistency isn't worth more than Enola (somehow) leaving a caricature of Mrs. Harris and Mycroft behind. The film is clearly trying to promote a "Rah, rah, go, women, go!" message, but fails to understand that having Enola find a way out of the school herself would be more emotionally fulfilling than having her send a generic 'You're mean' message after the two men in her life—Sherlock and Tewksbury—remind her that she can, in fact, take action.

Which brings me to my biggest criticism and what I would argue is the film's greatest flaw. Reviewers and fans alike are hailing Enola Holmes as a feminist masterpiece and yes, to a certain extent it is. Feminist, that is, not a masterpiece. (5) But it's a hollow feminism. A fantasy feminism. A simple, exaggerated feminism that came out of a Feminism 101 PowerPoint. To quote Sherlock, let's review the salient points:

A woman cannot be the star of her own film without having a male love interest, even if this goes against everything the original novel stood for.

A feminist woman cannot also be selfish. Instead she must have a selfless drive to change the world with bombs.

The best kind of women are those who reject femininity as much as they can. They will wear boy's clothes whenever possible and snub their nose at something as useless as embroidery. Any woman who enjoys such skills or desires to become lady-like just hasn't realized the sort of prison she's in yet.

The best women also embody other masculine traits, like being able to take down men twice their size. Passive women will titter behind their hands. Active women will kick you in the balls. If you really want to be a strong woman, learn how to throw a decent punch.

Women are, above all, superior to men.

Yes, yes, I joke about it just as much as the next woman, but seeing it played fairly straight was a bit of an uncomfortable experience, even more-so during a gender revolution where stories like this leave trans, nonbinary, and genderqueer viewers out of the ideological loop. Enola goes on and on about what a "useless boy" Tewksbury is (though of course she must still be attracted to him) and her mother's teachings are filled with lessons about not listening to men. As established, Mycroft—and Lestrade—are the simplistically evil men Enola must circumvent, whereas Sherlock exists for her to gain victory over: "How did your sister get there first?" Enola supposedly has a strength that Tewksbury lacks— he's just "foolish"—and she shouts out such cringe-worthy lines as, "You're a man when I tell you you're a man!"

I get the message, I really do. As a teenager I probably would have loved it, but now I have to ask: aren't we past the image of men-hating feminists? Granted, the film never goes quite that far, but it gets close. We’ve got one woman who is ready to start blowing things up to achieve equality and another who revels in looking down on the men in her life. That’s been the framing for years, that feminists are cruel, dangerous people and Tewksbury making heart-eyes at Enola doesn’t instantly fix the echoes of that. There's a certain amount of justification for both characterizations—we have reached points in history where peaceful protests are no longer enough and Tewksbury is indeed a fool at times—but that nuance is entirely lost among the film's overall message of "Women rule, men drool." It feels like there’s a smart film hidden somewhere between the grandmother murdering to keep the status quo and Enola’s mother bombing for change, that balance existing in Enola herself who does the most for women by protecting Tewkesbury... but Enola Holmes is too busy juggling all the different films it wants to be to really hit on that message. It certainly doesn’t have time to say anything worthwhile about the fight it’s using as a backdrop. Enola gasps that "Mycroft is right. You are dangerous" when she finds her mother's bombs, but does she ever grapple with whether she supports violence on a large scale in the name of creating a better world? Does she work through this sudden revelation that she agrees with Mycroft about something crucial? Of course not. Enola just hugs her mom, asks Sherlock not to go after her, and the film leaves it at that.

The takeaway is less one of empowerment and more, ironically, of restriction. You can fight, but only via bombs and punches. It's okay to be a woman, provided you don't like too many feminine things. You can save the day, so long as there's a man at your side poised to marry you in the future. I felt like I was watching a pre-2000s script where "equality" means embracing the idea that you're "not like other girls" so that men will finally take you seriously. Because then you don't really feel like a woman to them anymore, do you? You're a martial arts loving, trouser-wearing, loud and brilliant individual who just happens to have long hair. You’re unique and, therefore, worthy of attention, unlike all those other girls.

That's some women's experiences, but far from all, and crucially I don't think this is the woman that Springer wrote in her novel.

The Case of the Missing Marquess is a feminist book. It gives us a flawed, brave, intelligent woman who sets out to help people and achieves just that, mostly through her own strength, but also with some help from the young boy she befriends. Her brothers are privileged, misguided men who she nevertheless cares for deeply and her mother finally puts herself first, leaving Enola to go and live with the Romani people. Everyone in Springer's book feels human, the women especially. Enola gets to tremble her way through scary decisions while still remaining brave. Her mother gets to be selfish while still remaining loving. They're far more than just women blessed with extraordinary talents who will take what they want by force. Springer's women? They don't have that Hollywood glamour. They're pretty ordinary, actually, despite the surface quirks. They’re like us and thus they must make use of what tools they have in order to change their own situations as well as the world. The fact that they still succeed feels very feminist to me, far more-so than granting your character the ability to flip a man into the ground and calling it a day.

Know that I watched Enola Holmes with a friend over Netflix Party and the repeated comment from us both was, "I'd rather be watching The Great Mouse Detective." Enola Holmes is by no means a horrible film. It has beauty, comedy, and a whole lot of heart, but it could have been leagues better given its source material and the talent of its cast. It’s a film that tries to do too much without having a firm grasp of its own message and, as a result, becomes a film mostly about missed potential. Which leads me right back to where I began: The book is better. Go read the book.

Images

Enola Holmes

Mycroft Holmes

Sherlock Holmes

Enola and her Mother Doing Archery

Enola and her Mother Fighting

Tewkesbury and Enola

#Sherlock Holmes #Enola Holmes #mymetas

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sisislair · 3 years

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Be me: swole half-orc bard. Party also includes a conflicted human fighter, and for a brief period of time, a human paladin.

Me and Fighter are hired by a resistance group (we are mercenaries) to take down their local tyrant. Our first job is to take out some marauding goblins that the King has set loose. (My mentality is very much mine vs not mine, and Fighter's is deeper and about furthering the connection between races.) We are ambushed, and we both kill many. The two elves that where previously part of the group sacrifice themselves for Fighter. The goblin who hired us, Balrog, kills the last one. Fighter is upset because we could have used him for information, but Balrog waves it off.

We loot the bodies, I make some goblin meat, and we head on to their encampment. It is in a church basement, and we meet another party member briefly as we are fully inducted and given our rooms. They require complicated passcodes. We both fail to remember how to get out the next morning (my intelligence is not great, practical and people skills, yes, memory + reasoning? No) We are then asked with our new party member, paladin, to go sabatoge one of the barracks. We go in through the stables, I free the horses while they set it on fire. I then cast thunder shock to blow in the wall. Fighter goes into a room, is briefly turned into a goblin because magic, and proceeds to massacre everyone. I finish freeing the horses, and then help him clear out the base by sneaking around, burning food storage, not stealing their very pitiful armory, and just slaughtering them in general. We leave, and count it a mission well done.

We then go back to base, rest up, heal, and prepare for our next mission. We are going to be infiltrating the castle to pose as new staff members and assassinate the tyrant. Me as the new head cook, and Fighter as the new court Jester. Upon introduction I am allowed to drop off my stuff, and then put to work making lunch. I immediately start building up a rapport with the guard in charge of me and the kitchen staff, made all the easier by the fact that I genuinely like people and wish to help them. I whip out an amazing stew which pleases the tyrant very much, and stay to clean up and practice my cooking skills.

Switch to Fighter, who is allowed to rest before being taken before the tyrant. His entrance is mediocre, but he turns into a goblin for his trick, he can do that, and starts juggling. He then fumbles the knife and slices his arm with it. He gets a surprised laugh out of the tyrant, who sends him back to his room to be bandaged up and rest.

Switch to me, who makes an awesome fish dinner, and once again chats away and cleans up. Radiating all the mom vibes. The staff are warming up to me, but still seem hesitant about something. I stress bake that night and make pot brownie equivalents, placing a plate outside my room and inviting the guards and staff to have some if they like. My rapport is pretty good by this point.

Fighter is taken back, bandaged himself, and fails to figure out the guard patterns because he remembers the guard who kicked him upon welcoming and punches a wall. He is checked on then yells fuck very loudly when they leave. (It is only at this point that one of us finally thinks to ask if we where ever told what exactly the King has been done to be labeled a tyrant. Cue DM being exasperated that we only chose to use our critical thinking skills on the last day.)

Cue me in the morning, who tells the other staff that they can take a break the first couple of minutes while I get things started. They seem surprised and hesitant about this. I assume that it's because they haven't been treated this nicely before. One of the servant girls stays behind to clean with me, a new occurance, and seems to want to talk to me. But she keeps glancing towards the door, and I invite her to come bake some non edible pastries that night. We finish, and upon return to the servant quarters I pull out my drum and begin practicing, I draw out an audience, and achieve yet more familiarity.

I make lunch, and we cue Fighter again. He is called upon to entertain, and purposefully stumbles when bowing to see if he is entertained by pain. However, instead of laughing, the King seems concerned. Fighter is intrigued, and when prompted to tell a story tells an incredibly well done tale about his past as a mercenary. The King is not amused, in fact he seems very solemn and contemplative, Fighter is sent away, and now the moral crises begin.

When baking with the servant girl, she tells me that the King has been beating her almost every night after taking her to his rooms, because she won't give him what he wants. I stop kneeding and then start agressively kneeding the dough. I then proceed to hug her when she is done, comfort her, and send her on her way with simmering rage and a growing conviction. I ponder the immediate expidaition of our plans.

Meanwhile, Fighter is approached that night by the King in his rooms. The King knocks, and upon entering, says that Fighter's story greatly reminded him of his youth. He tells Fighter about how his father was a mercenary, and that after being hired to liberate this kingdom they ended up in charge of it. The people, where.... Not pleased, to put it mildly. His father ended up being driven out by them, and he was left in charge. He now fears for his life and kingdom, because there is a group, several of their members being in his staff, who have been spreading horrible rumors about him. Just this last week the barracks for their new recruits where brutally pillaged and massacred. (At this point we have gone into oh fuck territory, and are looking at each other in horror.) He then continues on to say that he trusts Fighter and hopes that if he is assassinated Fighter will be able to find a new job. And that he is a good confidant. He leaves, there are no guards put around Fighter's room, and he is having a full on moral crisis. He can't kill an innocent man, and may in fact have been hired to kill several innocent men during the barracks mission. He had been suspicious of Balrog since day one, and this is all that he needed to confirm it. (Our DM has apparently been leading us up to this the whole time, and is now playing us against each other. It's glorious story building, and simultaneously agonizing. We are very, very invested by this point.)

The next morning I am not woken by the guard, and smell something cooking already. The staff has been given the day off by the King, who has locked himself away and is in a funk. Everyone came together to make breakfast for me for all that I have done for then. This cements my love for these, my people, and my conviction is strong. I am doing this.

But this conviction is about to be challenged when me and Fighter meet up to discuss things. I let him go first, and am initially sceptical. Sounds like a sob story to me. I tell him about the servant girl. He tries to reason with me.

Fighter: Only one girl came to you?

Me: I can't take that risk that he's doing that.

Fighter: Fine, but do you have to kill him? Balrog is very suspicious, and I can't take the chance that this man is innocent.

I grudgingly relent, and tell him to investigate more while I ask who wants to leave with me. Upon coming near the kitchens I hear murmering, I can tell that it is the servant girl and someone else with a familiar voice. I knock, and the voices stop. She tells me to come in. Only she is in there, and when questioned she initially denies. I press her more, and she eventually reveals that it's the guard. Why would she lie about that? She tells me that he was telling her about the horrible things the King has been doing, and I am newly suspicious of this. I ask her if she wants to leave with me, or if she wants the King dead. With no hesitation, she says that she wants him dead, now. I have a big brain moment, and ask to see the bruises so I can apply a healing paste to them. She is shifty about it, saying they are in sensitive places. I smile gently, and counter with me being a woman as well, having healing knowledge, and if so that this makes it even more important they they are taken care of. She says she needs looser clothes for me to tend to them, leaves, and returns. She has marks around her breasts and her legs, and my rage is reborn. There is no changing my mind now. My character is not smart enough to think that she might have faked them, and I cannot let this stand. I finish treating her, and allow my anger to possess me. I charge towards the throne room, rage clouding my judgement, getting faster and faster until I am barreling through the halls. Fighter sees me pass by, and knows what is happening. He cannot let this happen. He tries to stop me, and runs after me. I burst through the throne room doors and head straight for the King while pulling out my dagger. He is terrified. He sees Fighter behind me, and then gets sad. Fighter is at the mental breaking point by now, and tries to physically tackle me. I shrug him off, and he fails to hit me with his axes. I impale the King, and he dies in terror, tears in his eyes. I have just killed an innocent man.

Fighter screams you bastard at me, and tries to go for me. At that moment, Balrog enters the room along with the guard and the servant girl. They restrain and cuff Fighter all while he screams and cries. It has finally just hit my character that Fighter was right. But it is too late. Fighter is dragged away, and the King's body is disposed of. I am thanked by the staff for their freedom, but I only feel numb. What have I done?

That night at the base, I stare sleeplessly at the ceiling while tortured screams eminent from the room, now cell, that Fighter is kept in. The end.

This campaign emotionally and psychologically destroyed us, but it is also the most satisfying campaign I have ever been apart of. Never have I been so in character or emotionally invested in the story. In the space of 5 sessions, our dm built up all of the foreshadowing that we mostly missed for this, and then brought it to a whirlwind horrifying end. There where two possible endings, and we chose the bad one. I was left in awe by his skill, and in tears and anger over how the story ended for us. It was, and might always be, the best campaign I have ever done to this date.

#DnD #we ended it today #and my emotions are still a mess #it was good #tragic #but good #just wanted to share how well he played us against eachother

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nobodyfamousposts · 5 years

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Felix July - Personality Swap (Felix Culpa)

Because why not? @felixmonth

It was a beautiful day at Franciose Dupont.

At least until Marinette found a phone being shoved in her face by an overly excited Alya as Nino and Adrien followed just behind her.

“Girl! Check it out!”

She sighed. “What now?”

Alya beamed, ignoring Marinette’s less than enthusiastic interest. “I’ve got a new interview with Lila after Ladybug rescued her from an akuma earlier!”

“And that is supposed to actually impress anyone?” Marinette asked, almost sounding bored. “Pretty much everyone has been saved by Ladybug at least once at this point.”

That put a bit of a damper on the conversation as the other three lost a bit of their enthusiasm at that. Adrien’s smile faded slightly, noting the less than supportive response from their “Everyday Ladybug”.

“But you know how much Lila has done, and she IS Ladybug’s bestie. The viewers will love it!”

“Did you even talk to Ladybug about any of this before running this information? Make sure it was true or in any way accurate?”

Adrien frowned, a bit put off by her tone. He knew Lila was still pulling her regular antics, but Marinette didn’t have to be so snippy. The tone was completely unlike her, for all that it sounded familiar.

“Girl, you know I take my journalism very seriously! I always make sure to get the story straight!” Alya replied, passing the other girl’s comment off as a joke.

Marinette raised an eyebrow at that. “Like the time you thought Chloe was Ladybug even though we all clearly saw the two of them together during the Stoneheart and Bubbler incidents?”

The boys blinked in surprise. Of course it couldn’t have been meant the way it sounded because this was Marinette saying it, but it still sounded pretty harsh.

“This is different!” Alya insisted, clearly annoyed by the jabs but trying to ignore them as unintentional slights and remain civil.

“What, you mean you’re actually going to fact check this time?” Marinette asked, incredulously.

Yeah, there was no mistaking it that time. That comment definitely held some bite to it.

Nino gaped in horror because this…this was not Marinette. The Marinette he knew was never this…mean!

Alya looked like she was two seconds away from blowing up at the other girl.

Adrien stared at Marinette in shock before his expression turned to one of hurt. “Marinette, that’s uncalled for.”

And Marinette simply gave him a flat stare in response. “My apologies, I’ve forgotten that according to you, apparently I’m supposed to stand by and stay quiet when I know someone is doing something wrong because clearly not inconveniencing them is supposed to be the bigger concern over having them not do bad things. I wish I could say I actually care, but not all of us get to ride on the High Horse Express, Agreste.”

“I never said—”

“Nevermind that if you had told Nino at the very least about Lila’s blatant and obvious lies, he wouldn’t have pressured you on her behalf and the whole mess with you being forced to take her to your house, her manipulating your father’s staff, and Kagami getting akumatized wouldn’t have happened. Not that any of that has actually gotten you to speak up about her yet, but I guess that just goes to show how you care less about protecting the people who are actually good vs the ones who you want to believe might eventually be good no matter how much they clearly show they don’t.”

Adrien’s eyes widened. “I didn’t mean—"

“Just go back to your corner and ignore things like you always do. The people who are actually willing to solve problems are talking.”

Alya and Nino gaped in shock, completely uncertain how to take any of this. Lila lied—well, they knew Marinette had been saying as such but that was yet to be confirmed. But that Adrien knew and kept quiet? All of that and any other questions, however, paled in comparison to seeing Marinette of all people blatantly telling off Adrien in such a way. ADRIEN AGRESTE. She hadn’t even managed a full conversation with him before where she didn’t stumble over her words, but this?

Seeing the group’s collective expressions, Marinette rolled her eyes. “By which I mean ‘me’, because of course I’m the only one who ever actually has to do anything around here. Or rather ‘everything’.”

They couldn’t stop staring. Because…was this Marinette? Marinette Dupain-Cheng does not say such things. Or act this way.

But she was, as the girl in question remained completely unconcerned, looking to her watch and ignoring their shocked expressions. “Speaking of which, I have to get to the classroom to help plan more projects that you people won’t appreciate just so you can keep badgering me about how I never do enough for you."

She didn’t even give them a chance to respond before turning on her heel and walking away. Well, walking towards the school and away from them, leaving the three in the metaphorical dust and just gaping at her in confusion and abject horror.

“What. The hell. Was that?” Nino asked, too shocked to fully rationalize what had just happened.

“Maybe…maybe she’s just upset about something else and she’s lashing out?” Adrien suggested weakly. He glanced after her in worry. “Maybe we should talk with her?”

“Oh, I’ll talk to her all right! I am going to give that girl a piece of my mind!” Alya was practically seething as she started to storm towards the school to catch up to her ‘friend’ and have a few good words for her.

It was perhaps fortunate for everyone that someone bumped into her first, drawing her attention and distracting her from her ire.

Except the one who bumped into her was Felix, who was generally a regular source of ire and spite.

“I’m so sorry!” He blurted immediately, looking strained.

…Except this time, apparently.

Alya stared.

“What?”

“I didn’t hurt you, did I?” He asked, worriedly as he looked her up and down in an attempt to see if there were any injuries.

She continued to stare.

“What?”

“I am sorry,” Felix repeated. “I didn’t mean to bump into you. Are you alright?”

“…What?”

Felix frowned at her before turning to the other two boys, eyes wide in worry. “She’s not responding! I think she may have a concussion.” He gripped his head and started growing more frantic. “Now she’s going to have to be hospitalized and may get amnesia and never be able to update the Ladyblog and all of her fans will be furious and try to hunt me down so I’ll have to live in a bunker and survive off canned food for the rest of my life!” The…unusual-behaving Felix groaned, finishing his…rather unusual rant by covering his eyes with his hands.

Alya…continued to stare.

The boys, unfortunately, were just as shocked as she was and thus were no help to explaining Felix’s strange yet somehow familiar behavior.

The taller blond forced himself to stop and take a breath. “I can’t do this. I don’t understand how she lives like this! If it’s not worrying about hurting someone’s feelings, it’s freaking over how even the slightest mistake can snowball into an unspeakable tragedy.”

Adrien blinked. “Wait—what?”

Felix sighed before turning to face the three. “Where is Marinette?”

Nino finally regained enough composure to speak. “She uh…went inside. She said some…things, and then just had enough and walked off.” Not even stormed off—that would have required some sort of feeling. No, she just coolly glided away with all the confidence and elegance of a figure skater.

Felix groaned at that, realizing exactly what Nino meant. “I am so sorry about that.”

“It’s not your fault.” Adrien said, trying to reassure him albeit uncertain in doing so since this WAS Felix he was talking to. A very out of character-acting Felix, but Felix nonetheless. He was half expecting a snarky remark of some sort at any point. Not that it would have phased him given the verbal thrashing Marinette of all people had just given moments before.

“It kind of is.” The other blond replied. “She can’t help it. She doesn’t have my restraint.”

The three blinked at him.

“What?”

“Look,” Felix said with a sigh. “There’s an akuma running around that apparently switches characteristics between its victims and it did…THIS to us.” He explained, gesturing to himself and his current unravelling state like that actually explained anything. “Next thing I knew, Marinette left and I was distracted by…everything.”

“Like…?” Alya prodded.

“I’ve lost count.” He deadpanned. Because honestly, if it wasn’t a crying child, it would be a cat caught in a tree. If there wasn’t some elderly man crossing the street, there would be someone carrying a package that’s too heavy for them. The fact that he made it back to the school at all was a miracle.

And if this was what it was like for him, he couldn’t stop the growing fear of what Marinette had become. Because it wasn’t as easy as simply saying Felix’s negative attitude and Marinette’s positive personality were switched. No, that would be inaccurate.

Felix was a dour person, full of bitterness and spite for those who earned his ire—which was admittedly all too easy to accomplish. But he had at least some ability—or rather had learned long before now how to and what to hold back. At least in this way, he was simply seen as having a somewhat cynical personality, and would be avoided rather than targeted. He had his opinions and enough confidence to let people know what he thought regardless of whose feelings he may hurt in the process.

Marinette, on the other hand, was a generally kind person. She was always one to try to help others. But something common overlooked was her anxiety, which often led to her making mistakes just as much as it pushed her to correct them—even when they weren’t hers. She contrasted with Felix in that she cared too much about other people’s feelings. She was often putting others before herself. It was one of the reasons she was so well liked.

But with this situation…it was switched. And even worse, neither of them were equipped to handle the other’s personality.

She didn’t have Felix’s restraint, and he lacked her resilience.

And knowing Marinette and everything she’s done and been through, she would likely have a lot to say to people that she would no doubt regret later. Even if these are her feelings, and however much truth there may be, he had little doubt that she would never have wanted to reveal them this way. All those dark, negative, bitter thoughts that she’d always felt but never even acknowledged. Just how much were there?

He winced at the thought. Even if he wasn’t holding Marinette’s anxiety and desire to help, he knew he wouldn’t want this for her.

It would devastate her if she ended up really hurting anyone.

“Just…please don’t hold this against Marinette. She doesn’t mean what she says, she just…” He winced because she kind of did but they didn’t need to know that. “She has a bit too much of ‘me’ in her at the moment.”

“Wait—” Nino cut in. “Are you saying Mari is YOU right now?”

Felix hesitated, but soon nodded. “In a sense, yes.”

The three stared. Because that would explain Marinette’s behavior, but that would also mean that while she had HIS personality, HE also had HERS.

And Felix…poor Felix just looked about ready to drop.

“I cannot live like this! The day hasn’t even started and I’m already exhausted from the anxiety and niceties! I keep getting distracted by wanting to fix things for people or my own thoughts jumping to completely illogical conclusions!”

“That…sounds like Marinette all right.” Nino admitted.

“Don’t worry.” Adrien consoled him. “Ladybug and Chat Noir will fix this in no time!”

Alya just continued to stare.

Then her eye started twitching.

“Nope!”

And she promptly spun on her heel and walked away.

“Wait—Alya! Where are you going?” Adrien yelled.

“A salty Marinette was bad enough but a NICE Felix?” She exclaimed, only pausing for a moment to respond. “Nope! I’m done. I have reached my limit—AND I DIDN’T EVEN KNOW I HAD ONE!” She shook her head and kept going. “This is officially too weird for me. I’m going home. Somebody call me when things start making sense again.”

The three boys watched her leave with various levels of bewilderment.

Adrien was the one to step back and turn to the school.

“Okay, we need to find Marinette and get this akuma.”

#ml fic #ml au #felix culpa #felix july #felix month #ml felix #felix agreste #marinette dupain cheng #alya cesaire #adrien agreste #nino lahiffe

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