Lucid Dreamer (1/2)
part 2
Gepard notices that it's been. Quiet lately. Like weirdly quiet. TOO quiet. He hasn't seen Sampo Koski in almost a week, which is about the longest he's ever been absent. And he is NOT worried. He's not! So what if they've been getting along more lately! So what if Gepard sometimes looks for him in his favorite hiding places! So what if he's been dreaming about blue hair and green eyes! It's nothing!!
But they're….strange, these dreams. Gepard doesn't usually remember what he's dreamt. It's out of his mind seconds within waking up. But these stick with him, they won't leave him be, they feel different somehow.
He dreams of Sampo bringing food to the frontlines and eating breakfast in his tent with him. Sampo always sneaks him extras. He dreams of chasing Sampo through the alleyways, Sampo sometimes letting himself be caught, Gepard sometimes catching him, and trying to ignore how it feels more like a game now more than anything else. He even dreams that Sampo tags along with him on one of his few civilian days. Sampo runs errands with him, prattles about inane bullshit while Gepard picks out groceries for the week, drags Gepard into some bakery he's never been to but he thinks Serval mentioned once.
And sometimes, it feels so close to reality, that Gepard half expects to see Sampo, shamelessly swaggering into the frontlines with all the guards' breakfast like his wanted poster wasn't only recently taken off the walls of Belobog. He's disappointed when it's always someone else instead. He tells himself his disappointment is ridiculous and if Sampo wants to go prowl around the Snow Plains or wherever he is, then fine. It's not any of his business.
…But it IS his job to investigate any unusual criminal activity relating to the frontlines. And the frontlines are Sampo's usual haunting grounds, and this is unusual activity, and Sampo IS technically a criminal, so it is absolutely part of his duty to look into this - is what Gepard tells himself the entire tram ride down into the Underground.
Natasha tells him he's gone, and Gepard has to steel himself. He knew Sampo made enemies wherever he went, there are a lot of people who would love his head on a platter, but he didn't think-
Natasha corrects him that she means literally gone. As in off-planet. Sampo always leaves her a note before he goes anywhere, so she knows not to expect any supply runs from him. He should be back in exactly two weeks. Thank the Preservation.
Gepard goes back home. He waits.
The uneasiness doesn't leave him.
"Where did you go?" Sampo stops dead in the middle of some story about Seele, and how you'd think someone with as blunt a mouth as her wouldn't have so much trouble asking a woman out, even if that woman IS the Supreme Guardian, and stares at him. He nearly fumbles his cigarette.
"Ahaha, what do you mean, I'm right here?" Sampo smiles at him the same way he always does. Gepard has no idea why he asked. It just popped out. He can never tell when Sampo is lying, anyway.
"I don't know. I feel like I haven't seen you in a long time." Gepard idly mouths at his own cigarette. He almost never smokes, but he wants to ration their stocks of Blizzard Immunity, and it helps with the cold. It's seemed colder lately, for some reason.
Gepard flicks his lighter once, twice, sighs at the third time because a metal prosthetic and thick gloves make the damn things so difficult. Sampo reaches over and wordlessly kisses the end of his cigarette to Gepard's, lighting it. "Thank you."
Nothing happens for almost a full 30 seconds. Something churns behind Gepard's ribcage. Because Sampo never leaves a "thank you" hanging. This is the part where he gives his spiel about how helpful and kind he is and Gepard either brings up how long his rap sheet was before Bronya helped clear his name, or just stares deadpan because seeing Sampo squirm is weirdly satisfying.
"…I'll be back in one more week."
Gepard jolts awake in his cot, mouth dry and eyes bleary.
The hell.
The next dream he has, Sampo looks tired. Sometimes he seems normal. Sometimes he says strange things, like how he wishes he'd gone to some restaurant in Belobog. Ate his favorite food more recently. Brought something with him. Gepard asks why he can't do that now. Where would he bring something? Sampo only shrugs. His rebuttals have less energy.
Gepard doesn't know if he wants to dream more, or less.
He ticks down the days on his calendar. Natasha hasn't told him any different. She promised she would if she got any kind of message. Sampo returns tomorrow, from whatever vacation or seedy business dealings he's been off having. He is not excited about it. He is not looking forward to it. He's not!!
Gepard falls asleep late that night, unable to settle. He dreams again.
He's alone. There are tons of people everywhere, the frontlines are always crowded. But he's alone. They all pass right by him as though he were a ghost. Gepard starts to walk before he realizes his feet are even moving.
He checks the trashcans in the dead end alley. He checks the supply crates that someone always stacks too high because they don't feel like finding more space for them. He pauses to check the soldiers that march past him, watching their footprints in the snow.
He finally finds Sampo on the rooftop along the northernmost wall, the one that looks out over the plains, towards Everwinter Hill, towards where the Stellaron had once been kept. With a full moon and an entire land of white snow, Gepard can almost see clear out to the horizon.
"Found you." Sampo stiffens, and Gepard is almost prepared for him to sprint off the roof. He doesn't. But he doesn't relax either. Gepard sits down next to him and stares out at the wastelands.
"…I fucked up." It wasn't what Gepard had been expecting. Sampo never 'fucks up,' Sampo just gets into incidents that are entirely, supposedly, not his fault and that he just happens to always be within the vicinity of.
"What did you do now?" It must be really bad if Sampo is coming to the Silvermanes for protection.
Instead, Sampo ignores his question completely. "See out over there? Right on the other side of that mountain. There's a safe house that way. It's hidden under a lot of snow and dead trees, but it's there. And in that safe house is a box full of letters. I need you to deliver those letters for me."
Gepard's brow furrows. It's a weird favor to ask. Sampo would never tell anyone where his hidden safehouses were. It defeated the whole purpose of a hidden safe house.
Something is wrong, something is really really wrong.
Gepard turns back to look at him again and startles, all of his questions dying in his throat, because the entire left side of Sampo's head is suddenly matted down, dark and sticky, his skin is dyed red red red-
"In three more months, there's gonna be something big happening." Gepard grabs Sampo's hand and it feels slick and warm against his palm. "I won't be here. So I need you to do my end of things for me." Gepard tries to keep hold, but something is fading, something is slowing, the sun is coming up but the colors are all wrong, everything feels like encroaching fog, Sampo's hand slides right through his. "I was gonna come back with my mask to finish setting the stage, but…" Gepard makes a frantic grab for Sampo's wrist, the air twists, he comes back empty-handed. "They have you. And you're the Iron Wall of Belobog. So it'll be ok."
Gepard finally manages to find his grip, snatches the front of Sampo's dark wet jacket and yanks him forward to hold onto him, and this close up, he can see it better, his colors are bleaching out, leaking outside the lines as if Sampo will become part of the background, as if he's fading into the strange fog that's been closing in on them. His fingers are already starting to feel empty again.
"Wake up."
Gepard jolts awake, uncurls his hands from where they're fisted in the blanket, scrubs the dampness off his face. Breathes. Breathes. Breathes. Today is supposed to be the day.
He throws on his civilian clothes, and he goes down to the shipyard the IPC had built. He finds a spot where he can see every person that returns to Belobog, and he waits.
And he waits and he waits and he waits.
No one he recognizes appears.
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hello again everyone i'm putting on my tinfoil jester hat & passing out Hefty grains of salt. its batshit theory time!
in short: i think Julie is gonna get violent & might end up killing someone - or she'll at least try. and i'm pretty sure something terrible is gonna happen to her.
in long: hoo boy. strap in
first off, i'd like to say that i love womens' wrongs And rights! all of this is said with utmost affection & respect for Julie. i love it when characters do terrible things, its interesting and so tasty for the story and their development <3
second disclaimer: most of this is just based off of what we have / know as of now. which is, admittedly, not much! so despite having short arms, i may be reaching very far! i'll get the based-on-knowledge part of my thoughts out of the way before getting into the more abstract I'm Just Making Shit Up At This Point part (educated guessing, yk yk!)
not sure where to start so i'll begin with what starting this line of thinking - flower symbolism. I've gone a little bit into it in a previous post from a while back (where i just made observations about the neighborhood map), but i'll restate the relevant parts. there are two flowers in the neighborhood with greek myths attached, and similar ones at that: the hyacinths outside of the Post Office, and the sunflowers outside of Frank's house.
most people know the hyacinth myth! Apollo, while playing metal frizbee with his (male) mortal lover Hyacinthus, Apollo's thrown discus bounced off of the ground and accidentally hit Hyacinthus in the head, killing him - then Apollo turned the spilled blood into the hyacinth flower. in another - popular - version of the myth, the wind god Zephyrus was jealous and blew the discus off course to kill Hyacinthus. as for sunflowers: Clytie, a nymph, was in love with Apollo and grew jealous of his relationship with a princess, Leucothoe. Clytie informed Leucothoe's father of the relationship, and he buried Leucothoe alive as punishment. Apollo turned his murdered lover into a sunflower. two flowers attached to greek myths about Apollo falling for a mortal, and that mortal gets murdered by a jealous non-mortal.
next, I would like to bring attention to This Concept Artwork from 2021. now i'm not gonna use this as a definitive "oh this exists so it must mean-" but there are always elements of concept work, especially Canon concept work, that sticks or can allude to themes or information that will be revealed later in the story. concepts are concepts for a reason - it means there's a solid idea that's being explored in depth, most times for use (especially that deep into the story crafting).
specifically, right now i'd like to look at the type of flower Julie is holding. pansies. normal ones + the primary fucked up pansy. pansies are symbols of love - both romantic and platonic, but predominantly platonic. it can also symbolize nostalgia, thought, admiration, remembrance, and can even be used as an "i'm sorry" flower. in victorian times, it was often used to represent forbidden/secret love.
stick with me, i'm getting to the point i promise
now, another thing is how much of Julie's character (meta-wise & in regards to the WH show as a production) is centered around love. her house is the "cutest" or most feminine one in the neighborhood, and it's downright infested with hearts, from the windows to the bushes to the chimney. she exists as Frank's foil, and it's almost definitive that she was meant to be Frank's love interest (there's just. so much evidence that there's no way that's not it). and just look at her! she looks like a love interest! if WH was a real show that i sat down to watch, i'd see her and immediately go "oh, ok, that's her base role"
this contradicts with what we know of her character - Julie seems big on platonic love, loving her friends, but other than that? she very much steps around what her house/character design is trying to say. she's hopscotching right over what the production wants from her. the only thing she kinda sticks with is the whole flower thing
but. but but but. i wonder! after the update, I'm pretty confident that the neighbors are influenced by the "script" and the workshop, even if they're not aware of it. see: the difference in how they act in the "recovered media" (where they behave more like they're characters playing out a bit, their dialogue has no natural lulls and it just sounds like a (really good) script) vs the 14 audios & the phone calls (natural dialogue, they seem more layered & like actual people instead of just characters, there's no set shenanigan - they're just doing their own things). and we can assume that the latter audios are from the neighbors off-script off-the-air.
despite this, they still somewhat try to fill their roles. the question is: how much of that is authentic, and how much is them still feeling that pressure to perform? just like how We as people feel pressure and expectation from societal rules/norms, even if we're not conscious of it. like, say... kids growing up thinking being queer is wrong, even if they've never been directly exposed to / made aware of homophobia/transphobia. We fill in the absence of being told "this is right" with "it must be wrong", and We act accordingly
so apply that to sapient puppets who were (again, most likely) made with set relationships, dynamics, and character details in mind. they're meant to be This Way, even if they want to be That Way, and that internal "programming" has to conflict, at least a little. like how I've seen Clown mention that homophobia will/may be a theme, and the only way i can see that happening among puppets who have never been directly exposed to it is if the above happens: they feel pressure from something they're unaware of. expectation from a "higher" plane of existence. as above, so below.
OKAY NOW WE'RE GETTING TO IT I PROMISE! blend this all together into Frank & Eddie catching feelings. they weren't meant to fall in love. they're not supposed to be together. it's - from the perspective of Playfellow & society (in the time period WH was active/created) - wrong.
Julie is supposed to be with Frank. Frank is supposed to be with Julie. in a way, they are together - they're best friends. they're foils. they were created to compliment each other and click. in the media audios, they're almost always together. if one of them is in a scene, so is the other.
so what happens if Frank starts to pull away? if he starts to spend more time with Eddie - what if Julie feels like she's being pushed out? what if she asks Frank to come play, only to be told he already has plans with Eddie, and if Julie tries to join in, what if Frank tells her no?
if it were me in this situation, I think I'd start to panic a little. everything has always been the same - it's always been Frank and Julie. that's how it's supposed to be. Frank and Eddie, well that's just - that's just wrong! and if, at this hypothetical point in the story, things are tangibly starting to degrade/go wrong, Julie might cling even harder, panic even more.
you see where I'm going with this? what i meant with the flower symbolism and what it could point to?
their world is falling apart, and Julie's one constant - Frank, her best friend, her grumpy rock - is pulling away. for Eddie. the mailman. and so what if the jealous "lover" takes action? Julie can make things go back to normal. she needs Frank, and in her mind she's losing him, but she can't lose him. she can't. and maybe that little whisper of expectation that she can't hear but feels nonetheless, fuels this fire. it makes her feel justified, makes her feel the need to act and "correct" this. maybe if she gets rid of the distraction, Frank's love and attention will be hers once more.
i mean, people do insane things when they're under that much pressure. from current probably-horrible events, a loss of control in their own life, their closest person seemingly distancing themselves, subconscious pressure from societal expectation. especially when it comes to love - platonic or romantic. w/ Julie, i'm pretty sure it's platonic in regards to Frank. though she is bi, so you never know! could be both!
and maybe it won't be about Frank & Eddie, if any of this turns out to even a little right. maybe there's a factor I'm not considering or haven't seen yet. but i really do think that there are things pointing to it.
like yeah, the Concept Art linked above. the caption saying "liar", the specific species of flower, Julie holding it over her mouth as if keeping a secret, the hammer. not sure if the person standing over her is her primary puppeteer, an abstract, or something else (it seems cracked?) but that's not what this theory is about!
then there's the flower patch - both behind her in the concept art, and the one behind her house on the map. it's striking me now that the two look very similar. they have mostly the same flowers, even. blue/yellow/white/orange "daisies", some daffodils, what i think are roses (it's hard to tell specifics on the map). an odd choice to make them so similar (unless it's coincidence!).
when I first saw the patch, my immediate thought was "holy shit is that a body dump?!" bc it's oddly green compared to the rest of the map, it's placed at a noticeable distance behind Julie's house - as if it's supposed to be "hidden", and it's the lushest spot in the neighborhood. now, to provide a counterargument to my own claim: it could be very green because that's how things are shaded, it looks like it's at a distance from the house bc the map is 2D, and its the lushest spot bc Julie's all about flowers - also, i doubt flowers would spontaneously grow since we can assume none of them are real. it's a puppet world of props. but who knows.
(and okay this might or might not be relevant but we can assume Julie is the one who made the chalk drawings on the path, right? i think there's a spiral in front of her house. just making a note of it.)
and there's just how much "pressure" seems to be on Julie compared to the others. she doesn't match her house. she doesn't fit her "role" the way she's meant to. AND OH AND I ALMOST FORGOT - by the swingset, there's now a bowling ball and what looks like red scissors. idk about you guys but i associate scissors with Eddie. he's all about crafts, after all! now i'm really reaching but hey? murder weapon? Julie does seem fond of bowling balls... that's a perfect bludgeoning weapon to have on hand (in abundance!)
in conclusion, i just think Julie has major potential to do some deliciously fucked up stuff. in fact, i hope she does! it could be handled/done in an absolutely fascinating way, and could have intriguing consequences.
who knows, maybe i'm right about her trying to get rid of Eddie (not out of malice or anything, just fear & pressure), and there'll be a whole thing where he keeps on coming back, completely unaware that she tried to off him, bc he's a puppet and it's probably really tough to kill something that wasn't really alive in the first place. i mean, in This Observation post i made about some new map secrets, there's a strange window shine on the Post Office door that could be spelling out either "nexus" or "new us". that plus the apparent extra hands/faces behind the door... Eddie is quite accident prone. who's to say he's not used to being replaced by himself? it's not like he'd remember. or is that the reason his memory is bad? holy shit wait - no wait this is a tangent. sorry. this post is about Julie lmao maybe i'll make a different post for this Eddie Thought i just had bc ough. ough...
and also, before anyone tries to come at me - because there's always people who twist words to Start Shit or misinterpret/miss the point - i'm not saying that Julie is like... homophobic. or hates Eddie. or is a "jealous crazy-" just. yk? and if you think that, maybe reread the post. or take a reading comprehension class <3
AS FOR THE SOMETHING TERRIBLE HAPPENING TO JULIE. this is based on Two things and also Vibes. this section will be mercifully short compared to the rest of this clusterfuck of a post
so in the Livestream Trivia doc compiled by @/theneighborhood watch, yes i'm referencing this again sorry, there's this tidbit:
that, plus This Artwork, which features Julie (they're her shoes!) standing at the edge of an apparent chasm (the edge of the set, i assume) paints an interesting hypothetical picture. maybe she wanders a little too far and falls off the edge of her world. maybe she discovers something and Wally has to do something he doesn't want to do, but "needs" to. hey, who knows. maybe she is gonna hurt / try to hurt someone, and in an attempt to save them / stop her, Wally pushes her - either accidentally or on purpose, either way the end result would be the same. now I'm just pulling things out of my ass so lets move on lmao
then there's the Unknown Record in the website's media section. i actually recorded the audio and sped it up - i'll post that video later - and it seems to be an excerpt from Alice in Wonderland. the only part of it i've been able to clearly pick out is "Alice found herself falling down.... down... down..." followed by, presumably Alice speaking - who's high pitched voice reminds me of Julie's. so that's another point in the Julie Goes Bye-Bye Via Rapid Descent theory. or just goes temporarily missing! it could be that the only relevant part of the above trivia tidbit is the "falling down a cavern", and not the "never seen again" part. but it could. be. both.
though! though. Clown has stated that if all the neighbors were to take on roles in Alice in Wonderland, Wally is the one who would be Alice. which follows his direct connection to the spiral/eye pit, and the phrase "down the rabbit hole". so it could be either or. it could be both! it could be neither! this is all speculation, which brings us to....
the end! we made it! i hope you're still carrying your Hefty grains of salt! soon you'll be able to fill a large chicken-shaped shaker with it all!
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