Ohhh Ok Yhen👍

About their memories. Annabel lee isn't just going backwards and lenore forward; Annabel is remembering faster and more compared to lenore

Moreover Annabel remembers the trivial memories, the supposedly less important ones.

For example Lenore would remember Annabel's first and last visits while Annabel would remember lenore showing up as Leo and a casual picnic together.

So basically lenore remembers being inlove with Annabel while Annabel remembers falling inlove with Lenore.

It's why Annabel is so hopelessly devoted and lenore isn't. Lenore remembers Annabel saying she wants her to have a better life even if she(Annabel) is forced into needlepoint. Annabel remembers the why

As much as I hate saying it; I think this is all because Annabel was more attached in life, that she loved lenore more than lenore loved her and it carried into Nevermore.

A small detail I want to point out; is that when lenore almost pulled a gun on Annabel, she knew it was empty, she checked when she went through her suitcase. The gun was nothing but an accessory to scare the others off, scare Annabel lee off. Chances are lenore never for a moment thought of actually hurting Annabel physically but mentally.

I swear Lenore's the biggest personification of Katy Perry's Hot N Cold song I've ever seen WHEEEZES

This isn't going to be very nice to Lenore, and in general the "remembering in pieces" mechanic, so just don't click read more if you don't want to see me tear into it thanks.

Like I know we all love to call Annabel a manipulator, and she is, but THIS MOMENT is kind of egregious as fuck to me.

The audacity to call her a monster (AND mad) to her face and then comfort her when she reacts badly over it

The audacity to look at her like this:

and then immediately after do this:

Why is she even saying "I don't know what I'd do with myself" if she's not supposed to remember that they were close?

But then why would she be acting like this if she DOES remember that they're close???

The worst thing is that it's so obvious how Lenore cares for the Misfits but when it comes to Annabel it feels cheap? Like it doesn't feel like there's any connection there other than "I remember I'm supposed to love you but do I actually?" rather than there being any genuine emotions involved. (Is that the point???)

WHERE is the delusion? The "Annabel must have surely had a reason—"

WHERE is the trust?

WHERE is the loyalty? <- truly my biggest gripe because Annabel is so fucking devoted I cannot let it go, I can't LMAO

WHERE is her not actually being as mad as she SHOULD be despite all of her misgivings and thus making Duke and Pluto suspicious as all hell?

Lenore has never ONCE given Annabel the benefit of the doubt and I understand that in the beginning when she knew nothing, but now? NOW? After THIS

Clear realization?

At some point I have to think that the flashbacks we're shown are not things they remember in canon unless we're explicitly shown them waking up to it because THIS

does not make sense otherwise.

Lenore WHY are you not losing your mind here? After saying that you're done with Annabel's whole game?

Go crazy go feral???

Annabel gave you the same reasoning, Lenore. Why are you tolerating this from him? You were manhandling Annabel and inches away from pulling a gun on her but now Duke has Annabel by the throat and halfway past a balcony railing and you're just TALKING?

Lenore tell me. Tell MEEEE!

Is it because Annabel treats it like a "game"? She's being playfully and giggly rather than being serious and "there's no other way" like Duke, even though she said THIS

before.

That's the worst part, really. Annabel has been VERY transparent the ENTIRE time and yet Lenore gets mad over her doing exactly what she said she'll do.

Conclusion to my rant:

What do they remember, what do they NOT remember? I don't know!

Annabel is devoted to the depths of hell even to her own detriment but is that because she remembers or because she's just Like That™?

Lenore is full of doubts and perpetual suspicions, and is willing to call her a monster to her face, but at the same time she sprouts "I don't know what I'll do without you." and jumps off balconies. Is that because she remembers or because she's just Like That™?

What is going ON

It's been a week, give or take, right? So they remember, what? 5 days worth of memories? Unless they remember much, much more than just a singular happening a night?

It feels inconsistent at best and utterly pointless at worst.

Just show us the flashbacks as an outside thing, it didn't have to be organically connected to their Nevermore storyline,,,,OR have them remember everything only when they first go Specre

Dragons ^-^ 🌨️❄️ ✧˖°.

I KEEP LOSIGN MY FUCKING EGGS WHERE THEY AT BRO

Done. Of course there's some smell left but that's why we have 18 sprayers

No time for questions *sprays febreze on you*

What the- ASHSSGSSGHSAAAA MY EYES

David: I think the guy is nuts

Jackson: YES I AM! Thanks for noticing David!:D

Nevermore is a gothic tragedy. Part II: Supernatural Brides

I had set out to finish this saga of essays before Nevermore came back. And then I realized that all the fucking references I have on hand were going to require at least one essay for each. Which means a total of…at least four parts.

So I made it my goal to finish at least one. And since we're talking about tragedy, it seemed logical to continue with the gothic novel.

Before I start, I have to make a little disclaimer: most of my sources come from Spanish material that I'm not sure I have an English translation because they are loose essays I have from my college days and prologues to books from different publishers that are dedicated to publishing gothic novels. If you understand Spanish, I'll be happy to pass the material on to you if this interests you. But if you only understand English, I'm afraid I only have two sources for you: Supernatural Horror in Literature, an essay by H.P. Lovecraft on the foundations of cosmic horror that reviews the history of horror in fiction and The gothic quest a book of about 400 pages that describes in detail the history of the gothic novel, I hope the density of that work compensates for not being able to deliver more finished information.

Brief (seriously VERY brief) history of the gothic novel

Here is something a bit tangled, because the Gothic novel goes hand in hand with many of the topics of the literature of romanticism (literary movement with which it shares time) and it is also necessary to understand some historical and architectural issues.

Let's go by part: Romanticism is a literary and artistic movement that formally emerged in the second half of the eighteenth century (it is estimated that the first works of the same are dated from 1770, approximately) consisting of three parts: the so-called pre-romanticism, romanticism as such and late romanticism.

Anyway, even from its beginnings, this movement emerges as a series of anti-classical ideas that sought to recover folkloric and medieval elements, were obsessed with the inviduality of creativity, nostalgia for nature (something that would later become nostalgia for the time before the industrial revolution), considered passion and sentimentality as the creative axis and in general were looking to Greek tragedies and other fantastic tales as a source of inspiration.

This clashed with the strong Christian values of the time and the rise of technological advances. A contradiction that is present in the works of this literary movement.

Another important historical fact that is necessary to understand is that this kind of novel gets its name directly from Gothic architecture. These works were intended to take place in castles, monasteries, mansions belonging to ancient families and medieval cemeteries. The reason is simple: the Goths were considered shitty architects and many of these buildings had been abandoned for decades if not centuries by 1700, so you could walk down a path and simply find an ominous monastery or the remains of a mansion and if you asked someone where it had come from, they would probably tell you about 15 different versions, but all involving dead people and ghosts living there. As you may have gathered from the above, the writers of this period were eating this stuff up with fries.

It is with the convergence of all these elements that Horace Walpole's novel The Castle of Otranto was published in 1764. A text born from a nightmare that this man had in the castle of Strawberry Hill, a neo-Gothic property that belonged to him. The novel is mediocre at best, but it lays all the groundwork needed going forward: ominous ancient places full of legends where the crumbling architecture is a reflection of the moral and emotional corruption of the characters.

Feminine entities

One thing in which the Romantics differ from the Gothics is their view of love. In this era, love is perceived as a kind of force that is above the characters, something so beautiful that it is capable of making them completely lose their minds (this is tied to the concept of the sublime. And where the romantics embrace this concept as something beautiful, the goths say “this is fucking disturbing”.

For this reason many gothic stories are up to their necks in supernatural brides: beautiful ghosts dressed in white, beings that we consider references to nymphs who only need to whisper in the ears of their victims to become obsessed with them and, above all, vampires. Vampires whose description you will have in detail because the narrators of these stories spare no words to point out how beautiful they are.

Because these supernatural brides are there for one thing and one thing only: to make our sad male hero lose his mind with the power of their impractically long eyelashes. Sometimes they love them honestly and deeply, sometimes they are insidious, evil and lying; on more than one occasion both alternatives are true at the same time. But the reality of things is that, in the end, the love of these supernatural brides ends up completely destroying the unfortunate object of their affection.

If this seems a bit sexist to you, that's because it is. There's no argument here and it's not worth delving into any further.

I've talked about Annabel as a vampire before, but this time I want to talk more in detail about two issues: how supernatural brides work and the consequences for the protagonist of having a relationship with her and the similarities this story presents to a particular job.

Love and death

What is a ghost? A terrible event doomed to repeat itself over and over again. An instant of pain, perhaps. Something dead that seems at times still alive. A feeling, suspended in time, like a blurred photograph, like an insect trapped in amber. El espinazo del diablo, Guillermo del Toro (original quote in Spanish)

One interesting thing about this whole thing is, too, that while the attitudes of many of these supernatural brides may remind you of variations of a succubus (you know, a female entity that is there for and to seduce), the reality is that the gothic novel is steeped in religious puritanism, so these ladies (most of the time) don't usually need to be sexual with their love interest/victim to get their attention. They usually only need a single glance.

If you think I'm exaggerating:

Never gaze upon a woman, and walk abroad only with eyes ever fixed upon the ground; for however chaste and watchful one may be, the error of a single moment is enough to make one lose eternity. 

The dead women in love, Théophile Gautier

Another thing is that these supernatural brides are usually here at just the right time to skillfully grope the weaknesses of their beloved lover and victim: Are you a feisty guy who thinks he's not afraid of anything? Well, the spirit of the water that will end up bewitching you dwells in a mysterious fountain that no one dares to visit out of fear (Ojos Verdes, Gustavo Adolfo Bécquer ESP/ENG), Have you just obtained eternal life by making a pact with the devil but are a little terrified of what might await you in the solitude of immortality? The beautiful young girl just revived by your own hand has opened her eyes and both you and she know in this one look that you will spend eternity together (The Skeleton Count, or The Vampire Mistress, Elizabeth Caroline Grey), Have you just moved here from Naples and are feeling incredibly lonely? Well, it turns out you have a beautiful neighbor who also seems interested in you. By the way, she's practically a poisonous plant (Rappaccini's Daughter, Nathaniel Hawthorne).

Examples like these are plentiful and most end in three ways for the victim of their affections:

Death.

Madness.

Or eternal mourning for having lost her despite having been a victim of deceit or manipulation.

In Lenore's case, her “supernatural bride” appears after the incident in which she rips the wallpaper off the wall: if flowers symbolize feeling alive, she doesn't need them. There is no need for flowers because she is irreversibly withering away.

And when all seems lost, she receives a visitor.

Annabel is a ghost in Lenore's life. The fuzzy silhouette that represents the one thing that made her happy during her confinement, her last glimmer of sanity in a situation where she could no longer hold on without breaking. A specter whose shadow Lenore has been obsessively chasing since a previous life. And every time she manages to reach her, something snatches her away: Annabel goes back to a place where Lenore cannot reach her with her hands.

This is the sad fate of supernatural bride lovers. Because for the gothic novel, when love transcends death it is not a reason to rejoice: the character's life has been permanently disrupted and all that remains is a feeling that is beyond reason. Love becomes the cruelest and most terrible of punishments.

Carmilla

If you're still here with me and you haven't read Carmilla yet, I highly recommend that you do because if you like goth lesbians, this is exactly your shit.

But just so we're on the same page: Carmilla is a short vampire novel published in 1872 by Sheridan Le Fanu in his collection In a Glass Darkly. The plot is about Laura, a young woman who lives in a proper gothic castle located in Austria and her life will be disrupted with the arrival of a beautiful young woman her age named Carmilla.

Both Lenore and Laura live in almost complete isolation barely accompanied by maids (And, in Laura's case, her father) in a huge estate that is surrounded by an appropriately dense and slightly terrifying forest. Now, the reason they are both here is different: where Lenore is locked up against her will, Laura simply lives in a place that is difficult to access.

But let's make a slightly insidious reading here.

One of the first things we know about Laura is that the maids she lives with, despite being fond of her, consider her “a bit touched in the head” and the incident where Carmilla enters the room when Laura is a little girl is completely dismissed for this reason.

Laura is 19 years old when all this happens and at no point in the play is it mentioned that she has any suitors or intentions of getting married, a bit strange for the time in which it occurs. One would assume that the reason for keeping her so isolated is precisely that Laura's father doesn't think his daughter is particularly sane in the head.

As does Lenore.

Add to that the fact that they are both grieving. Lenore for Theo's death and, in Laura's case, for learning that the daughter of a dear friend of her father's has died in strange circumstances and, although she did not get to know her, this fact affected her a lot.

Anyway, sooner rather than later this almost supernaturally beautiful young lady of her own age shows up and kicks in the door saying she wants to be friends. Carmilla through a carriage “accident” near the property and Annabel requesting a meeting to get to know her.

In both cases, the dynamic established is the same.

On the one hand, we have a young lady who looks completely ecstatic at this pompous and definitely somewhat deranged creature. Laura spares no words in explaining to the reader how fucking beautiful Carmilla is, how important she is to her and how much she loves her. And Lenore, well, Lenore does this:

On the other side, the supernatural (girl)friend returns her affection with the subtlety of a kick in the teeth:

Annabel is a little more subtle than Carmilla was before she and Lenore were a thing, but we still see her get super physically close (something she doesn't usually do with other characters in Nevermore, so this is something she only does with Lenore).

Fun fact: that gesture with the fan means “I'm shy, but I'm interested.”

Unfortunately for our comphet-filled protagonist (because she watches THIS and still thinks they're “good friends”) her days in the company of this girl end in tragedy. Carmilla is eventually unveiled as a vampire and killed, while Lenore sees Annabel leave and, taking into account that they are both in Nevermore, subsequently sees her die.

In both cases, the protagonist's life has been scarred by her supernatural (girl)friend: neither a year-long trip abroad nor a new group of friends can take Laura or Lenore away from the memory of those happy days that are now irretrievably tainted.

Conclusions

I think one thing that has happened to me writing this now that I seriously pulled the rug out from under me regarding the amount of references in this comic and it has been non-stop bullshit. They're all still framed within the genres of tragedy and gothic novel, but even with this essay I've fallen short on some topics.

I don't know when I'll continue with this saga because it really involves going through an awful lot of material, but I can at least say one thing for sure: the amount of detail it has is, honestly, quite impressive.

😔👍

Kinda disappointed,

@xx-midnight-candy-goblin-xx @samanthagardens @jacksonsmithforreal @defsnotdeathnote

tag game!

Your last emojis are your gender

🇺🇲👍

Uh

@erikaskblog @fymo-blogs

Me: YOU'RE FREE!! YOU CAN'T LET YOUR BODY CONTROL YOU, YOU CONTROL IT. SHOW ME YOUR FREEDOM AND CUT YOUR GENITALIA OFF!

My friend(who's questioning/fighting their gender): ON IT

Me: (SIKE. SIKE😨)

I generally believe that Connor is biologically schlatt's kid, and dream's ADOPTED son,

Why? Well looking at the conon of schlatt and quicktly being married as well as fundy and dream bring married/engaged.

It just doesn't make sense that dream is biologically Connor's other parent, especially with him literally hating schlatt, and that he had BANNED him from the smp before, just HOW??

Until someone finds an answer that actually makes sense I'm going go stick with dream adopting Connor