#baskerville legacy

[baskervillesims]

Meet the Baskervilles! /gen1/

Growing up in the city with strict, traditional parents was hard for Esther Baskerville.

Since she can remember, she longed for a life far away from those who raised her - a life full of freedom and the outdoors. As soon as she graduated high school, Esther decided that enough was enough and found a mediocre size of land in Chestnut Ridge that she knew she could call home.

The decision wasn't easy, with no one to support her she felt a sense of isolation. Who could be a rock for her when everyone she knows is back in San Myshuno? Is there a familiar face waiting for her around the corner, one that she just might happen to recall from her childhood?

Esther Baskerville traits: non-committal, rancher, loves the outdoors aspiration: expert nectar maker career: part-time retail (for the time being)

[siminspires]

Baskerville: Turbin Round 4

[arthur-barma]

oswald (glen) baskerville, pt. 2

[magomo]

Oh don't let Charlie, Nina, Felix Rosier, and all dragon-lovers (including my HPHL MC) hear that Ivy! You're in for an ear-shattering lecture lolz

HOGWARTS LEGACY EASTER EGG! 👀

Bet your ass Imelda wrote that 🤭

[blueheartbooks]

Unraveling the Mystery: A Review of "The Hound of the Baskervilles" by Arthur Conan Doyle

"The Hound of the Baskervilles" by Arthur Conan Doyle is a gripping mystery that continues to captivate readers with its masterful storytelling, intriguing characters, and atmospheric setting. Published in 1902, this iconic novel follows the legendary detective Sherlock Holmes and his loyal companion Dr. John Watson as they investigate the mysterious death of Sir Charles Baskerville and the curse that haunts the Baskerville family.

At the heart of "The Hound of the Baskervilles" is the enigmatic figure of Sherlock Holmes, whose brilliant deductive powers and keen observational skills are on full display. As Holmes and Watson delve into the dark secrets of Baskerville Hall, they encounter a web of deception, intrigue, and superstition that threatens to engulf them in its sinister embrace. Doyle masterfully builds suspense throughout the novel, keeping readers on the edge of their seats as they follow Holmes and Watson on their perilous quest for the truth.

One of the most striking aspects of "The Hound of the Baskervilles" is its evocative setting on the desolate moors of Dartmoor. Doyle vividly brings the rugged landscape to life, painting a haunting portrait of fog-shrouded moors, eerie marshes, and ancient ruins. The atmospheric setting serves as a backdrop for the novel's chilling events, adding an element of gothic horror to the mystery and heightening the sense of tension and dread.

Moreover, "The Hound of the Baskervilles" features a cast of memorable characters, each with their own secrets and motivations. From the enigmatic Sir Henry Baskerville to the sinister Stapleton family, Doyle creates a diverse array of characters that adds depth and complexity to the story. The interactions between Holmes and his adversaries are filled with intrigue and suspense, as the detective matches wits with some of his most formidable foes.

In addition to its thrilling plot and compelling characters, "The Hound of the Baskervilles" is also a meditation on themes such as inheritance, family legacy, and the power of superstition. As Holmes unravels the mystery surrounding the curse of the Baskervilles, he confronts the darker aspects of human nature and the destructive force of fear and superstition. Through the character of Dr. Watson, Doyle explores the role of reason and rationality in the face of irrational beliefs and irrational fears, ultimately affirming the triumph of logic and scientific inquiry over superstition and ignorance.

In conclusion, "The Hound of the Baskervilles" is a timeless classic that continues to enthrall readers with its blend of mystery, suspense, and gothic atmosphere. Doyle's masterful storytelling, vivid characterization, and atmospheric setting make this novel a must-read for fans of detective fiction and gothic literature alike. With its enduring popularity and universal appeal, "The Hound of the Baskervilles" stands as a testament to Arthur Conan Doyle's genius as a storyteller and his enduring contribution to the canon of English literature.

"The Hound of the Baskervilles" by Arthur Conan Doyle is available in Amazon in paperback 16.99$ and hardcover 22.99$ editions.

Number of pages: 272

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[blueheartbookclub]

Unraveling the Mystery: A Review of "The Hound of the Baskervilles" by Arthur Conan Doyle

"The Hound of the Baskervilles" by Arthur Conan Doyle is a gripping mystery that continues to captivate readers with its masterful storytelling, intriguing characters, and atmospheric setting. Published in 1902, this iconic novel follows the legendary detective Sherlock Holmes and his loyal companion Dr. John Watson as they investigate the mysterious death of Sir Charles Baskerville and the curse that haunts the Baskerville family.

At the heart of "The Hound of the Baskervilles" is the enigmatic figure of Sherlock Holmes, whose brilliant deductive powers and keen observational skills are on full display. As Holmes and Watson delve into the dark secrets of Baskerville Hall, they encounter a web of deception, intrigue, and superstition that threatens to engulf them in its sinister embrace. Doyle masterfully builds suspense throughout the novel, keeping readers on the edge of their seats as they follow Holmes and Watson on their perilous quest for the truth.

One of the most striking aspects of "The Hound of the Baskervilles" is its evocative setting on the desolate moors of Dartmoor. Doyle vividly brings the rugged landscape to life, painting a haunting portrait of fog-shrouded moors, eerie marshes, and ancient ruins. The atmospheric setting serves as a backdrop for the novel's chilling events, adding an element of gothic horror to the mystery and heightening the sense of tension and dread.

Moreover, "The Hound of the Baskervilles" features a cast of memorable characters, each with their own secrets and motivations. From the enigmatic Sir Henry Baskerville to the sinister Stapleton family, Doyle creates a diverse array of characters that adds depth and complexity to the story. The interactions between Holmes and his adversaries are filled with intrigue and suspense, as the detective matches wits with some of his most formidable foes.

In addition to its thrilling plot and compelling characters, "The Hound of the Baskervilles" is also a meditation on themes such as inheritance, family legacy, and the power of superstition. As Holmes unravels the mystery surrounding the curse of the Baskervilles, he confronts the darker aspects of human nature and the destructive force of fear and superstition. Through the character of Dr. Watson, Doyle explores the role of reason and rationality in the face of irrational beliefs and irrational fears, ultimately affirming the triumph of logic and scientific inquiry over superstition and ignorance.

In conclusion, "The Hound of the Baskervilles" is a timeless classic that continues to enthrall readers with its blend of mystery, suspense, and gothic atmosphere. Doyle's masterful storytelling, vivid characterization, and atmospheric setting make this novel a must-read for fans of detective fiction and gothic literature alike. With its enduring popularity and universal appeal, "The Hound of the Baskervilles" stands as a testament to Arthur Conan Doyle's genius as a storyteller and his enduring contribution to the canon of English literature.

"The Hound of the Baskervilles" by Arthur Conan Doyle is available in Amazon in paperback 16.99$ and hardcover 22.99$ editions.

Number of pages: 272

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[the-crooked-library]

The Violence of Conformity: on Queerness, Shame, and Vampirism

As we all know, and as I feel I must express again - the metaphorical layers of Nosferatu (2024) consist of several complex, frequently intersecting social themes. Some of them, admittedly, exist a story or two below the surface-level discussions; but that makes them no less influential in regards to the primary plot, and they demand the viewer's exploration just the same.

This is especially true in regards to Eggers' approach to homoeroticism. Its presence within the film itself is unsurprising - implicit, or even explicit, expressions of queerness are a hallmark of gothic (and especially vampire) media. In the case of Nosferatu, this narrative vein provides an undercurrent to almost every aspect of the story; and, because I can't stop thinking about it, I'm making it everyone else's problem.

The Hutters are queer, biting is a metaphor, details under the cut.

To begin with, I must clarify that a queer reading of Nosferatu is not an external introduction. While that lens may be applied to any narrative, given a thorough enough discussion of gender roles, sexuality, and cultural context, it has always been a natural - if sometimes unspoken - component of gothic horror. Elements of it are observable in classics like Frankenstein (Shelley), The Picture of Dorian Gray (Wilde), and even detective fiction offshoots like The Hound of Baskervilles (Doyle), etc; and within the vampire subgenre, it is practically a requirement.

That, like many other things, may be ascribed to Lord Byron and his ever-enduring cultural legacy. In the year 1819, at the Villa Diodati in Switzerland, he challenged his illustrious group of friends to each write a ghost story; and while only two achieved any sort of prominence, that much was sufficient to alter the history of the horror genre. One of these was Mary Shelley's Frankenstein; the other was The Vampyre by Dr. Polidori.* As the title suggests, it was the first Western work of fiction that featured such a monster - and, in doing so, it set the blueprint for countless others to follow. Since then, the genre has been defined by the shape of the dark, hedonistic, and dangerous Lord Ruthven, who was unmistakably modelled after Byron himself.

As a character, Ruthven is confident, dominant, manipulative - and brooding, on occasion. His interpersonal approach is defined by a sort of hypnotizing, seductive, possessive, most certainly ill-advised allure. The overall impression is devilish; and that is indeed the point. Within the thematic framework of The Vampyre, Ruthven represents temptation of all kinds. He never hesitates to indulge himself; and so, once he is bored with cards and brothels, he has no qualms about fixating his appetites on Polidori's main character, Aubrey.

Their relationship is notably homoerotic. Despite - or, perhaps, even complemented by - Polidori's amateurish style, the text demonstrates a genuine, striking sensuality between them. In 1819, this easily fell in line with the rest of Lord Ruthven's characterization; and, following The Vampyre's a rapid rise to popularity, vampirism became a shorthand for any "sinful" - or, socially forbidden - sexual expression.

Given the numerous restrictions of the time, most of which persist today to a degree, this includes not merely abusive or incestuous, but also queer, interracial, and extramarital relations - as well as anything involving kink dynamics. From Ruthven, we get Carmilla (LeFanu), Dracula (Stoker + adaptations), and even relatively recent installments like Lestat (Rice).**

The premise of Nosferatu is no exception. One of the most famous cases of copyright infringement, and a triumphant testament to the historical/preservationist value of media piracy, Murnau's 1922 silent film survives - against explicit orders of the Stoker estate; and, being the literary bastard child of Dracula himself, Orlok maintains many of the same characteristics as his predecessor.

Among these is his implicit and classically vampiric queerness. Like the rest of the film, it is amplified in 2024 - and especially prominent in the first act, in which Thomas Hutter arrives to Orlok's castle.

It is evident from his earlier characterization that Thomas is a repressive type. More so than Aubrey or Jonathan Harker, he keeps his head down, obstinately ignoring the web of fears that shape his daily existence; and it is a monster's narrative duty to expose and realize every single one.

Granted, social circumstances do play a role in this situation. Aubrey has wealth and status; Jonathan Harker has friends and a stable, loving marriage; and Thomas Hutter has neither of those things. Without the benefit of money or community, he lives within a world that is almost as restrictive as Ellen's. His personality is defined by his similarly desperate desire for respect; and his behaviour throughout the film is informed by that underlying pattern. It manifests, most prominently, as a near-compulsive, yet formulaic, adherence to social expectations. He chases after a promotion, marries, gives his wife flowers she didn't want - and, in the same breath, dismisses her "childish fantasies", not out of any malicious intent, but simply because it is supposed to be his duty as a man and husband. It is a destructive cycle of indignity and overcompensation - and I believe it is essential to acknowledge that it's motivated, in great part, by his financial insecurity. As a self-described "pauper," Thomas is anxious to prove himself to his ruthless, unforgiving society - because if he does not, he runs a very real risk of losing even the few comforts he has managed to scrape together.

This threat of destitution is an act of violence. Implicitly, constantly, in consequence of daring to exist, Thomas is being held hostage - unless he conforms.

His sojourn at Orlok's castle is, therefore, peppered with evidence of his superstitions, his social class, and his weakness. Orlok - whom he eventually finds slumbering in the dungeon, the symbolic core of the building itself - is its culmination. What Thomas sees after opening the casket is a nude man, always and never dead, who is trying to take away his wife and imprison him, like a damsel, in a castle. He is horrified; and the implication is blatant. In context with everything else, the deeply sensual, lingering brutality of Orlok's attack is symbolic of the one last thing that Thomas is repressing - and has been for so long that facing it is unthinkable. Still, he can do nothing to resist Orlok - who pushes him to annul his heterosexual marriage, subdues him, bites him; and drinks from him, night after night.

Even during daylight, Thomas fails to destroy his tormentor. In the story sense, he cannot do it because Orlok is a vampire; on the symbolic level, we understand that he cannot kill his own nature.

It goes without saying that this experience is violent; it is both grotesque and shockingly, blatantly lewd. It is traumatic. It is euphoric. It is a form of sexual assault, as far as the biting - a naturally penetrative act - is concerned; and, crucially, it is also Thomas' own repressed desire forcing him to know it. His fear and self-disgust are made flesh in Orlok. Unwanted Desire versus Unwanted Advances; it is a classic gothic paradox - and, in the end, he is unable to accept it. He flees, back to Ellen and the familiar comfort of repression.

Curiously, Ellen herself - who is also distinctly queercoded - presents a depiction of an alternate path.

Like Thomas, she begins the film rigidly repressed and doing her utmost to conform to the established heterosexual social standards. The most prominent factors behind Ellen's oppression are ableism and misogyny - both rooted in things she cannot possibly hide. Her seizures are extremely noticeable to say the least, her neurodivergence affects every conversation she has with the people around her, and all of them perceive her as a woman first and a person never. As the film goes on, it becomes increasingly clear that this emulation of a happy marriage requires constant and agonizing effort to sustain; but while she is also blatantly queercoded, and this queerness definitely contributes to the way she is treated (e.g. by Harding, who views her as a threat to his own marriage), her struggle in maintaining her union with Thomas is not necessarily rooted in a lack of sexual attraction.

The issue is, rather, its "inappropriate" manifestation. Ellen is sexually dominant. Her desires are carnal (and, as the original script implies, mildly sadistic). In a society that expects women to be both innocent and submissive, limits their financial opportunities, and threatens the nonconforming with institutionalization or abandonment, she is caged.

Unlike Thomas, she is aware of that and resents it accordingly - which is not to say that she doesn't feel overwhelming guilt in regards to her sexual inclinations. She absolutely does; and it is interesting to note here that her own pain, in this case, manifests as attacks on her husband and Anna.

This is the part of the story that actively deals with Ellen's queerness. It is evident that she has lived her entire life with the idea that such feelings themselves are sinful; her desires are already unacceptable, even within the sanctity of a heterosexual marriage - thus, actively pursuing another woman would be monstrous. In this interaction, however subtle or unspoken (and, on Anna's part, likely unrecognized), Ellen perceives herself as an aggressor. This is the reason her friend is attacked directly after they share a private, tender moment together - true to the classic gothic vampire tradition, Orlok is, consistently, the direct manifestation of Ellen's shame. He drinks from Anna's breast (the characteristic bite notably favoured by Carmilla - the original lesbian vampire); he destroys the Hardings' perfect nuclear family; and Friedrich Harding blames Ellen and her "fairy ways." Symbolically, their suffering is her punishment - both for feeling a brief moment of queer affection (guilt, fear - direct, setting-driven), and for refusing to indulge it (self-acceptance, rebellion - metaphorical, represented by Orlok).

Still, despite her fear and guilt, Ellen knows that she has done nothing wrong by following her "nature." Her queerness is inherent to her - much like her disability, or her psychic gift; and it is no accident that, among the human characters, the latter is only truly identified by the remarkably eccentric, disgraced, flamboyant, cat-loving, unmarried, bohemian Von Franz. Even though he might be better-adjusted to their surrounding society than her, he still decidedly exists on its outskirts. There is a familiarity of recognition between them, as well as the particular dynamic of a fresh and uncertain fear vs a resigned bitterness that alludes to an interaction between two different queer generations. Even as he is unable to promise her a happy ending, he confirms that she was meant for greater things than the world around them would allow; and that, in my opinion, marks a turning point.

Prior to her conversation with Von Franz, the only validation Ellen has ever received was from Orlok - which posed a moral complication. He was and is a monster, and as such, she believed him to be, fundamentally, a "deceiver." Because of this, she could not bring herself to entirely accept what he was saying; but, conveniently, Von Franz provides an alternate opinion. He stresses that her gift is not only powerful, natural, and inevitable, but also inherently beautiful and sacred.

This is a drastic shift from the way Ellen is normally perceived by humanity. The story consistently demonstrates that the other characters dismiss, infantilize, or condemn her out of turn; however, in this new philosophical context, her night of passion with Orlok - or, the city's only hope for salvation - becomes a supremely important, adult, and holy act. In a spiritual sense, it is equivalent to a marriage; and the film frames it as such.

Like a father, Von Franz gives her away. Despite his well-established monstrosity, Orlok is tender with her to the point of reverence; and she pulls him close - as unnecessary or selfish as that may be. It is, after all, a metaphor. By embracing the Vampire, Ellen embraces the physical representation of everything she had once considered ugly in herself. In regards to her queerness (as well as her psychic power/neurodivergence/disability/personhood), it is a triumphant moment of self-acceptance.

Ellen's arc therefore ends in sublimation. Meanwhile, Thomas is left behind; over the course of the film, he has been unable to let go of the structures that have directed his thinking and behaviour throughout his life - and yet, at the same time, he has also seen them fail, over and over. Knock betrays him, Sievers is out of his depth; Thomas himself cannot be a hero, and Harding - his glittering ideal - crumbles, consumed by grief and madness. The finale, therefore, leaves him on a precipice.

It is a classic moment of deliberation - epitomized, perhaps, by The Matrix (Wachowski Sisters, 1999), in its iconic "red pill/blue pill" scene. As much as the interpretation of it has been twisted over the years, the fundamental, intentional meaning of it is inherently queer; it is about weighing the danger and value of awareness against the meaningless bliss of ignorance. These narrative points are most frequently framed as a beginning - but for Thomas, that is how the movie ends.

He could return to the prison of his daily existence, repress everything he truly feels once more, and suffocate himself in a stranger's life. Before him, Ellen and Orlok depart into a "sea of fog" - an unknown, terrifying, beautiful alternative. It is a promise of freedom and a guarantee of struggle. He sees an example of what he could become, in them and in Von Franz. Their society - and ours, to a degree - is unforgiving of deviation, yes, but the story has also forced him to recognize that acquiescence is not the only option; nor is it actually enough to protect him or his loved ones. Within an oppressive society, safety is always subject to an implicit transaction; and as the finale of Nosferatu makes painfully clear - Orlok may have been in covenant with the Devil, but Harding is the one who sold his soul. The question, now, is whether or not Thomas can bring himself to ignore that.

I know what I would personally wish for him - a full and vibrant life, somewhere on the edges of polite society, that allows him to delve into the eccentricities he never knew he had. He could get into the occult himself; maybe even meet a dashing vampire hunter who would sweep him off his feet and shock his lingering sensibilities every morning (and if the man's a cowboy, even better). However, the point is that we do not know what he will do or what will happen. A life is always in flux. Regardless of our circumstances, there are still a few things we get to choose for ourselves, and a precipice is also sometimes an opportunity for a leap of faith.

I hope, most affectionately, that Thomas Hutter jumps off a cliff.

*POLIDORI - Dr. John William Polidori, who may indeed be considered the creator of the modern vampire genre, graduated from Ampleforth College in 1815 with a thesis on sleepwalking. It's not exactly relevant; but, in the context of Nosferatu, rather apt. I would've really liked to see his thoughts on it, seeing as it's such a perfect intersection.

**LESTAT - being blond, Lestat does stand out from the primary archetype in the visual sense; but the current discussion is more in the realm of personality.

[being-of-rain]

I made my post about Anachrophobia, now for the second EDA I read on my recent trip. This one I basically read cover-to-cover during my 21 hours of flying home.

Trading Futures was one of the books I knew practically nothing about going in. I was a little apprehensive due to Lance Parkin's name on the cover, who can be hit-or-miss... and I think in his novels he tends to do both. So on average my opinion on this one is pretty meh.

The book's cover conveyed its vibe to me accurately: it's a James Bond/superspy homage. There's pros and cons to this. On the upside, this means Lance Parkin gets to indulge in action scenes, and I think they're perhaps the strongest parts of his books. In the Doctor's first scene he infiltrates and blows up a stealth boat full of spies (without killing anyone), and it's a fun read. It perhaps felt slightly silly when the action mixed with Parkin's sometimes awkward desire to make the Doctor the coolest guy in the world. I'm thinking specifically of the scene where the Doctor was repeatedly shooting incoming sniper bullets out of the air with a handgun. But in the end I forgive that; I think James Bond needs a bit of silliness to be tolerable.

On the downside... well, the feminine outlines on the cover give it away. The book insists on using fairly sexist and racist descriptors and attitudes for women. Just doing this to establish a character's attitudes I'd understand, but it was a consistent enough thing throughout the book that it really felt like Parkin just preferred writing like that. I'd rather we didn't do a James Bond homage at all if that part of its legacy is going to carry over. Overall it gave an uncomfortable old-fashioned vibe to a book that flaunted the fact that it was set in the near future. That's perhaps not as unrealistic as I'd like it to be, but it certainly doesn't help make for an enjoyable reading experience.

In a partly related issue, I wasn't a fan of the characterisation of the companions in Trading Futures. Both Fitz and Anji felt flanderised- the former as lecherous and dumb, the latter as selfish and ruthless. Those are all traits that have been in the characters before, and here they weren't quite used to the point of the characters being actively unlikable (most of the time), but it still felt like they were being flattened into caricatures. Anji spent some time trying to save her boyfriend, which I thought was a now-13-novel-old plot thread that I thought had been finally laid to rest a few books ago in Hope (which might be my gold standard for characterising this Tardis team by the way). And I've spoken to some EDA fans who were well and truly put off this book when Fitz is casually racist to Anji in his first scene, which is another thing that felt wildly out of place 13 books into their relationship. Both characters felt harshly depicted and occasionally out of character, not helped when they occasionally did things purely because the plot demanded it.

Now for something else that I actually liked about the book. I enjoyed the premise of several different parties all mixed up in the same business, none quite having the full picture. It's always funny when several intelligence agencies are all trying to figure out who the Doctor works for and what his deal is. Long-standing British agent Cosgrove and mystery man Baskerville both made for good antagonists. The aliens who got involved were less interesting, but did help to spice things up for everyone else. The time travellers working for Sabbath felt slightly surplus to the plot, but I'm glad they're trying to keep Sabbath relevant. I was worried he'd just be forgotten about until the next arc book. I liked his cameo and off-screen activities in this book more than in the last one, but I really would love another major appearance by him soon.

Trading Future's plot did disappoint me at the end though. Or perhaps it was more the execution of the plot. When all of the characters finally arrived in one location, plot threads were explained and concluded so quickly in scenes that went by so rapidly that none of it was super satisfying to me. A big twist which had been heavily foreshadowed halfway through and felt like it should've been fully revealed not long after as a turning point was instead dragged out to be one of the things to be quickly addressed and dismissed in the last chapter. I suppose that delayed non-twist was one thing the novel sort of had in common with Anacrhophobia. Another thing is a desire to discuss Anji's views of capitalism; something that's getting a little tired if writers don't do anything more with it.

One of the last things I have to say about the book is that it felt slightly bloodthirsty and callous about death. Not a lot, not more than some shows I've seen these days, but when a major child character gets killed rather brutally which the Doctor really could've prevented and then he and his death are never alluded to again, it just feels kinda weird.

Anything else I have to say? Oh yeah, Fitz has a private conversation with the TARDIS early on, which is a sweet moment and easily his best characterisation in the novel. Overall, a book with a fun, action-packed premise and plot which is weighed down by iffy language and attitudes, bad characterisation, and a rushed ending.

[yakool-foolio]

Okay nevermind, turns out the silly guy can be a murderer. Lightning struck me twice. Matt is still my favorite goofy n secretive evildoer though, so Shamspeare has lost two fights now.

AH WAIT OLIVE DID IT NOOOOOOOOO IT MAKES SENSE BUT NOOOOOOOOO! SHE WAS SO SWEET I DIDN'T THINK SHE WOULD TRY TO KILL ANYONE! Now I'm two for two on wrong predictions for this case, aw dang it...

Olive became so frustrated that her fiancé's death was nothing more than a tall tale. The public turned away from the dreadful truth of the murders of real people who once walked among them. Olive refused to let her lover's legacy be known as a fantasy. Reality can be far more brutal than fiction.

The sillies are fighting! And yay Sholmes n Van Zieks are finally interacting, about time! The potential of their dynamic intrigues me so.

Ahhh so the 'Hound of the Baskervilles' is to be taken literally. That collar must be for a huge dog. Aaaaaaaaaand now Sholmes is freaking out cause it's definitely directly linked to the story Iris wrote that he wanted her to not publish.

End of case 2! Honestly this case was a step up from all of TGAA1's cases in my opinion. The return to the standard pacing of investigations n trials plays heavily into its favor. While I appreciate them trying different formulas, they really struck gold with how to pace cases once they settled into consistent two-day time period in the mainline games. The case-exclusive characters are a lot more fleshed out and memorable because of this!

And tomorrow night, we'll be moving on to case 3: The Return Of The Great Departed Soul! Wait a minute... Great Departed... Great Departure... Oh. OH.

[potatosaresweet]

lacie baskerville's tainted legacy

lacie's tragedy in pandora hearts is the way her memory is treated by the characters in the story. Jack, who claims to love her, never really saw her as an individual, a person seperate from him, she was merely the girl who made him feel alive and he kept trying to find her, to get close to her, so that he would be able to feel something even if that something was his hatred for her. Love disguised as hatred. Lacie, despite seeing the world at its ugliest, despite being rejected by it, still loved it will all her heart amd what did jack do? Try to bring that world to her, tried to destroy it pulling it into the abyss so she would have the world she loved so close to her, deliberately ignoring that this is not what lacie would've wanted. I actually doubt he knew her well enough to understand that. Oswald thought thaf going back in time and killing his own sister would be able to fix everything and despite being unable to do it at the end, it still read like him indirectly blaming her for everything. Levi used her for his experiment, not really caring about her imminent death or her feelings in that, the exoeriment and the daughters she would soon give birth to. The daughters that never even met their mother. Lacie didnt get to hold her kids. Kids she had no choice when it came to bringing them into the world(need i remind you that baskervilles are physically incapable of saying no to glen's requests) but loved them nontheless. Love them enough to wish for oz to protect them. Lacie was treated cruely in life and even worse in death, and still bore no hatred for this world. She just wanted her daughters and brother to be safe.

[tiredgamergirl]

It has been years since Sherlock Holmes have been missing and a young lady who presents herself as Ms. Holmes have been making the rounds. And once again there has been sightings of an unnatural hound threatening the Baskervilles. Who could be behind these attacks? What they want? Or perhaps the legend is true?

Elephant Games is a rather prolific game developer with twenty years of experience focused on Hidden Objects for years with many different series, like the Grim Tales, Chimeras, and Detective United. So how did their foray into the world’s greatest detective's legacy go?

The idea of mixing a Hidden Object Game with a detective story is one that makes sense all things considered; most of Sherlock Holmes and other private investigators stories focus on attention to detail, to notice things that others would overlook and put into a context. This is why detective stories are so popular among these games and some of Ms. Holmes’ scenes have elements of interactions to contextualize it; it isn’t just about finding the object but solving small puzzles in order to keep continuing the investigation. An elegant solution to integrate the story with the gameplay without taking the player from it.

The inventory is also used in smart ways: not everything has a key, and sometimes a well-placed feminine charm will do. Or a rock. It is always intuitive, there aren’t any leaps of logic that require the moon logic of the old adventure games and the fact that the chapters are self-contained and have a few screens makes the pace brisk and agile, without the padding that some games can have. The mini-games and puzzles also make sense in the context and there are even fighting scenes with Candy Crush mechanics to shake things up and other varied types that keep the player engaged at some points there is a mini-logic game similar to the Frogwares’ Sherlock Holmes or Blazing Griffin’s Hercule Poirot titles that also works as a small summary or catch up that helps if the player isn’t too sure where the story is going.

Visually speaking, everything is very high quality with a very solid art direction. Some titles can get busy at times, or straining to look at, but everything in this game do look amazing and pleasing to look at, the cool colors helping with a cozy but somewhat mysterious atmosphere. The sound design is also very efficient, with background music that enhances the atmosphere without being too intrusive and the sound effects are also enjoyable.

The bonus game follows what happens with another character in the game, but mentioning it would be spoilers. It gives some extra information that compliments the main story.

While I think the final plot twist might be a little “out there” for people looking for an experience closer to the source material, it is still an enjoyable title that could be worth your time.

[themaresnest-dumblr]

Yes, unfortunately places like Pluckley attract utter bumnuggets like this nowdays thanks to the internet and everyone either wanting their fifteen seconds of game, or being willing to scrap any old barrel for attention. We live sadly in a shameless age. Pluckley is one of England's nicest villages, the setting of H E Bates' Larkin family sagas (although he never lived there), and the matter of its plethora of ghosts was always regarded as little more than a shrugged shoulder coincidence (Prestbury in equally sleepy Gloucestershire has much the same supernatural issues ...). Then this book came along:

Carey Miller's 'Mysteries Of The Unknown' hardback probably did more than any other to kickstart interest in ghosts again in a new generation of youngsters - which by the 1970s were regarded as very passé thanks to everything from Scooby Doo to the Amityville fiasco (all faked, and brilliantly lampooned by Hammer Horror's 'The House That Bled To Death'). Carey also did booklets for the British Museum, but this remains her lasting legacy (granted, the ghosts section was more Christopher Maynard's work). It included a two page spread on Pluckley, and its ghosts. As an advert for a future generation of paranormal enthusiasts, it was never bettered. It also brought a whole new generation back to familiarity with this up until then largely forgotten British cultural icon:

Black Shuck, the original and the very best Black Dog - a particularly British Isles type of ghost of a large generally itinerant hound roaming over a set area handing out generous amounts of whoop ass ...) who inspired The Hound Of The Baskervilles and whose 'brother', Padfoot, had his name ripped off by J K Rowling. If you are wondering why he had just one eye, the answer is simple - he's the giant war hound of the Norse supreme god Odin, who of course sacrificed one of his eyes in return for drinking from the well of All Wisdom.

Now, of course, Norse Gods sometimes would turn themselves into human beings or creatures in order to interact with the world more directly. Was Black Shuck really a Norse God rather than a ghost? Who knows? But his rather famous smashing up of St Mary's Church in Bungay and the nearby medieval cathedral of the Fens in Blythburgh in the 16th century showed he didn't like Christianity very much, which considering the intolerant manner the Norse gods and belief systems were treated by the Christian church was perhaps understandable.

And it certainly made our day this week when Norfolk's very own ASBO woof woof got the ultimate accolade of a Royal Mail stamp.

Certainly makes up for that stupid song by The Darkness about him ... long overdue that Norfolk's own Let's Eat Grandma did something about his nibs, who will be haunting those Norfolk bays long after they and the rest of us have gone as he's done for the last thousand years ...

[siminspires]

Baskerville: Gabrielli Round 4

[peresephoknee]

something so funny in that game of shadows says that moriarty is responsible for what will become the First World War and that he’s trying to destroy western civilisation. it’s like. I’m a recent reader of the holmes stories so forgive me if this is a misread but the mysteries are so much smaller in the short stories. like. hound of the Baskervilles created the murder-on-an-aristocrat’s-estate sub genre of murder-mysteries but it’s just one guy deciding he wanted to steal an inheritance. the holmes stories are so much smaller than the shadow that the character himself cast over popular culture and I wonder if the grandiosity of contemporary adaptations are trying to match that towering legacy than actually create a compelling mystery story of the sort that made holmes an icon to begin with.

[bucolicbook]

The Company: The Chilling, Gothic Thriller by J.M. Varese

US pub date - 9/10/24

Lucy is a strong and resilient MFC who’s trying to keep her family together, and brother in good health to run their family’s legacy business - wallpaper colored with arsenic - afloat after the deaths of her father and his business partner (I won’t go any further into the synopsis).

The Company is a wonderfully written and compulsively readable Gothic thriller that pulled me in right away as it set the stage for atmosphere and the paranormal. 

The not-so-good (for me) - 

*Lucy was the only notable character, the others fade into the background 

*I found the ending anticlimactic 

Despite the not-so-good aspects, I couldn’t stop reading. 

Thank you to Baskerville and NetGalley for the DRC 

[pavo-dence]

i had some more thoughts to make my case about my choices further HAHHAHAHAH i had a lot of fun with this can you tell

- iris’ roselia also shows her having yet to bloom to her full potential, reflects the mobius strip/infinity design in her hair that shows her infinite potential

- susato would have a male gardevoir to show her stint as ryutaro, her complicated relationship with gender and how she presents herself

- kazuma would have a female gallade (idc that they are male only, i can do whatever i want in my head) reflecting his progressive views seen in his speech in the original japanese (social equality regardless of gender, invokes men and women of lower classes to essentially unionise)

- barghest inspo for hound of the baskervilles ties in with yorkshire terriers (yorkshire having lots of folklore about the barghest), a design element seen in stoutland, implicating both sholmes and mikotoba’s involvement in iris’ manuscript

- ACD was born in scotland, where scottish terriers are also from, which has design elements reflected in stoutland

- iris’ galarian rapidash is also reflective of her inventions which pack quite a punch (said to punch a hole through metal,,,, like a certain genius’ invention the cat flap-o-mat perhaps)

- pancham shows gina’s desire to be taken seriously in a world of adults who do not listen to or trust her, i think having gregson with a pangoro would not only emphasize their mentor/mentee relationship but also show how they butt heads quite a lot (pangoro naturally picks fights with obstagoon)

- bonsly and lillipup being traded before mikotoba leaves for japan again is symbolic of their influences towards each other, and bonsly’s characteristic crybaby/toddler appearance signifies the child mikotoba left in sholmes’ care, i like to think sudowoodo is quite close and protective of iris as a result bc they essentially grew up together

- susato has a full team upon reaching britain bc she’s more well equipped (knows british law, culture, affinity with pop culture in the form of detective novels, intended to act as a judicial assistant) while ryunosuke catches/befriends a galarian darumaka upon entry to symbolise the start of his journey

- klint would have an accelgor as a result of the trade with barok, which shows his openness to camaraderie with the japanese exchange students (a pokemon with ninja-like movements), shady dealings (seen by the coverings which replace the knight armour from shelmet) and leaving his legacy to barok which also acts as somewhat of a burden (knight armour acquired by his escavalier)

- the escavalier is a culmination of barok wanting to uphold his brother’s noble intentions, but also haunts him after klint’s passing and leaves him thinking he has big shoes to fill in terms of his duties as a prosecutor

i got bored and decided to make pokemon teams for them, i'll explain my reasoning under the cut since it's gonna get lengthy lmao

i did this either off of vibes, motifs, story arcs or whatever i thought would suit them well if anyone has any other ideas about them i'd love to read them in the replies or tags!

RYUNOSUKE NARUHODO

Galarian Darumaka - His daruma is one of the few possessions of his that isn't inherited from Kazuma, and I like the Galarian form symbolising his entry to the UK

Shinx - The most Chuunosuke Pokemon ever, it's literally blue and has the flower pattern on its ears

Kingdra - A dragon like in his name, I also liked the idea of 221B family each having a Pokemon that represented an animal in the UK coat of arms, the counterpart to this would be the Welsh dragon, it's also blue which is his colour and matches his aquarium hobby

Clawitzer - His shrimp-keeping hobby is an endearing detail about him so I think he would get a Clauncher and just take care of it really well

Hisuian Decidueye - I liked the Japanese characters having distinctly Hisuian Pokemon, and his archery hobby suits Decidueye

Donphan - This is one of the few I kind of picked based on typing, I liked the idea of him having a Phanpy and it evolving when he steels his resolve, gaining armour when it becomes a Donphan, it's also Ground-type which is strong against Sneasler which I consider Kazuma's signature Pokemon

SUSATO MIKOTOBA

Cherrim - Matches the Mikotoba family crest, I like to think this was Yujin's Cherrim and he gave it to her upon his return from Britain

Lopunny - Matches Usato, this would initially be a Buneary and evolve when she returns to the UK to show her growth after having gone through a trial as a lawyer herself, it's also got fighting spirit like her

Gardevoir - A graceful Pokemon, I thought it suited the yamato nadeshiko archetype her character is based off, parallels Kazuma's Gallade showing their familial connection

Sinistcha - I like the idea of regional variants allowing her and Iris to bond quickly, she also mentions preparing Japanese tea when her and Ryunosuke start feeling a bit homesick if I remember correctly

Sawsbuck - It's spring and summer forms suit her well (cherry blossoms and tea leaves), it's counterpart in the coat of arms would be the Irish elk

Throh - Shows her prowess for Judo

Honorable mention: Froslass (same reason as Gardevoir)

KAZUMA ASOGI

Galarian Yamask - Represents his vengeful spirit, the face it carries thought to be it's previous life kind of suits Kazuma's story of resurrection and matches his time as the masked disciple quite well

Aegislash - Sword

Talonflame - Fiery passion, suits his colour scheme and kind of embodies his hachimaki flying behind him lmao

Gallade - Parallels Susato's Gardevoir, showing their familial bond, a warrior Pokemon

Sneasler - Type weakness to Ryunosuke's Donphan which embodies his resolve triumphing over Kazuma's need for vengeance/justice, a Hisuian Pokemon showing his roots (reflected in his leitmotif) and it's a cat like Nyasogi

Serperior - The Asogi crest and it's more Asian design compared to other snake Pokemon suits him well I think

Honorable mention: Seviper (matches his colour scheme, snake motif), Shedinja (resurrection)

HERLOCK SHOLMES

Klinklang - Represents his cog imagery, shows his passion for invention and machinery

Lucario - Boxing background, it's ability to sense auras make it quite the handy partner when conducting investigations

Rotom - Represents his modernity, it's also cheeky and mischievous which suits him

Litleo - Counterpart to the English lion in the coat of arms, it's not Pyroar because I think Pyroar is kinda ugly, but also a baby Pokemon makes him appear more father-like, it's also emblematic of his allegiance to the Queen

Sudowoodo - Bonsly received as a trade with Yujin, symbolises their cultural exchange and his penchant for disguises

Azumarill - Deceptively silly, kind of OP, representative of Hareley (a blue bunny hehe)

IRIS WILSON

Galarian Rapidash - Counterpart to the Scottish Unicorn, it also suits her colours

Polteageist - Showcases her love of tea and a regional variant that allows her to bond with Susato quickly

Sylveon - I wanted a Wagahai proxy but none of the cat Pokemon really suited her so I thought an Eevee that evolved to Sylveon would be the next best thing, it also suits her colour scheme

Stufful - Bearis representation, a Bewear would suit her older self quite well I think, it's cute but deadly like her inventions

Roselia - Her love for gardening, it's not Roserade because she's still young, also represents her flower motif courtesy of her name

Chansey - A healer Pokemon, represents her medical background due to idolising her "father"

BAROK VAN ZIEKS

Dusknoir - Said to guide spirits, matches the moniker of the Reaper, it also just suits his scary image

Noivern - Shows his love for bats and the vampire motifs incorporated into his design, I thought this suited him best because it's the most imposing of all the bat Pokemon imo

Escavalier - I like to think him and Klint traded Karrablast and Shelmet, the resulting Escavalier kind of symbolises the legacy he inherits after Klint's passing, a reminder of his duty from his brother and shows his allegiance to the Queen with the knight elements

Chandelure - Gothic, and suits his aristocratic background

Sirfetch'd - A swordsman/knight figure, shows his loyalty to his country

Umbreon - Hints at his familial connection to Iris, matches her Sylveon, Nyanzieks representative since none of the cat Pokemon seemed to suit him either to me

Honorable mentions: Gliscor and Crobat

YUJIN MIKOTOBA

Mr. Rime - A tap-dancing Pokemon, it also looks like him, matches his colour scheme and represents his journey to Britain, it's quite perfect for him lmao

Eldegoss - A flower Pokemon to mirror Susato/their family crest, it has healing properties which match his medical background

Stoutland - Received as a Lillipup from a trade with Sholmes, it has elements of a Yorkshire and Scottish Terrier which kind of represents the cultural exchange, it's also said to be a trustworthy partner and a rescuing Pokemon which suits him well, "My good man, you resemble each other so closely now! HA HA HA!"

Audino - A healer Pokemon, it has good hearing which is extra useful whether in his investigative work or as a doctor

Hisuian Samurott - suits his colour scheme, showcases his Japanese roots, moustache

Chimecho - A musical Pokemon, distinctly Japanese in origin, resembles a "miko" (shrine maiden) which is phonetically similar to his last name haha

I know this looks like I just gave him every Pokemon with a moustache but aside from Stoutland this was not intentional lmao, it just happened

GINA LESTRADE

Whimsicott - A prankster Pokemon that likes mischief, it suits her colour scheme really well lmao

Thievul - Quite obvious, matches her penchant for pickpocketing

Pancham - A scrappy Pokemon, I think her and the Pancham would do the same haughty pose and it also represents her rough upbringing

Obstagoon - Another scrappy Pokemon, I like to think she sends it out to stall when she's getting chased for pickpocketing, and later when she joins Scotland Yard she uses it for stopping criminals

Togedemaru - Representative of Hedgina, it's quite cute and kind of shows her innocence despite her prickly first impression

Maschiff - A stand-in for Toby, I can see it jumping Ryunosuke and scaring him like in the story, and I like to think Gregson is fond of it in the same way a dad who was against a pet starts being endeared towards it lmao