#but i do suspect it will be similar to jinki in that it's a performance that he keeps separate from himself

[sanstropfremir]

i've been thinking abt that ask where you said artistry and celebrity are mutually exclusive and how key straddles that, i think the difference is that he understands fame not as a byproduct of his work but as the foundation and raison d'etre; he treats being a celebrity as a privilege and a responsibility and has been like that practically since debut. whereas the rest of shinee wore fame like an ill fitting coat until they found their own ways of dealing with it (cont)

most obviously with taemin's entire discography but also with how minho and jinki have perfected the balance of being very open and straightforward while still clearly delineating their work from their personal lives. and jjong going the other way and leaning into the communicative, relationship-building aspect of his art. idk if this makes sense but it's interesting how besides key, who i think is pm the same in solo vs shinee, they pick and choose what aspects to show as a group

yes i agree. he's one of the few people that understands celebrity as the basis for the work that he does and you're absolutely right, he treats it with responsibility and reverence. he has kept relatively the same persona because he knew celebrity was what he wanted and knew and was prepared to do what it takes. a lot of people go into being an idol with the vague goal of wanting to be famous, but most people never reach a place of significant fame and even when they do, very few people are actually equipped to deal with it in a healthy way. bad love has his relationship with celebrity at the core of it and i find it such an interesting exploration that's very different from how taemin and jjong have approached the same topic in their work.

being in a group requires different energies than doing solo work does. being solo exposes your flaws and also exposes you if you aren't prepared for it, but in a group you can lean on each other to cover those up. and imo they all lean into this hard; in shinee they are so so confident and everything they do is built on their strengths, but all of them as solo artists are much more vulnerable. on purpose, i might add. they use their solo endeavours to tackle things that they feel like they want to improve, or that they want to talk about but are more sensitive/unsuitable topics for 'shinee' to touch on. minho and jinki both focussed more on skill improvement and expectation shattering, if that turn of phrase makes sense, taemin does (waves hand at my entire blog), jjong covered a very wide array of topics, and key touched on the melancholy and loneliness of self and celebrity with bad love.

[pixelgrotto]

The deductive point ‘n click escapades of a forgotten southern belle  Adventure games of the point ‘n click variety are a genre that tend to feature female protagonists more often than others. Why this is the case, I’m not entirely sure - it might have something to do with the stereotype that women are more patient, more willing to read and perhaps better at solving puzzles than men. Or, perhaps legendary adventure game designer Roberta Williams’ influence still holds strong, at least on a subconscious level in the minds of designers, over the genre that she helped nourish in the 80s and 90s, and the heroines of today’s games are merely following in the footsteps of fine women that preceded them, like Rosella of Daventry in King’s Quest IV.  Whatever the reason, despite there being quite a few point ‘n clickers popping up these days with engaging female protagonists (Kathy Rain is one that I played early this year and enjoyed), there’s a 1920s southern belle who probably deserved a long-lasting series but only got two games which are somewhat overlooked these days. Her name is Laura Bow, and she served as the protagonist of two Sierra titles that were released in 1989 and 1992 - The Colonel’s Bequest and The Dagger of Amon Ra. 

Laura seems to have been specifically patterned after famous silent film actress Clara Bow, but at her heart she’s more like a slightly older version of Nancy Drew, and her two games embody Nancy’s fine tradition of mystery solving. The Colonel’s Bequest takes place on a private island in the bayous of New Orleans as Laura accompanies a friend and fellow Tulane University student for a weekend getaway at the manor of her uncle, Colonel Dijon. The old man is bequeathing his fortune to relatives and has invited a motley assortment of characters right out of an Agatha Christie paperback - the drunk aunt, the conceited Hollywood starlet, the perverted doctor who seems to have a thing for betting on the ponies - and a la Clue, bodies start piling up as the relatives presumably begin offing themselves in order to get Dijon’s fortune first. 

I mentioned Roberta Williams previously, and The Colonel’s Bequest was actually designed by her as one of those rare side projects that didn’t feature the words “King’s” and “Quest” in the title. (Hm, I suppose it’s called The Colonel’s Bequest, so scratch that.) It’s always hard to tell how much Roberta was involved in non-King’s Quest projects - The Dagger of Amon Ra, for instance, was directed by Bruce Balfour despite featuring her name on the box - but I’d wager that she intended The Colonel’s Bequest to be a spiritual remake of her very first adventure game (and indeed, the first graphical adventure game ever), Mystery House. Mystery House featured a similar murder plot, and The Colonel’s Bequest takes this concept and evolves it, offering a unique structure where there aren’t really any puzzles to solve but instead “scenes” to witness. The entire game is structured like a play - there’s even a cast curtain call in the beginning - and Laura is encouraged to spend as much time as possible talking with the potential murder suspects and finding unique ways to eavesdrop on them. 

The game’s manual makes a huge deal about this emphasis on observing the story and slowly figuring out the links between characters in an effort to deduce the killer, and we can look at Johnny L. Wilson’s 1990 review of the game in Computer Gaming World as an example of how this approach was seen as admirable, fresh and also a bit risky at the time. Don’t let the fact that there aren’t many puzzles fool you into thinking that The Colonel’s Bequest is easy, though - it’s just as tough as Sierra’s other adventures with just as many nonsensical ways to die, and the unique structure where certain events and conversations are “timed” (indicated on screen by a clock) means that sometimes you’ll be wandering around aimlessly searching for the next thing to do, or possibly miss out on vital bits of info because you weren’t at the right place at the right time. It’s a little like The Last Express, only less refined. 

Luckily, the game’s great atmosphere makes up for any shortcomings that its boldly unorthodox but occasionally clunky design creates. This is one of the best 16 color titles that Sierra produced with their SC10 engine, and the soundtrack is packed with jazzy songs influenced by the Roaring Twenties with just enough sense to know when to be quiet as well. As you navigate Laura across the silent grounds of the mansion in the dead of night, wondering where the killer might be, it’s very possible to get shaken by the sound of lightning bursting in the background, and I can certainly imagine young players in 1989 jumping out of their skin when they encountered such moments.

Laura’s next outing, The Dagger of Amon Ra, trades the dark island setting for the Egyptology craze of the 20s, and loses a little bit in the process but makes up for it with 256 colors, rotoscoped animations (which are darn smooth but cause character sprites to be a bit muddy, unfortunately) and an even catchier selection of jazz tunes, including an amusing vocal track called “The Archaeologist Song.” Oh, and the CD version is a “talkie” game, with performances that range from kinda terrible (Sierra was still having their employees voice these games at the time instead of hiring actors) to excellent (Laura’s got a cute southern accent and the narrator’s voice is heavenly).  

The plot revolves around the titular Dagger of Amon Ra, an Egyptian artifact that’s been stolen from a New York City museum. Laura, now a fresh grad from Tulane and in the middle of her first journalism assignment at an NYC paper, has to navigate the mean streets of Manhattan, infiltrate a speakeasy and chat with a mildly racist caricature of a Chinese laundromat owner before getting into the museum, where she once again encounters a wide cast of characters, from the stuck up British twat who removed the dagger from Egypt to the nutty countess, who is possibly engaged in some mild robbery efforts around the museum when nobody’s looking. People start dying pretty soon (and their death scenes are grand - check out this poor SOB who got decapitated and stuck with a Perodactyl beak) and while the beginning section of the game outside of the museum is more like a traditional point ‘n click affair, once you’re locked inside the building after the first murder, everything becomes reminiscent of The Colonel’s Bequest. You’ve got to meander about, hope you bumble upon the right conversations and try your best to piece together clues before the murderer suddenly starts chasing you during the game’s second-to-last chapter. 

The Dagger of Amon Ra kind of stumbles in its execution of this form of gameplay more than its predecessor, because all the chapters of museum exploration feel terribly disjointed even more than walking around Colonel Dijon’s mansion did. Also, the character motivations are unclear, which is a problem in a mystery game - especially one where the entire final chapter actually involves Laura being quizzed by the coroner in an annoying game of 20 Questions as to the identity and motives of the killer! If you slip up once during this finale, you’ll get the bad ending, which involves the killer finding Laura’s apartment and GUNNING HER IN HER SLEEP, jinkies. And even if you succeed and get the good ending, which sees Laura writing her first award-winning expose on the theft and hooking up with putzy love interest Steve Dorian, it’s still quite impossible to discern the killer’s motives and why he went about his nefarious deeds, because The Dagger of Amon Ra just...doesn’t explain things. I’m not the only one who had trouble figuring it out - The Adventure Gamer blog wrote up a fantastic series of posts about this game and came to the same confused reaction as I did. 

Both Laura Bow adventures come from an older time where it was common to take notes as you went through a game, so perhaps my puzzlement at The Dagger of Amon Ra’s ending is due to my lack of pencil and paper by my side as I played. I did use walkthroughs for both games, though, and if you do end up checking them out (they’re available on GOG), I’d recommend doing the same. You probably still won’t be able to figure out why whatshisname stole that dagger, but despite their flaws, the Laura Bow games really are worth experiencing. Laura’s a likeable lead (just look at this adorable expression on her face as she stumbles upon the museum’s French skank engaged in hanky panky with the janitor) and she does a fine job of showing off the spirit of the 20s, an underrepresented period in the pantheon of electronic gaming. 

Laura never got a third game, and as far as mystery franchises go, Sierra soon passed the torch to the Gabriel Knight series, which apparently takes place in the same universe, since Gabriel visits Tulane in Sins of the Fathers and hears word of a lecture being given by “Laura Bow Dorian” - a hint that Laura married Steve Dorian and lived happily ever after! I’m glad that Ms. Bow got a nice ending even if we couldn’t see it in game form, and I’m sure that if she were a real person, she would be pleased to see spiritual successors of sorts like the aforementioned Kathy Rain following in her footsteps today. 

This is perhaps a good place to mention The Crimson Diamond, an upcoming indie game in the works by Canadian illustrator Julia Minamata. I recently played through the demo and am eagerly awaiting the full release - it’s almost like a direct sequel of The Colonel’s Bequest with an alternate universe version of Laura. Rest assured, Ms. Bow - even if your adventures aren’t as remembered these days as they should be, the example you set of the enterprising female gumshoe is alive, well and in good hands!

All box art and screenshots from Mobygames.