#emotionally-driven. for him to develop such a deep complex about being a shadow he HAD to have experienced some form of diminution

[fourswords]

to be quite honest shadow's characterization in the fsa manga was always something that raised more questions than answers for me because it's like. he's got a mile-wide inferiority complex about being link's shadow we all know this but when did he have the time to develop that inferiority complex in the first place. how long was he lurking around after ganon created him before the events of the manga actually started. what did he witness or hear or both to make him so fucking angry

[vasylia]

vasylia  •  the wheel of fortune skeleton  •  application  •  connections

age: thirty-five, appears twelve years younger

pronouns: she/her

status: a loyalist in search of stability; advisor-in-training and apprentice to the high priestess

abilities: necromancy, limited by her own inexperience

faceclaim: anya chalotra

tw: death, child death, murder, blood, self harm, disassociation

blood and marrow  •  personality types

zodiac sign: virgo  /  virgos are always paying attention to the smallest details and their deep sense of humanity makes them one of the most careful signs of the zodiac. their methodical approach to life ensures that nothing is left to chance, and although they are often tender, their heart might be closed for the outer world. 

element: water  /  water people are emotional, intuitive, deeply creative, empathetic, spiritual and psychic. water allows people to emotionally connect with others. and yet, water people are so sensitive that they often have a hard time unplugging from life’s chaos. consequently, many water people suffer from addiction as they grapple for distraction from life’s pain. thus, water people tend to be secretive and private.

temperament: melancholic  /  the melancholy naturally wants to do things right, and is quality-oriented. melancholies are not trying to be right, they are driven to figure out what is right. they have a cautious, tentative response designed to reduce tension in an unfavourable environment. the melancholy’s second response is often to become aggressive to restore peace in an unfavourable situation. they influence their environment by adhering to the existing rules, and by doing things right according to predetermined (and accepted) standards.

moral alignment: true neutral  /  a neutral character does what seems to be a good idea. she doesn't feel strongly one way or the other when it comes to good vs. evil or law vs. chaos. most neutral characters exhibit a lack of conviction or bias rather than a commitment to neutrality. such a character thinks of good as better than evil-after all, she would rather have good neighbours and rulers than evil ones. still, she's not personally committed to upholding good in any abstract or universal way.

enneagram: the investigator  /  fives are alert, insightful, and curious. they are able to concentrate and focus on developing complex ideas and skills. independent, innovative, and inventive, they can also become preoccupied with their thoughts and imaginary constructs. they become detached, yet high-strung and intense. they typically have problems with eccentricity, nihilism, and isolation.

mbti: intj, ‘the architect’  /  an architect (intj) is a person with the introverted, intuitive, thinking, and judging personality traits. these thoughtful tacticians love perfecting the details of life, applying creativity and rationality to everything they do. their inner world is often a private, complex one.

soul type: the scholar  /  being so focused on information and its logical implications means that scholars are naturally introspective and contemplative. they like to have time alone to fully process their experiences and observations internally, before trying to articulate their thoughts.

tree type: willow  /  willow signs are bursting with potential, but have a tendency to hold themselves back out of fear. your powers of perception will ultimately allow your true nature to shine, and will lead you to success in life. willows pair well with birch and ivy.

bones and lungs  •  a genesis

i. the fool, upright innocence, new beginnings, free spirit

The first thing a child sees in its life is its mother, and you are no different. The first thing you know is her, penniless enough that your infanthood would have been nothing short of unremarkable but provided for enough that she could have kept you if she’d wanted to. She has had children before, and she’s felt the billowing warmth that childrearing lends her, but you are stealing something from her. Your mother cannot quite place the feeling, cannot understand what it is you’re doing to her, but when she holds you in her arms she feels her limbs growing heavier, her muscles deaden. You must be, she determines, a punishment - so she resolves to rid herself of you. More important than that, she resolves to make an offering of you. The woman makes the long, arduous journey from Tyrholm, averts road bandits and street beggars and pardoners swearing by religious forgeries; she pushes herself halfway across Markholm with only her conviction to drive her. She commits you to the Temple of the Undying, and this is something she wants known. She wants the great, bipartite deity to know that this largesse of hers is an immolation, a symbol of her devotion. In return, she would have the punishment lifted. And you never see your mother again.

The temple names you Vasylia, assuming the role of a strange, distant mother who plucks the word from between the stars. You have no surname and therefore no genesis, nothing to remind you where you come from and who you are. Of course, as you well know now, none of that matters. As soon as you pass the threshold of that sacred place, it forges an identity for you.

(Your heritage is a secret that tucks itself away from you, like a shadow that shies from the light. You are the result of a union between a travelling merchant and a beautiful, beautiful woman, and this is all your mother has to protect her in life. Those who covet beauty, who wish to steal it away and display it among their wares, are always equipped with a lie or two. The lie is this: he loves her, he does; devotedly, honestly, purely, and he wants her to join him. To travel with him over pale waves and into the cove of pirates. Perhaps he’d believed in that at first, but it ends as all things end; in fiction. He leaves her as all men leave her, with an enormous pouch of gold. Your mother settles in a village at the border of Volkan Forest. You do not live there long. You never learn your mother’s name. Her name is Estrid.)

Life at the Temple is, for the most part, simple. Dull, pedestrian, but simple. Abandoned, you are raised as one amongst many, a single child amidst a whole throng of neglected children. It quickly becomes clear to you that some wield magical abilities, shielded from a world which harshly forejudges them, and some arrive with nothing to them at all. Like you: not even a name. Some of them are sickly, a few of them are malnourished, and far too many of them are the reluctant offspring of poverty, charily offered to the Temple by parents who lament of their penury. But you are not sickly or malnourished or magical, even. You wail out in the dark of night for a mother who doesn’t want you, but which child here does not? At least at first, there is nothing particularly special about you. You are still a child waiting to grow into yourself, and, well, there is nothing unusual about that fact.

Your childhood is, in a word, unremarkable. The Temple does its best to inspire loyalty in the offspring yielded to them - you are, after all, an opportunity for life-long indoctrination. Your earliest days are structured by a conformity which they shake into your bones: the Temple teaches you of the wolves and the snakes and the annihilating body they make as one. On magic, their position is less clear. Messages are mixed. Necromancers are a chosen, sacred few. But the other magi are being punished, cursed for a cycle of blasphemy and adultery and theft and anything else they can conjure up. As with all children, you assume the first thing you hear as gospel, but as the years gallop past you, you find yourself cordoned off by a low drone. The Temple is not so united as it seems, and there are people who whisper in disagreement. You think you are beginning to notice the resentment growing around you, but you are still a child - you know nothing. You determine that it is safer to be ordinary.

You cannot quite be called pious, but you rise with the morning light. You work hard. You devote time to your prayers and you comply with the codes of silence which linger between them. You restock ink and parchment for the Clerics working sedulously at translation. You trim the rose bushes at the edge of the forest. You are untroublesome and, for the most part, amenable; shapeable. You offer a hand to help wherever it may be required, because that is what you’ve always been taught to do. You are nothing much like some of the other children, boisterous and ambitious, hungry for stories of politics and warfare. Hankering to feel the weight of a bronze rapier in their hands, to run their fingers through enemies’ blood and call it an act of cleansing. The Temple is not cruel, but it is cyclical, and the pattern is not enough - for them or for you. But you do as you’re told, your life moves in a progressive rhythm, because what else is there?

You have always needed a hand to guide you.

When life drifts in a sequence it all blurs into one, so you find solace in the small things. You revel in the sanctuary of the forest. Its trees keel into spirals, bent by the weight of their branches. You like the stillness of the air, the way that the birds settle on the branches so completely at peace - unaware of the eyes watching them. You learn that silence is not solitude, that the reticences observed by the Temple do not always bring you peace. In fact, they rarely ever bring you peace, and at times they have the tendency to strangle you. You marvel at the way the water refracts in the moonlight, bending with the shape of its brilliance. It moves furtively and secretly, as if beneath the surface there is buried a whole other world that it hopes to keep concealed. You are never the sort of girl with fantasies mirrored from the vellum of a fairytale book, and you never touch things so delicately that you look to be afraid of them. You would never call yourself a dreamer, but there’s an intensity to you which makes it hard for you to stop staring at things. There are only a couple of children in the Temple you ever feel particularly close to, and when you think back, they are the only things you feel are worth remembering here. Curled up on a stony ledge, watching a religious darkness fall over the ancient rock. Organising altars and scrubbing floorboards and observing silences with a dash of humour. You have never truly felt like you belong anywhere, except when you lay down in the grass or you sit on the cold stone and run your fingertips through the water, imagining that you are somewhere else. It makes this place feel a little less dull.

ii. the hierophant, upright education, knowledge, beliefs

It is perhaps no coincidence that it’s during your sixteenth Summertide that you first raise an animal from the dead, completely by accident. A butterfly, crushed beneath the weight of a snow which is only now beginning to thaw. You cannot describe what brought you to pick it up. Beauty? You have always looked beneath the surface. Macabre as the very idea of it may be, you cannot not help but take it into your hand. You feel its limp body balance in your palm like parchment: you want it to be beautiful again. And as if by magic, it shifts in your palm, it wakes. Half-amazed and half-afraid, you watch how its wings unfurl themselves and its body cracks and distorts itself back into shape. But you are overcome by something strange: the insect sits in the centre of your palm, learning about the world again, but if you were blind you wouldn’t know it. You can’t feel it there. By instinct you clasp your hands around it and bring it into the Temple and, perhaps foolishly, you show them what you have done.

The Temple determines that it is no coincidence that your gift for rebirth, the very echo of Summertide, should reveal itself now. It’s an ancient celebration of renaissance. Fate twists, and the Temple has two Necromancers already, devoted to the craft and resolved to educate you. Educate perhaps puts it generously: they test you, push you, assign you tasks to complete without any tangible goal in sight. They never teach you what it takes, what you must sacrifice, what it truly means to excavate that void between life and death. This is the truth of it: you have been chosen by the Undying Herself and this gift is yours to own, but as with all things we take, it demands sacrifice. A piece of you, snapped off from bone; it lingers there at your side. They teach you that you are different, you are special. The other magi can manipulate solid matter and regenerate limbs, but you are sacred. They will not see twenty-five years, but you? You can live for hundreds of years.

Your schooling begins small. Insects, mice, small woodland creatures. But it’s a demanding, exhausting process -  still, you continue to work hard. When you’d brought back that butterfly on the third day of Summertide, it had seemed so easy. A case of simply wishing and being. But things are not so easy now. You find it difficult to pour that same longing into the creatures put down in front of you; you are more sophisticated, less candid. But you do as you’re told, make as many successes as you do failures, and for whatever end goal the Necromancers have in mind for you, you progress.

Then, as if you have not already experienced enough change, the world spins carelessly on its side. You are eighteen and you have been under the tutelage of the Necromancers for just under two years. You feel you are drifting away from the green beauty of that first instance, the first time you bartered with the universe and it chose to answer you. But you are still just a child and your teachers have lived for hundreds of years. Unfortunately, you learn that Necromancers are dangerous, they’re volatile, they’re lethal, and that includes you. It takes little more than the impetuosity of a boy sat next to you at dinnertime, for him to waggishly swipe the bread roll from your plate - as children are mischievously wont to do - for you to wreak tragedy. The action irritates you, infuriates you, even, because you have less patience for things now. You snatch the roll from his hands. Without warning, he collapses, body limp on the floor. You are puzzled at first, you’d scarcely touched him, but as the Brethren roll his body over on the stone, you realise what you have done. The boy is dead. The boy is dead, and you’re learning your emotions have consequences. But this you’ve forgotten. You’ve scrubbed it from your skin raw, as if that will absolve you.

Things are accelerating. You perform your lessons largely in isolation. You are kept away from the other children, particularly those who hope to take vows, because you are dangerous, you cannot be contained. Your tutors take the opportunity to teach you more diligently, more industriously. Your accomplishments are growing: frogs, small birds, rabbits. But the hours are slipping away and you don’t understand what it’s all for, bringing back forest animals contentedly buried beneath the moss. Nevertheless, you move forward. You think you are getting better at this. When you have lived for twenty years, they bring you live animals; they show you how to drain them, how to cleave to your youth. The work you are performing is an honour.

You have always needed a hand to guide you.

Something has changed in you. The forest recedes from you. You wake and you learn and you perform and you dream empty, hollow dreams in an unbroken cycle. More often than not you lie awake for hours, allowing your eyes to rest on a rotting mark in the corner of the ceiling. You smile still and you try to laugh, but as each chuckle worms its way up your throat you feel it strangle you in the process. Sometimes you cough up blood, thick and hard, and you stare at the red spot in confusion. One day, you catch your hand on a piece of shattered glass and feel nothing. You don’t even flinch. At the wound you simply stare and, out of curiosity perhaps, or a pointed desire to hurt at something, you pick up a shard of glass and feel the weight of it in your fingers. And with all the force you have, you burrow it into your flesh. That, you feel. You drop the glass, wincing, and a hot tear rolls down your cheek.

You lie in your bed and wish on a comet for somebody to steal you away from this place. You whisper it into existence. But in the morning you wake and everything is the same. A blur settles into your bones. Things are a cycle, so much more so than when your life had begun. But you know nothing else. You stay.

iii. the wheel of fortune, upright change, cycles, inevitable fate

In your life you have learned much. How to raise animals from the dead. How to canalise energy away from the living and into your bones. You have learned that things change, of course they do, but they also stay the same. For people like you, life motionlessly moves from one event to the next. You remember the day that your life had spun so carelessly on its axis once again with such precision that, at times, you are sure that you are back there. You think that you are back at the Temple, raising rabbits and drawing the lifeforce from dandelions. You think that the clouds are weeping into the earth with salted rain, and the chill of your salvation buries itself into you.

By now, you know she is not your deliverance. There is nothing holy in her but power, and how she revels in it. The woman alights on the Temple without a horse, without a thing to carry her here, and if you had ever been a foolish sort of girl you might have assumed she’d undertaken the journey on foot. But you have never been a fool. You are twenty-five years old. A solemn cold which seems to swell in her at once brings you a much-desired quiet and chills you to the bone. To your surprise, all bow to her. Cower from her. Even your teachers are beneath her. With purpose she pulls you aside, ungloves your hands and takes them in her own, and she promises you that the two of you are the same. She does not fear you, and you have no cause to fear her. You are cut from the same dust and made from the same bones - there’s divinity in that. Like you, she can raise the dead, and what’s more: she’s good at it. Perhaps for the first time in your life you are asked what it is that you want. You feel like the decision is yours. She offers you an ultimatum: remain here, raise rabbits and mice and crows, be nothing; or join her, learn the craft, study beneath her, become something. While you are torn between your desire to flee this place and a thick, breathless lump which lingers at the back of your throat unexplained, it is never really a question. It is an answer. You pack up everything you own: garments, mementos, fear and desire, all. You accept willingly, unthinkingly, blindly. You pass through the egress and step into a shimmering new world.

Even now, that is the only way you can think to describe this place. This new world you have chosen for yourself coruscates beneath the light as if in dance. It’s a world that winks like glitter - Castle Tyrholm is so unlike anything you’ve ever known. By now you are so accustomed to rough hems and the bland taste of food on your tongue that you have forgotten there was anything else. You only know things bland and bloodless, humble devotions. But here? Here, they dress lavishly. Here, they eat lavishly. Here, they live lavishly. You stand at the fortress’ great, impressive windows and you contentedly watch the way the pale waves lick at the black stone, the way the castle bends over the waves and balances on top of the rockline. It’s more than regal: it’s thunderous, luxurious, rich. Of course, you know a little better now. You know that glitter catches in the corner of your eye. It has the tendency to blind you, to force you to look at things between the sequins of a kaleidoscope, all twisted and torn out of shape.

You have been under The High Priestess’ tutelage for two years now, and you feel your life bisecting into two distinct worlds. You must reconcile yourself to that. Statesmanship has very little in common with religion, and unfortunately, that’s all you know. Religion is devotion, fidelity, constancy. Whatever fidelity you see before you has been rigorously shaped, re-wrought in the shadows for years, and that is the only constant here. Still, it does not shake you. Your first lesson is this: you must cut the history of yourself out into stone. You do. You become a silhouette which cleaves to your mentor’s side, a thing that can’t be shaken. Like a shadow you observe the way your mentor manoeuvres; the way she holds her tongue and the way she weaponises it; the way she plumes and crows and deceives as if she’s been doing it for a thousand years. You watch the way that King Septimus’ hands move with hers, shifting in mirrored gestures - like she has attached strings. You become an accepted prerequisite at her side, a creeping outline which follows her devotedly. Part of your status, you brush shoulders with some of the king’s most trusted advisors - you attend assemblies, convocations gathered in the throne-room. You are so far from home now; wherever your home is, wherever it was. You are beginning to learn the meaning of diplomacy: one keeps a knife permanently unsheathed beneath their cloak.

Your instructor resolves to fill in the gaps that the Temple left barren: you learn what you must give up for this gift, you learn of all the grief it has caused you. This is a magic you watch her lean into so deeply at times you think she’ll splinter apart - but, of course, she never has. Never will. This is a truth that lies uneasily in your stomach. It lies heavily on your lungs and it chokes you. You can feel your heart climbing up and down your windpipe - you aim to seize it in your hands, to still it, but you can only retch at it. You’ve lost count of all the creatures you’ve poured yourself into, and you wonder where all those pieces of you are now. The fading feeling of your bones makes sense now, at least; the universe is a glutton and it has been stealing from you. You never even knew the rules of the game.

The king’s physician brings you animals to practice upon. The High Priestess teaches you the most painless portions of yourself to sacrifice: you learn the things you need and the things you can go without. Your abilities are growing, and with that you feel the weight in your chest shift a little - things are becoming easier to swallow. You learn the importance of giving back: to creatures, to people, but also communities, dynasties. Yours are regular faces in the Farmlands which edge on Tyrholm. Here, you resurrect animals, livelihood; they are indebted to you both. One day, a farmer’s son slips from a ladder, cracks his skull open on the coarse ground. The High Priestess takes the opportunity to teach, to have you bring him back. But too much of you clings to the Temple, the way its cold was settling into your bones. The High Priestess’ dissatisfaction is evident. You’ve been studying beneath her for three years now, and still you have not raised a body. She wants you to look at this world without Necromancy directly in the eye: destruction, death, misery. You cast your eye down to the boy and swallow the lump growing in your throat. Grief. As painless as breathing, your teacher brings their son back. The world is better with Necromancers, she has resolved. Dutiful, devoted, you have resolved that as well.

You have always needed a hand to guide you.

As part of your schooling, you ride out with your mentor and Tyrholm’s great military army. To squash rebellion, to quell revolt. The two of you are never far from each other - you are a shadow clinging to a shadow. There’s something about the way that you both sit, regal and harrowing above your white horses, lingering like death at the rear of Septimus’ forces. You are a lethal sight, but your power is not enough. Not yet. You arch over the body of a fallen soldier, but something is stopping you. You try, you really try, but you fail. Half-alive, he blinks back at you. A lungful vibrates at the back of his throat. His chest rises and falls with air, but is nothing in his eye to suggest he recognises the figure bending over him. It is half a failure - but half a failure is still a failure. You have given him nothing human. As if flowing over water, your mentor dismounts her horse and puts an end to her experiment. She doesn’t look at you. You don’t look at you. Sometimes, you can’t bear to.

But your failures do not last forever. When you are thirty-two, you animate a body. At last. It has taken you seven years, seven long years of unlearning the Temple’s way, but at last, success. Of all the places you manage it, it is on the battlefield, and you are in your element. Surrounded by blood and warfare and death - ah, always death. You are getting better at this. At night, you rest your head down on your pillow and you dream. You dream of your hands, reaching out. The Undying God reaches back. You feel you are becoming one with Her.

iv. the high priestess, reversed repressed intuition, confusion, dissonance

You are a vault of fears, but you have spent these last ten years bent on throwing away the key. For the last decade you have been following your mentor indiscriminately, almost blindly, and while you are finally beginning to make progress, you are also beginning to feel that haze gather around your fingertips, weighing down your wrists. You feel yourself swallowing the sensation at times. You don’t like to close your eyes. If you do, you think you are back at the Temple, raising creatures injudiciously, feeling your soul taunt you in the air between you. A cold is settling into your bones again. Your dreams turn themselves inside out and empty themselves when you finally fall asleep, and when you wake in the morning you are confronted with a sense that your emotions have slipped out of you in the night. That you have slipped out of you in the night.

Your fingers pressed to rotting flesh, you decide that the bodies you have brought up in halves are warnings. As their eyes roll demonically back into their skull and the listlessness of their breath catches at the back of their throat, you cannot help but think that your half-failures are warning you. That this is what awaits you should you consider to amble down this narrow path. Not death, but instead life: long, death-defying, rotten life. A life of nullity stretches out in front of you, like a void that opens its black mouth and eats you raw. Impassibility is creeping into you, settling into the spaces between your bones and lungs. The taste of blood in your mouth has recently returned to you, though you only notice it when you can taste at all; you cannot determine whether being able to feel it flip thickly over your tongue brings you a sense of peace or horror. When you slip your rings over your fingers, heavy with all the ore you could never have afforded when you were young, you can’t feel them there. You feel ancient impressions dig their way into you.

Perhaps you have been foolish. You have been believing that carefully handpicking the parts of yourself to sacrifice can go on forever; that you will never feel the weight of your earliest years again. And while that’s true, you have been slicing off the most unforgiving parts of yourself and offering them up to the Undying God, you feel yourself recede from Her. They are determining that these pieces of you are not enough, and They would have you offer more. When you travel out with Septimus’ forces to quell revolts you feel eyes on you: The High Priestess’ eyes, impatient. In the battlefield you are anxious to stop your hands from trembling. Perhaps you can’t bear the pressure. Perhaps you can’t bear yourself. Your teacher is always left to clear up your mess, always left to do the brunt of the work, but she is never cruel about it. Sometimes you wish she was. Then, you might be better.

And yet, you are not all failure. In the last two months you have successfully resurrected five bodies, breathing and seeing and living, and that in itself is commendable. The High Priestess brings you to orphanages, and it is there that you set about your reanimations. While, like always, your mentor bears the brunt of the work, you manage to resurrect four bodies. Three girls, three children, and a boy who has been bound to these walls for too long. At Koldam, much to your own mystification, you bring back another. A Lieutenant, a real piece of chainmail in the king’s military armour. When his undead eyes finally settle upon your face, noticing the way that you lip quivers at your achievement, he breathes a sigh of relief. He looks at you as if you’re an angel, sent from the Undying God to rescue him. You are sent by Her, this you concede, but you are no angel.

Whispers of a coup have been present for as many years you have been beneath The High Priestess’ care, but they are thickening now - they are becoming more difficult to ignore. Still, you ignore them, as you must. You are not ready for Septimus to be toppled, you are not ready for the throne to keel over into the pale waves beneath the black rock. You don’t want to watch it drown, you don’t want to watch it to be torn apart like some; more than anything, you want it to stay put. Every time you squash a rebellion, every time a coup fails, you allow your heart to settle in your chest again. But it only lasts a moment, because treason is always being whispered, mutiny is always being accounted for. What you think of Septimus is irrelevant: you aren’t strong enough to fight for a place in whatever new world results from it. There’s still so much you can’t do, so much you don’t know if you want to do, and even now all you want is balance. It is a line you have toed your whole life and it has always got the better of you: religion and politics; life and death; permanence and impermanence; the girl you were and the girl you are becoming. You want the world to stop spinning. You want stability. You can’t know what you want if everything you know keeps changing.

You are only loosely beginning to learn the sort of vacancy you have inside you. Perhaps if you knew better, if you were better at knowing what you want, you would say: the world is creeping away from me, I am creeping away from me.

Do you still need a hand to guide you?

heart and soul  •  a making

METAMORPHOSIS: What she wants is stability. If she will live for centuries, she must have something to endure with her. Vasylia’s loyalty is very intricate. She doesn’t quite block out the throne’s transgressions in the same way that Temperance does, but there’s still a degree of selfishness to her fealty. She calls herself a Loyalist not because she believes Septimus is genuinely deserving of her love, but because her body cannot bear the instability. I’d like to see that shift very gradually, though. She can’t cling to this dream of stability forever, not when the path she’s chosen is so weathered by impermanence - and the dream will only become more impossible to uphold if Septimus grows in cruelty. I’d like her to realise that slowly. It begins small: she focuses her attention on those who bear the brunt of his mistreatment. I can see The Star, The Hermit or even The Hierophant factoring into this. And then it grows - whispers intensify. The king’s mistakes become impossible to ignore. Maybe he orders heads to be put on spikes on the castle barracks. Turncoats are beaten and hung as if crucified in the main hall. Equally, it could have nothing to do with violence at all. She may simply determine, like her mentor, that the throne doesn’t suit him. Either way, I’d like Vasylia to move with the developments of the game. She wouldn’t fight for Septimus, but she does tend to ignore whispers of coup. Right now, she is trying to balance the parts of herself she feels at war with; she can’t handle another one. Nevertheless, I want her to be forced to grapple with the fact that this is bigger than her and that she may have to act. I don’t know whether she’s likely to have confided in Vasylia of her intentions (depending on the player), but should the divergence become evident, questions of loyalty would certainly be pulled into the fore. Would she follow her mentor into revolt? There’s an opportunity here for conflict - but also for growth. Growing into the person The High Priestess wants them to be: willing to fight, to take, to reconcile yourself to your powers, hardened to the consequences. I want to see her really become a part of this war rather than hesitating at the edge of it.

NO MORE FALSE HEAVENS: The High Priestess never hesitates, she leans into this gift as deeply as her body is able without prying itself apart, and Vasylia believes that this has always been her way. The same can hardly be said for her, though. She is hesitant, at times she has misgivings, and the sight of a corpse almost always makes her tremble. The High Priestess has been guiding her for ten years now and in that time she’s discovered a lifetime’s worth of arcane knowledge, twice as much power as the Temple ever bequeathed her, but there is still so much she can’t do. What causes her to fail is hesitation, placing one foot in the art and one foot out of it. I suppose this is an alternative to plot #1, depending on which way things develop, but I’d like to see Vasylia turn away from The High Priestess. When she looks at her, at The Sun, she recognises what she might become. It is a fate she wishes to escape, and if she is truly committed to that, she may be forced to act. It’s no easy feat to kill a Necromancer, even one as wavering as herself, but severing ties with The High Priestess could breed disaster. She has always needed a hand to guide her in life, but it’d be fascinating to see her break away from that. The world opens its jaw and waits to swallow her whole, and The High Priestess is certain that without her guidance she’ll falter, but she needs to make herself more than what other people have made her. I’d like to develop her self-sufficiency, her willpower, but most importantly, I’d like to explore her desperation, to develop the recklessness which would no doubt begin to grow. Leaving The High Priestess’ tutelage is a make or break moment: and unless something considerable changes within her, it is likely to be the latter. Over time, she needs to determine whether she wants to be a Necromancer or a human-being. How far is she willing to go to excavate that small part of her, and is the act her genesis or her epilogue?

THE DARK MARK OF ME: As a Necromancer, she’s used to instilling at least a bit of apprehension in others. The Lovers’ eyes scan Vasylia’s skin for evidence of a pulse, a suggestion that, even now, she is alive. More importantly, though, The Emperor goes out of his way to make himself available to listen to her. Listen maybe isn’t the right word, to have his curiosity sated is probably more apt, and in moments of weakness, her secrets spill out of her like a river. He’s used to getting what he wants, and she will not stand in his way. But the very act of this is dangerous; it could breed conflict, consequences, even bring about Vasylia’s death (!?) should information fall into the wrong hands. I don’t think Vasylia has shared her hesitancy to continue down the path that The High Priestess has forged for her with her mentor - there’s no need to, it’s as easily distinguishable as ink spilled on skin - but there could be disastrous consequences should her concerns spill out. Not from The High Priestess, I don’t think, because I don’t see her as having an aim in mind to destroy Vasylia. Her resolve at least appears to be motivated by cutting away the thorns and making space for her prodigy to grow. Yet, Vasylia’s vulnerability is a weakness, and weaknesses can be exploited. While the dynamic between The Emperor and The Wheel of Fortune is… by far one of my favourite character dynamics you’ve written, perhaps The Emperor’s player would like to use this to his advantage in some way. The Emperor certainly isn’t The High Priestess’ first choice for the throne. So, I’d like to see these words come back to bite Vasylia, to further complicate her oscillation between this path or that. She’s no fool, but she by no means has the experience of her mentor. She studies underneath The High Priestess and lauds her propensity for manipulation and schemes, and while in her experience she’s picked up more than enough tricks, her hesitancy is weakness. She sacrifices her feelings and anxieties freely - because he coaxes it out of her, but also because she needs to purge. Over time, I’d like to see Vasylia’s actions breed consequences, over and over and over, to the point that she can’t run from them. She can only follow them blindly down a path she was always meant to.

SKIN AND TEETH: Maybe this is less of a personal plot point and more of a worldbuilding idea, but given that Necromancers have the ability to kill, I’d like Vasylia to dabble in that in the future. It’s something The High Priestess can do as second nature, as if she was born with the gift, and while Vasylia is better at drawing life into her than pouring herself into things, it’s not something she’s easily reconciled to. Still, I’d like to develop her skill here, figure out if it could be of use to The High Priestess or Septimus (because she serves the former first, the latter second). There’s an opportunity here to flesh out a dynamic between Vasylia and The Sun, who of course kills for a living, but I certainly think it’d be an irreversible path for her to walk down - one that, should she give herself over to it, solidifies her fate.

TRICK BOXES: If The High Priestess is the type to gather secrets in her plotting against Septimus, it could be interesting to have Vasylia drop by places such as The Rosewood Maiden in disguise. To gather secrets in a place where secrets are spilled like blood. She wouldn’t even need to disclose her plans to Vasylia if the player didn’t want her to, but I’d love an opportunity to branch out beyond the castle. Much of her life has been limited, either by the Temple or Castle Tyrholm, and it’d be interesting to feel her form an opinion on the ‘outside’ world; to get an idea of the sorts of people she’d be fleeing to should she leave The High Priestess’ care. Alternatively, it could be a good way to turn Vasylia away from her neutrality/loyalty and into the company of revolters.

A PLACE OUT OF MIND: Depending on how things shape up, I’d love to see Vasylia finally become an advisor. Perhaps not to the same degree as her mentor, but in some shape or form, I’d like to have her officially offer advice to the Crown. While The High Priestess’ intentions in extracting her from the Temple are, of course, ambiguous, it’s what she’s been training towards. What would make this even more interesting is: who will she be advisor to? To Septimus? Well, that spot is already taken by her mentor. The Emperor? Well, that depends whether his father can hold onto the throne until he dies. The Chariot? The World? Two vastly different options, but I suppose it depends which of them The High Priestess hopes to install on the throne. Vasylia is already quite content with the notion of serving The Emperor, and that could breed conflict, but it could also change.

WRITTEN IN THE FLESH OF US: While Vasylia is getting better at nominating the more sacrificable parts of herself every time she uses it, the sickness is spreading. She’s heard rumours, though. Rumours of a mage with the inexplicable ability to draw from two bodies of magic. I think The Moon could be a source of real fascination for Vasylia. If she fears anything, it’s that she’ll turn herself so irreversibly over to Necromancy that she loses the essence of who she is. Given that The Moon’s abilities lie in healing, I’d like Vasylia to investigate. If there is a possibility of regeneration, she wants it. It could be an opportunity to rehabilitate her self-image, to reconcile herself to this fate of hers, or even to break away from it - depending on what she discovers.

[rheanimalsachikokassielynn]

Major Essay 1

Rheanne Harkness

Professor Timothy Greenup

English 112

25 October 2017

All Sides of the Characterization Spectrum: Evolution Verses Devolution

 In the event that the average college student has taken even the most basic literature course, he or she should at least be somewhat familiar with and be able to tell the difference between three-dimensional characters, two-dimensional characters, and stock characters across a variety of different narratives - graphic novels being no exception. Three-dimensional characters (or “round characters”) may be traditionally thought of as the most important asset that a work of fiction has other than an engaging plot, atmosphere, or tone. After all, they by default, end up being portrayed as the most like real people, and as such, have the best chance of connecting with the reader on a deeper, more personal level, and audience identification can often be an essential part of what makes a story truly impactful to those who read it. No matter how much water this way of looking at round characters happens to hold though, that doesn’t mean readers of a particular work should entirely dismiss the roles stock and/or two-dimensional (or “flat characters”) play in strengthening its content as a whole - even if those roles are seemingly limited to serving as stepping stones that guide a potential round character as he or she goes through change. This begs the question: If both the flat and stock characters in a simple, straightforward comic like “Batman: Year One” only exist to help round characters in their development, are these same types of characters tailored to that same purpose in the more complex and formally depicted graphic novel that is “From Hell”?

To begin answering this question, there must be some semblance of comparison between the two pieces’ main characters and how interactions with other less imposing characters affect their motivations in the long run. In “Batman: Year One”, almost, if not every other character that Jim Gordon has ties to (particularly the few female characters) can be considered as more of a catalyst for change in his character than anything else. Take Gordon’s wife, Barbara for instance, throughout the comic, the reader never gets to learn much about her apart from the fact that she’s the supportive, pregnant housewife of his. Because Barbara is kept at arm’s length from so much of her husband’s troubles within the force until the very end of the comic and we only hear brief mention of the couple’s marital problems from Gordon’s perspective, Barbara represents nothing more than a stereotype, and thusly cannot be described as anything more than a stock character. But both her and Gordon’s unborn child are important nonetheless since Gordon’s desire to protect them is established as the driving force of his character from page one onwards. Sargent Essen is a representation of the “Femme Fatale” stereotype that’s seen so often in Film Noir; and again, the only bit of backstory we get from her is told to the reader from Gordon’s perspective in a single panel. She gives Gordon internal conflict to work through that works in tandem with the external conflicts he’s already facing. Three-dimensional characters are expected to have moments of weakness in their convictions. So, by having Essen as the vehicle through which Gordon deals with that weakness by having him torn between two places, (his obligation to his family and his newfound feelings for her) it makes the reader want to keep following him on his “Hero’s Journey” as well as call into question just how far he’s willing to go in order to do what’s right, as he himself isn’t so sure anymore - much like an actual human being might feel in the same situation.

If Lieutenant Gordon is the most prominent three-dimensional character from Frank Miller’s “Batman: Year One”, the most prominent round character from Alan Moore’s “From Hell” would be Doctor William Gull. Gull by contrast, doesn’t let other characters define who he is as one could argue for Gordon, (unless of course, the historical figures that Gull reveres so much - like William Blake and Nicholas Hawksmoor, are taken into account). It is seemingly established just how deep-seated Gull’s lack of empathy towards his fellow man really is from the first moment we see him purely out of plot convenience without any residual reason for it that wouldn’t have to be inferred by the readers on their own. To this effect, the essence of Gull’s character could simply be chopped up to his profession, in that many doctors do experience a loss of empathy while experimenting on human bodies for medical benefit; on top of which, he’d taken to dissecting animals (as is elaborately showcased in several disjointed panels with a mouse on the grounds of Beaumont Rectory) out of mere curiosity long before becoming a doctor in his adult life (Campbell Ch 2 p 6).

This aspect of Gull’s identity is significant and does give the audience some insight as to why he might and would eventually take on the “Jack the Ripper” persona. However, I don’t think that just being an emotionally detached doctor is enough to account for every facet of Gull’s character as much it sets the groundwork for those facets overall. Considering Gull’s long-dead heroes to be actual characters doesn’t feel terribly practical. So, it’s probably safe to assume that Gull has been shaped as a person by what he’s been exposed to more than who he’s been exposed to. The only time Gull lets others influence his actions at all is when they come into conflict with what he believes or stands for - like the whole reason he is committing these murders in Whitechapel to begin with. Gull is a firm proponent of the notion that men are superior to women, so the closer he gets to disposing of all these filthy prostitutes and by extension, fulfilling what he feels to be his divine purpose in life and throughout history, the more savage and less methodical the killings themselves become. It’s only when Gull briefly travels to the future a second time (in a purely non-character-driven plot point) and is so disillusioned by what he finds that he begins to lose heart with what he’s done. Up until then, though, Gull knew exactly who he was and what he wanted. Any other character who observed him (round, flat, or stock) could only do just that, observe and offer nothing (even unconsciously) that could sway him of his convictions whatsoever.

Conversely, what puts a major rift between “Batman: Year One” and “From Hell” in terms of how the protagonists can be thought of as round would be that Gull does not evolve as a character so much as he has devolved by the time his role in the story finally reaches its end. Nowhere does this erosion become more apparent than directly after Gull travels to what would have been the present day at the time this novel was written. More specifically, at the point where Gull takes the heart of the women who may or may not have been Mary Kelly out of the fireplace hearth and watches it burn on the tip of his surgical knife, a look of wistful melancholia has dawned his face, as if to say that only for a moment, even he realizes how empty and fruitless his endeavors toward any sort of divinity through murder truly were on principal. Although, of course, Gull would never dare admit it to anyone - least of all himself (Campbell Ch 10 p 29). This single panel image is made all the more telling when one pairs it with what Gull declares to Netley across a middle row of panels a few pages later as most of his face is eerily covered in shadow, but with an air of resignation about it: “I‘m finished. I have been climbing...all my life, toward a single peak. Now I have reached it. I have stood and felt the wind. I have seen all the world beneath me. Now there is only descent. Only the valley. Would that I had died there...in that light above the cloud line.” (Moore and Campbell Ch 10 p 33).

The icing on the cake and its effectiveness at cementing just how far Gull has fallen afterwards is really dependent upon whether or not one believes that he truly did come close to ascending to Godhood just before death in an insane asylum at the apex of chapter twelve. Being that Alan Moore leaves the answer widely open to interpretation, I personally would pose the argument that his apparent journey through time and space was merely a series of fragmented illusions that play out similarly to the concept of a person’s life flashing before their eyes as they’re about to die. Only in Gull’s case, his life wasn’t flashing before his eyes, but rather his abstract ambitions and ideas of what moving on to a higher plane of existence might be like were. If there is indeed a grain of truth in Gull’s last words to Netley the night he killed “Mary Kelly”, then the image of a poor old man mumbling incoherently within the walls of an asylum and never moving past his unhealthy obsession with achieving historical/spiritual greatness fits much more consistently with someone who both literally and figuratively has nowhere left to go but down.

Ultimately, I feel that the secondary characters in “From Hell” did not aid in developing Doctor Gull as a character in the way that they did for Jim Gordon in “Batman: Year One”. This is because, unlike Gordon, Gull never really forged any deeply personal relationships with others that were impactful enough to dictate his actions. His life experiences as a self-righteous doctor as well as a time traveler deprived him of the ability to genuinely empathize with the people around him. Thus, those experiences were consequently the only thing left to propel him through his journey and eventual derailment that awaits Gull at the end of the story. Every action of Gordon’s by contrast was performed for the sake of the people he cared about. Regardless of how uninteresting these flat and stock characters may have been to the audience, it’s no wonder that their existence as Gordon’s driving motivation made for such a relatable protagonist who we want to see rise above the challenges his environment has set for him by the time his story concludes. As far as Gull is concerned, he isn’t meant to be a relatable protagonist as much as the complete opposite. So, if the flat and stock characters aid him at all, it’s to mirror the audience members’ impressions of him (which are mostly rooted in fear, intimidation, curiosity, respect, and annoyance). I suppose in this way, if some characters need not be three-dimensional to be effective, one could also say that they need not be at the forefront of the round character’s main concerns for he or she to go through intended changes set in place by the author of the story either - still being just as effective, but in a different way!

Works Cited

Hamilton, Sharon. “Characterization.” Essential Literary Terms, Second Edition. Norton, 2017, p. 136.

Miller, Frank and David Mazzucchelli. Batman: Year One. DC Comics, 2005.

Moore, Alan and Eddie Campbell. From Hell. Top Shelf Productions, 2014.