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lanamemories · 7 years

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#001 CHARACTER SHEET:

Full Name: Lana Rose Jameson Meaning of Name: The Greek and American meaning is ‘light’, whereas the English meaning is ‘fair/good looking’. Nickname: None. Birth Date: June 18th, 1996. Astrological Sign and Details: Gemini. Common star sign traits are ‘quick-witted’, ‘expressive’ and ‘sociable’. Lana firmly believes that a person’s star sign speaks volumes about the content of their character and is always suspicious of anyone that she meets that’s a Taurus. Birth Place: Her mother went into labour backstage at the rock concert of one of the bands Lana’s father manages. She was born in New York Presbyterian. Age: 21.

Nationality: American. Race: Caucasian. Hair Color: Auburn. Hair Style: Long and wavy. Distinct Features of Face: Plump lips and thick eyebrows. Glasses or Contacts: None. Eye Color: Hazel. Skin Tone: She vacations a lot during summer, so she has a sun-kissed glow that lasts for a long while into winter. Scars or Distinguishing Marks: A heart shaped freckle on the inside of her right thigh, subtle freckles over the bridge of her nose and cheeks. Disabilities: None. Build or Body Type: Naturally slim, maintained by ballet. Height: 5″9′. Weight: i searched for so long n i can’t find bridgets weight anywhere bt... essentially she’s skinny Speech Patterns: Talks a mile a minute, especially when nervous. Laughs at everything and nothing. Uses a lot of filler words because she’s constantly thinking aloud so her sentence is never planned out before she says it. Tag Words: Says “like”, “totally”, “anyways” and “um” a lot. Gestures: Almost always wildly flinging her hands around. Most of the time she finds any excuse to have some form of physical contact with the person she’s speaking to, e.g. playing with their hair, dusting lint from their shoulder.

FAMILY AND CHILDHOOD

Mother: Victoria Jameson. Father: Richard Jameson. Mother’s Occupation: Former model, presently operating as a socialite and doing charity work. Father’s Occupation: CEO of Jameson Records. Family Finances: Wealthy. Birth Order: Caleb Jameson is the oldest, Lana the youngest. Brothers: One, Caleb Jameson. Sisters: None. Other Close Family: None particularly, save for a handful of cousins they see during holidays. Best Friend: Frankie Vigo. Other Friends: Teddy Lawrence, Ophelia Knox, Gabe Leitner, Imogen Bauer, Elias Elliot, A.J. Sullivan, Melody Forbes, Jude Hayward. Probably more that I’m missing. Lana’s quite a social butterfly. Enemies: None. Pets: None. Home Life During Childhood: Lana was often treated like she didn’t exist. She could go for days on end without her parents ever saying one word to her. She’d often have to sort out her own meals because they’d forget about her and she was so touch starved growing up, it’s likely that’s one of the main contributors towards her sex addiction today. One of her most vivid memories as a child was reaching to hold her mother’s hand when she got nervous crossing the road, only to have her slap her off her and turn her head the other way. What Did His, Her or Their Bedroom Look Like: An explosion of pink. Picture every teenage girls room from a chick flick in the early 00′s. Very Jennifer Check, posters everywhere, giant fluffy cushions, the works. Any Sports or Clubs: She used to be a cheerleader in high school and she’s always done ballet from being tiny. Schooling: She went to high school further into the city (New York) and obviously is now enrolled at Lockwood to complete her diploma. Favorite Subject: Growing up, she used to love art and also debate as well as dance. Now it’s probably just dance. Popular or Loner: Popular. Important Experiences or Events: Caleb shipping off to the army as well as Caleb being discharged on grounds of PTSD after his unit were attacked, seeing him losing his best friend right in front of him. He was never the same after that and therefore the one person that Lana actually thought she mattered to in the world was essentially gone. Health Problems: ADHD and sex addiction. Religion and beliefs: Atheist.

PERSONAL

Bad Habits: Sleeping with people to avoid dealing with her feelings, biting her lip when she’s nervous, playing with her hair and generally fidgeting when people speak to her. Good Habits: Obsessively always keeping a pack of gum on her because she hates bad breath, sending good morning texts and practising her ballet. Best Characteristic: Her ability to start up a conversation with just about anyone. Worst Characteristic: Her inability to open up and have a serious conversation about her emotions. Worst Memory: Her mother finding out that she got blackout drunk and had a threesome with two of her father’s close associates. She didn’t seem to take into account the fact that it was vastly inappropriate for them to be talking to Lana in the way they had which lead to the encounter, or the fact that she was drunk when it happened. She told Lana she was disgusting and didn’t look at her in the face again after for three months. Best Memory: Having a childish bicker with Caleb at the park and throwing his whole loaf of bread into the duck pond in protest. When he was mad at her, she attempted to reach out and fish it back only to fall in, herself. She’d never seen him laugh that hard before and eventually she was joining in, too. It was the last time she can remember him smiling. Proud of: Nothing in particular. Embarrassed by: The fact that her parents don’t love her and she can’t work out why. Driving Style: Wild, anxious and erratic. Screams a lot, particularly when navigating busy junctions or highways. Strong Points: Exuberant, good-willed for the majority, quick-witted, sociable, charming, imaginative and resilient. Temperament: Ridiculously animated and sunshine bright, usually. Attitude: Same as above, except she can sometimes be unintentionally rude in the name of humour and not realise just how insensitive she’s being. Weakness: Her stubborn refusal to let anyone hear what she’s actually thinking in terms of serious matters. Considering she talks so much, it’s amazing just how little she actually says. Fears: Loneliness. Irrelevancy. The death of a loved one. Phobias: Pigeons and blood. Secrets: Her sex addiction. Regrets: Letting Caleb sign up to the army without putting up more of a fight. Feels Vulnerable When: Someone asks her something personal about herself. Pet Peeves: Bad breath, poor sense of personal hygiene, making a commitment. Sexuality: Pan-sexual. Exercise Routine: She has a lot of ballet rehearsals and training weekly, so that along with a vigorous (to put it lightly) sex life keep her well in shape. Day or Night Person: Both. Introvert or Extrovert: Extrovert. Optimist or Pessimist: Optimist.

LIKES AND PREFERENCES

Music: Synth-pop and disco, mostly. She also loves early 2000′s classics, e.g. Britney, Robyn. She also selectively listens to classic rock records as a result of her father’s influence. Books: Lana isn’t particularly a huge reader, although she used to be obsessive over the Twilight books during her early teens. Magazines: Any trashy celebrity magazine, Lana loves to flip through. She’s a fiend for salacious gossip and anything that discusses the wild escapades of Lindsay Lohan. Foods: Lana eats anything and everything. She particularly loves Greek yogurt mixed in with honey, though, as well as any kind of candy. She has a big sweet tooth. Drinks: Again, she’s pretty flexible in this department. She really likes cherry cola, though. Animals: Lana’s a big dog person. She also has always had an affinity for sloths because she loves how slow they move and how long their arms are. Sports: Dance. Gymnastics, briefly, when she was younger, as well as cheer, but currently she only actively pursues dance, ballet in particular. Social Issues: She thinks Trump is ugly and is a big advocate for trans-sectional feminism. Favorite Saying: Country booooyyeee, ah luuuurve yew... Color: Red. Clothing: Seventies style, Penny Lane inspired jackets with fur fringed cuffs. Any kind of boldly coloured fur coat, actually. Glittery boots. Spaghetti strap mini’s. Shrunken cartoon t-shirts that wear like a crop. Anything flamboyant and colourful, Lana loves. She dresses a lot like Cher from Clueless, Rachel Green from the early Friends seasons and Brittany Murphy’s character in Uptown Girls. Jewelry: None in particular. Games: She used to always play Saints Row when she was younger. Websites: Twitter, Tumblr, Vine and PornHub. TV Shows: Girlboss and Sex in the City. Movies: Almost Famous, Heathers and Stand By Me. Greatest Want: To be the centre of someone’s world. Greatest Need: For somebody to show that they care.

LIFESTYLE

Home: Currently lives in her sorority house. Household furnishings: Her room has lots of fluffy cushions, a hamburger on-the-cord phone like Ellen Page’s in Juno, a holographic vinyl record player from Urban Outfitters. She also has a whole bunch of fairy lights and a neon mood light. Lots of feather boa’s and strange costume pieces strewn around as well as scantily clad lingerie. Very aesthetically pleasing, very messy, very Tumblr. Favorite Possession: A stack of polaroids her and Frankie have amassed over their many wild adventures. Neighborhood: Rochester. Town or City Name: New York. Married Before: No. Significant Other Before: She’s had a whole string of exes, each one equally awful. Lana settles for pretty much anyone, as long as they pay her attention. She doesn’t really believe she deserves much more. Children: N/A. Relationship with Family: Strained. Her parents do their best never to talk to her. She does her best to keep in contact with Caleb, but he prefers to isolate himself and self destruct rather than seek her help. Car: None, although she keeps test driving a vintage Cadillac and has her eye on buying it, despite the impracticality of the purchase. Pets: None. Career: Student. Salary: N/A. Other Income: N/A. Dream Career: Professional ballet dancer. She dreams of performing as the black swan. Dream Life: One furnished with close friends and family, all of which actually value her presence. She wouldn’t have to struggle with a sex addiction in an ideal world, either. Sex could be something treasured and intimate, not something she feels a compulsion to tick off a list. Love Life: On the rocks with Teddy and battling a whole fistful of crushes on just about everyone she’s close to. In other words, a mess. Sexual Turn Ons: Assertiveness, teasing, exhibitionism. Sexual Turn Offs: Constantly asking if she’s enjoying herself, awkwardness, any amount of romance. Hobbies: Ballet, cruising Craigslist for sex ads with strangers, aimlessly tapping through Omegle chats, shopping, going to parties. Guilty Pleasure: She knows all of the words and choreography to the Hoedown Throwdown by Hannah Montana. Sports or Clubs: Ballet. Talents or Skills: Ballet, networking. Intelligence Level: While she isn’t particularly book smart, Lana is thoroughly creative and a great people person.

#lockwoodtask001 #lockwood:points #neglect tw #ptsd tw #addiction tw #hypersexuality tw #rape tw #not like explicitly but implied that it was Creepy circumstance

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cayenne-twilight · 4 years

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Professor Layton Iceberg Explanation

As I said in the tags of the original, the iceberg I made was a meme consisting of both real theories and satire/parodies/fandom memes. If anyone is interested, I can work on an unironic version that only has real theories.

Buckle in because this post is LONG and heavily saturated with lore and information.

Actual theories

Parallel universe 1960s where the world wars didn’t happen. There’s an unused file in Curious Village that shows the year as 1960 and the time machine from UF is set to 1973, ten years into the future. The series canonically takes place in an undefined time period (hence the technological inaccuracies and fantasy elements), but it’s based off the 60s. There’s more evidence but we don’t have time to go over every little thing. I linked my “no wars” theory below but TL;DR the outdated airplanes and underdeveloped medicine in the Layton series imply that the world wars may never have happened. https://cayenne-twilight.tumblr.com/post/632205992162099200/outofcontextdiscord-timegearremix-zonosils-war

The real meaning behind the statue in Future London. In UF, the purpose of the statue is to spark Layton and Luke’s conversation about their friendship. Luke is stressing out about moving overseas and sees himself and the professor in the story behind the statue, but in the bigger picture, Clive must have been the one to commission it. Some theorize that the little boy is Clive and the man is either his father or the professor. One idea I’ve seen is that Clive wishes he could be Luke for real, while another is that he wishes he died ten years ago, and another is that he’s literally terminally ill explaining why he doesn’t care about consequence. Personally, I think “the boy succumbed to his illness” refers to his mental illness seeing as he wanted the professor to save him from his madness as he saved him all those years ago.

True location of Monte D’Or. there are no deserts on the British isles to my knowledge, so it makes the most sense for Monte D’Or to be in Southwest USA where English is the default language, they have a desert, and there exists a city famous for flashy hotels, casinos, and entertainment. What makes it odd is that nobody ever mentions overseas travel, and all the major characters are from England.

Loosha’s origins are not explicitly explained if I remember correctly, but the implication was that her prehistoric (supposedly) species was sealed away along with the garden, allowing them to survive all the way to the time of LS until Loosha was the only one left. The garden provided a good habitat and protection from predators, and it’s logical that they’d slowly die out anyways, but there’s no explanation of any specific factors that led to Loosha being the last.

Beasley is not a bee I wrote a post about this one as well, but TL;DR Beasly lacks several defining bee traits whilst having several human ones. He is not human, yet, by definition, not a bee. It’s possible that he is the result of Dimitri’s testing, but whatever his untold story is, he remains an enigma of nature. https://cayenne-twilight.tumblr.com/post/632381715250282496/theory-beasly-isnt-a-bee

Subject 2’s identity is currently unknown. There is a subject one (parrot) and subject 3 (rabbit) so there has to be a second. For a long time, people suspected Beasly to be him seeing as he’s a bit of an amalgamation and definitely not a regular bee (see above). After the release of LMJ, though, people began to suspect Sherl, the intelligent hound who could speak to certain people but not others. That being said, it’s possible for one to be subject 4. Sherl’s memory of a bright flash matches up with subject 3’s memory of being electrocuted. They never explain why the animals were being experimented on, but it was probably Dimitri making sure the conditions of his machine were safe for humans before reliving the incident from ten years ago.

Lady Violet died from the plague from DB. There’s no evidence for this or anything, it’s just an idea. People say she died from the flu but I don’t remember them saying that in the game, at least the US version. Extending off my “no war” theory: it’s theorized that the Spanish Flu was spread by the travlelling soldiers, so if that’s true, it’s possible for the epidemic to have been averted for some decades. Maybe the Spanish Flu reached England later than in real life. The hole in this is that DB’s plague must’ve been close in time to 1918 while Violet’s death was much later, so it would’ve had to stick around.

Bill Hawks is working with Targent and Arthur Cantabella. There was a force in the shadows buying the time machine technology from Bill. Someone with a ton of money who helped him cover up a freak accident and get away with it completely, a feat that involved shady means like violence by hired thugs. Some theorize that it was Targent, seeking power over time in exchange for a little mafia magic. The Labarynthia project was sponsored by the UK government, so as the PM, Bill must’ve known about it. He probably supported dubiously ethical, high stakes (witch pun) psychological experiments like Cantabella’s and helped him stay in the shadows.

All the NPCs in St. Mystere and Folsense are dead. I make fun of this type of theory later, but they’re admittedly captivating. I’m pretty sure the canon in CV is that the villagers are Bruno and Augustus’s OCs that they made robots of and built a town around, but it’s more interesting to think that the village was there before, and the townspeople died of a plague and were replaced like Lady Violet. In Folsense, there really was a plague and they never explain the NPCs there. They’re either real people who appear way younger than they are due to hallucinations (even the ones who already look old ?), or they don’t exist at all, which is pretty spooky. This part of the story is a gaping plot hole. In a similar vein to CV, the edgy yet plausible theory is that they used to live in Folsense but died of the plague and now live on as hallucinations.

Hershel seeing everything as a puzzle is a coping mechanism for all his trauma. This was a joke but I thought about it for more than five seconds and it makes way too much sense.

Plot holes and unexplained questions that we like to overthink because it’s fun

The downfall of the Azran was vaguely explained in canon by people being so greedy that it lead to the civilization collapsing. It’s not a stretch to imagine that happening, but it would’ve been more interesting with a little more detail.

Layton and Luke are programmed to routinely forget how to walk. I didn’t know whether to list this in the joke section or not, but it’s odd that the characters actively participate in the walking tutorial (as opposed to showing a little memo to the player) as if they didn’t know how to before, especially when they go through this several times a year.

The truth behind Pavel. He’s simply a joke character who teleports, is a polyglot (sort of, at least he wants us to think he is) and is mega confused all the time. He’s a fun character to make crack theories about because of his cryptic nature that even he doesn’t seem to understand.

Miracle Mask deleted scenes. The first trailer for MM featured animations that were not in the final game. One was the Randall falling scene, except in a slightly different style than the one we know. Others were completely foreign, like Layton and Luke pacing across a theatre stage as if Layton’s about to expose someone with a dramatic point. Cut content and “could’ve beens” are always curious to think about.

Evan Barde: secret mastermind. Arianna and Tony’s dad is a mysterious character who died under mysterious circumstances. I think the canon is that his death was a genuine accident, but concept art of him making a creepy evil face suggests that maybe he originally had a larger role in the first drafts of LS than the finished game.

The secret to how Paul and Des pull off their disguises is unclear and will remain unclear. There is no plausible explanation for their shape shifting. Unless Paul is just a little dude wearing a human suit like that one Wizard of Oz species and Des is the best quick-changer ever and hides his naturally feminine legs under his cloak.

Alfendi’s mom. When LBMR came out people scrambled to piece together who Hershel had a kid with, but there’s no way alfendi is his biological son. This happened with Kat as well and her biological parents turned out to be brand new characters, so I’m sure Al will get an adoption backstory if his arc continues, be his parents old major characters or nameless, faceless NPCs.

Granny Riddleton and Stachenscarfen are omnipotent deities. Idk which section this fits best under, but these two characters have some serious power. At first introduction, they’re implied to be robots, but they appear everywhere in later games. They follow the Professor wherever he goes and assist him on his adventures, GR collecting puzzles and housing them by some odd magic, and Stachen teaches you how to walk. They both introduce and supervise the gameplay. By extension, I guess this idea could apply to Albus as well in the prequels. GR and Stachen even had the power to appear in LMJ, something no major character could do. I consider them akin to the velvet room attendants from the Persona games.

Clive’s kill count is a vague subject in the game for the sake of keeping it PG. I don’t know if anyone’s ever mathematically estimated the damage he caused, and I sure don’t want to try, but the game appears to push the idea that he didn’t kill anyone at all, saying they stopped him in the nick of time and things like that, even though we watch him raze the city. If they ever want to bring him back post-time skip, I can see them twisting it so that the mobile fortress cutscene wasn’t a linear sequence of events, but instead a compilation of scenes over the course of hours so that London neighborhoods around him could be evacuated and have it make sense. Knowing Level-5, it’s more likely that they wouldn’t think this deep and do something more lazy, though.

Memes and references

Post-time skip Flora is real references the famous L is real theory from Super Mario 64. Like Luigi in SM64, Flora was also a highly anticipated character who didn’t appear in a new game, in this case LMJ or LMDA. In the end, Luigi did become real in the DS port so hopefully Flora is real will be realized as well.

Hershel can’t read is a veteran fandom meme referring to how in the first few games, especially Curious Village, Layton asks Luke to read every document out loud for him. Perhaps this was an exercise to improve Luke’s reading skills and independent thinking, or perhaps he was just too lazy or preoccupied to do it himself, but this grew into the joke that our genius Professor was actually illiterate this whole time.

Layton’s smash invitation is hidden in PLvsAA. It’s no secret that the fandom would kill a man to get the Professor into the smash brothers franchise. In PLvsAA one of the puzzle artworks features a goat eating a familiar white envelope with a red stamp, sparking the joke that either Layton or Wright got the invitation their respective fans desired, but it got lost along the way.

The science board is the mysteriously vague organization Don Paolo got kicked out of for the crime of being evil. It’s the epitome of liberal arts majors and art school graduates trying to bs their way around not knowing any science and failing miserably. “He was very good at all the sciences, but then the CEO of science told him to stop because he was using the power of science for evil science”. They do this again when “Dr. Stahngun” describes his time machine what with the soolha coils and whatnot.

Hoogland is death cult initiation is a parody of “Mario 64 is Freemason initiation” which is ridiculous, just like the creepy human sacrifice subplot of AL.

You can see the reflection of someone watching you in Aurora’s eye references the famous, creepy Talking Angela theory. In retrospect it would’ve been funnier if I said Angela instead of Aurora.

Every copy of Professor Layton is personalized references the famous “every copy of Super Mario 64 is personalized”

Clive’s fat ass in HD is a meme that originated from the announcement of UFHD, saying that half of the excited fans wanted to cry again while the other half were simply attracted to Clive. If we want to enter real bottom-section-of-the-iceberg-chart territory then let’s say Clive’s character has some sort of psychological siren properties that draw people to him like a magnet and/or Harry Styles.

Things I pulled out of my ass for shits and giggles

Infinite hint coin hack: I’m sure a tech savvy cheater could hack the game for infinite hint coins, but there’s no easy or interesting way. I don’t know why someone would do that though, considering a lot of the hints suck and there are puzzle guides on the internet.

Cringy, unused Randall villain monologue. This joke is derived from the actual scrapped MM content as well as deleted content being a popular element of iceberg charts, but it’s sadly not real. Would’ve been hilarious, though.

Last Specter Puzzle 031: Light Height tracks and records children’s intelligence level. It doesn’t, but it’s always fun to make fun of arguably THE most ridiculously difficult puzzle in the franchise. (Seriously, do they expect 7+ year olds to know trigonometry???)

Hershel struggles with tea addiction. Hershel from the games drinks tea in moderation, but the manga begs to differ. He has a tea set in the Laytonmobile, and an attempt at teatime while driving causes him to crash.

Folsense is a metaphor for Alzheimer’s. This is inspired by those edgy kids’ show theories where everyone’s in hell or something, but nobody has ever said this.

London Life is reality and the plot of the games is all in Luke’s head. That’s one way to fill every plot hole. How funny would it be if Luke made up crazy characters and stories based off his fellow townspeople Sharkboy and Lavagirl style. “This dude who lives in a castle and asks people to give him all their money for nothing in return is a vampire from 50 years ago involved in a tragic love story”.

Secret ending encoded into Tago’s Head Gymnastics. It’d be crazy if there was, and Dimitri would hound Tago for the secret to time travel. If you didn’t know, the Layton games started as an adaption of Akira Tago’s puzzle series, except they decided to add a story to make it more interesting and marketable.

Daily puzzles datamine your DS. I’m bad with technology but is it even possible to datamine a DS??? Idk, but I think my DS lite from 2008 is safe.

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rhotanored · 4 years

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A Deal

Who: A’mariss Renahg (mentions of Nazyl Tharazyl, Tynos Riller) Where: Ambiguous Ul’dahn dwelling (?) When: Several moons earlier... What: On what she assumes will be just another hunting gig, A’mariss runs afoul of some demons; new and familiar...? Why: RP shenanigans resulted in some characters being separated for an extended period of time almost immediately after some Heavy Shit, and I’ve been wanting to write some bits and pieces of Meanwhile... (and also lay some plot hooks for an eventual arc). Warnings: Some creepiness, a wee bit of implied body horror, some violence, angsty introspection.

A'mariss was beginning to wonder if a large part of the blame for the proliferation of Voidsent shouldn't fall on the shoulders of those foolhardy enough to summon them for--of all things--entertainment. This was not the first time in the first few moons following her impromptu position as the only active hunter at Heaven Can Wait that she'd found herself in the extravagant foyer of one of the well-to-do under the pretense they'd found themselves with a certain-kind-of-mess that required her very specific skill-set.

Or Nazyl's, she thought (and not without a grimace that belied yet how fresh the wound of his absence is, though it's swiftly masked), but she can no longer deny that word of mouth concerning her own successful hunts had been making the rounds, much to her chagrin. Still, that she had been asked for by name had come as a surprise, and she wasn't certain it was a welcome one. While it was true she'd undertaken the hunt of Voidsent as a way to find purpose again (in brief; there was a tangled, complicated knot of feelings tied up in her motivations), she wasn't sure she wanted the particular kind of infamy that came along with supposed-expertise in the field.

Exhaling quietly into the empty hall, A'mariss decided that was quite enough introspection. She'd been kept waiting for nearly half a bell, with nary a sign of life following the singular attendant that had seen her in; a steely-eyed Lalafell of little patience and fewer words, particularly after she'd announced the reason for her visit. A gently folded missive was still clutched in one hand, which she'd used as proof of intent, and her pallid green gaze lowered to the broken signet that had served to seal the letter in wax; an iron trellis overgrown by thorny vines.

It was not unlike the one she’d passed under on her way through the front gates; she’d been rather taken aback to see such an attempt at greenery cultivated within Ul’dah--attempt, she’d thought, as it had been rather unsuccessful. The garden, while designed with all manner of intricate stonework, full plant beds, and what may have been a try at topiary art were all either dead or dying. The fountain that stood as a centerpiece in copper was green and black, weathered with age and abraded from the desert storms that inevitably blew sandy detritus into the city proper, regardless of how well its denizens attempted to sweep.

Dark sand had gathered in every unattended corner and filled every crack in the grimy cobblestones that laid the path towards the manor, and A’mariss had felt a chill crawl down her spine as she’d waited on the doorstep, shrouded in the shadow of the house darker than what she would have expected from that time of day.

She shook her head briefly, frowning as she likewise shook off her reflections of what had brought her to this manse with another glance at the missive in her hand.

To My Most Esteemed Huntress, the letter began in a thick, practiced script.

While under normal circumstances, were I you receiving such a letter, would I find myself most unimpressed by a request such as mine being made only by missive. Nevertheless, I must needs extend to you an invitation to join me at my estate. Directions have been provided to your Namazu attendant under the strictest of confidence.

Pray understand I desire nothing more than to explain all the sordid details of my predicament, but it must be done face to face. Trust that it is explicitly your skills— nay, you, A’mariss, that I have need of.

I await your arrival.

There was a signature beneath the final line, one practiced and as presentably illegible as A’mariss imagined most intricate signatures were--but she hadn’t been able to make heads or tails of the name it represented. True to the details within the missive, however, Gyosho had been given directions--and that was all. The Namazu could hardly recollect who had handed over the missive (one of the tall races, which meant little) where he had retained the instructions perfectly, which A’mariss found increasingly suspect the longer she waited in the gloomy lobby.

Just as she reached the limits of her patience (she’d also begun to reconsider coming at all; reflecting on all that had transpired to bring her here made her acknowledge the niggling uncertainty clawing at the back of her mind) and rose to her feet to make for the heavy wood doors through which she’d entered, she heard a long, low, creaaak towards the other end. Another door--one she hadn’t noticed before and certainly not the same that the Lalafellin attendant had vanished through earlier--swung open. A frown tugged on her lips as her ears flattened against her hair when it appeared, after a long moment of waiting, that there was no one on the other side.

That was when she felt it; the subtle tug of Calling, like something had hooked itself beneath her sternum and began to pull. The strength of it startled her, and the sensation left her breathless. It wasn’t quite the first time she’d felt it since she’d aided the others in their defeat of Gamigin, but every time it had manifested since, it seemed more, somehow. Now, it pulled her straight towards the door that now stood open, and more than that, towards whatever--whoever--lay beyond it.

At first A’mariss resisted, swallowing uncomfortably as her gaze fell on her exit out of the estate, but she felt the scraping within her chest becoming more insistent, causing her to suck in a breath to steel herself, and her hand tightened on the missive under her grasp.

Beneath her grip, the letter--suddenly dry and brittle as though it had aged through the cycles--crumbled to little more than a pile of dust, fluttering in ashy shards of parchment to the carpet at her feet. The two halves of the wax signet bounced off the polished wood floor, each vanishing in wisps of reddish smoke.

Hells, she thought, tearing her gaze from the floor back to where the door stood open, and a more insistent pull clawed across her ribs. She reached an arm back to brush along the haft of the Lanetli Arzu that rested across her shoulder, and while the bow offered no noticeable response, she was comforted by its familiar presence.

Against her better judgment, but unable to deny the Call, A’mariss approached the open door, peering down the long, shadowed corridor beyond. Motes of dust were caught in dull, narrow streams of daylight that squeezed through the tattered remnants of heavy, moldering drapes. The wooden flooring beneath her feet creaked and groaned as she crossed the threshold into the hallway, leaving obvious footsteps through layers of undisturbed dirt and dust that layered over old, ratty carpeting and hardwood both.

She felt distinctly like an intruder, here, despite the apparent invitation. Conveniently, as it was wont to do, the tug behind her sternum had grown still, leaving A’mariss to flounder in determining its true purpose. Each step carried her further into the hallway, passing heavy wooden door after heavy wooden door as she went, each lined with a bizarre array of locks, bolts, chains and knobs randomly placed from top to bottom. She reached for one of the wrought iron handles, but it was unyielding in her grip. She couldn’t even get the door to rattle against its frame.

A thunderous--BANG!--from behind her made her yelp, the strangled sound the only thing that made its way out of her throat where her heart had leapt. The door she’d come through had apparently slammed behind her, manhandled by some unseen force--and something skittered into the shadows at the edges of her periphery. She whirled to track it, but other than the soft motes of dust dancing in lazy circles between shards of muted daylight, she saw no movement from one end of the hall to the murky shadows at the other.

“Show yourself!” She demanded, her voice carrying the weight of her command without an onze of the fear that fluttered in her breast, and a flicker of pride momentarily outweighed it. This was nothing she hadn’t faced before. Gamigin had thrown at her the worst horrors of her life--so far, her thoughts whispered--and she would stand and face whatever haunted this particular manor. Nothing answered her, however, save her heartbeat pounding in her ears, and an oppressive silence. Though there were windows, no sound from the streets presumably beyond reached her, here.

Having held her breath and strained to make out any additional noise to no avail, A’mariss exhaled slowly, her gaze trailing down into the deeper gloom at the opposite end of the hallway where she thought she’d seen that shadowy apparition vanish. With the way back now closed (and her with no desire to confirm her suspicions that she’d been trapped, if only for the sake of her nerves), she began to make her way in the only directly left to her.

The source of the additional shadows, she discovered, were far more mundane than she’d anticipated; a heavy, velvet drapery hung across the open threshold. Pieces of the fabric crumbled under her touch as she tried to brush it aside, and a heavy chunk simply collapsed at her feet into a plume of moldy spores and dust. She reeled back, one hand clasping over her mouth and nose in an effort to spare her lungs the threat, but she’d already inhaled a cloying breath in her surprise. She coughed, wrinkling her nose as she stepped over the fallen curtain and used her other hand to brush aside some low-hanging cobwebs, only to stop abruptly as she nearly bumped straight into the Lalafellin butler that had left her in the lobby earlier.

...Only now, he wore a horrifyingly familiar jester’s get-up.

Then, in an erratic flicker, he was gone. If the apparition hadn’t been enough to make her heart leap back into her throat, the sudden raucous cacophony of a discordant organ being played jubilantly from the stage at the far end of the room was. It was also enough to make her anger overtake her fear.

Finally, her hands flew back to draw her bow and nock one of her arrows in a single fluid motion, letting fly one in a streak of brilliance towards the noise; the pipes she struck jangled in a final, agonizing note as a jagged screech of laughter echoed through the room. Her ears swiveled and flicked to-and-fro in an attempt to track it, though she had an inkling it was fruitless; mundane senses would not avail her here.

“Show yourself!” She demanded for the second time this evening, and the laughter quieted into a thoughtful hum.

The dim, natural light across the open, dilapidated ballroom (heavily curtained with ratty drapes and alight with dusty motes much like the hallway that had led here) darkened with shadows encroaching from every corner of the room, growing like a heavy fog. All at once the room brightened suddenly, as several massive chandeliers dangling from the ceiling ignited with purple flames--and abruptly extinguished, plunging the room into full, absolute pitch.

But not before the afterimage of a rotting white mask had teased across her vision.

Baring her teeth, A’mariss drew back the Lanetli Arzu and conjured another of her radiant arrows, which only served to illuminate her; it was as though she stood in a black void, without form or direction. She could feel the cracked marble tile of the ballroom’s flooring beneath her feet, however, so she knew she hadn’t been moved anywhere. Unless the illusion was far more elaborate than she thought, at any rate.

“Enough! Gamigin is destroyed, by mine hand and others’. His false visage holds no power over me now, just as it held no power over me when we slew him,” she growls, steeling herself with the memory of Yuyuta’s incinerating blow.

“So confident,” a voice whispers at her ear, and she whirls in that direction, pointing her bow into the unchanging blackness.

“Ş̷͍̲̻̒̂ó̵͖͓̉̏ certain,̸̫͋̌̈͝ͅ” it says again, from over her other shoulder, and her reflexes fire her nocked arrow. It cuts through the darkness, revealing a sliver of the ballroom beyond before the shadows swallow it again.

“S̸̛̈́̌̃͊̀̔͘õ̷̸̝̭̍̒̏̔̓̈́̇̕ un̶͚͗̑̿a̶͚̘̬̠̎̒̀͒͆͐͂̀̋sh̸̲̤͉̭̼͉̗̿́̎́̇͑̓̀̿͘͜ͅa̸̠̠͙͋͌͌̏͆̄͑̃̔͗͘m̵̠͉͍͛͑͊͛͑̎̀͑͐͠ë̴̫͎̫͓͝ď̵́̓̒̃͛͘͠,” and this time she senses it behind her, a trill of shivers running straight down her spine, every hair standing up at the back of her neck. Hastily, her free hand makes the motion of a spell, her claws igniting with the same radiance as her earlier arrow as she spins to rake the Voidsent behind her.

Her wrist is caught in a vice-like grip, halted ilms away from the lined fabric of an expensive suit-coat--or what might have passed for one, were the material not sour-smelling and rotted like the rest of the contents of the estate.

“A̵̧̡̳̒̀nd̸̗́̿̅ ̸͍͓̦̥̎̿̀͛s̸͈͎̞͒ö̴͔̻̟́ͅ ̷̰̿̐͝q̸̧̻̺̪̊̉̽́uĩ̷͕͎͑͠c̷̝̠͚̐͋͑͘k ̶̡̤̖̭̾̐̓t̷̜̏ǫ̶̺̤̦̊ ̶̡̯͓̭̈v̵̨̈ì̷͔̣̼̔͐ol̵͖͗̚͠en̵̩͌c̷̡̪̗̖͆͆̑e,̷̨̻̠̉,” the voice purrs, and she realises the curious double-intonation she’d been hearing comes from two mouths speaking in tandem; one where a mouth should be and the other a shark-toothed maw splitting the underside of an ashen, Elezen jawline. A’mariss struggled to wrench her arm free from the creature who had her in its grip, but a resounding--crash!!--behind her makes her jump, whirling as--crash!!--one-by-one the four--crash!!--chandeliers she’d seen earlier fall to the--crash!!--ballroom floor. They scatter shards of glass, gold candelabra and purple-lit candles (half extinguished in the fall) all across the room, dispelling the immediate darkness in favor of eerily dancing, flickering shadows.

A’mariss tugged her arm yet again with a growing sense of urgency (not that her heart wasn’t already thundering while her every instinct screamed at her to run), and if the second mouth grinning toothily at her hadn’t been enough of an indication, a perfectly beaked nose was the last (and perhaps only) remaining feature that was remotely Elezen. The Voidsent had no eyes to speak of; instead twisting, spiraling black branches seemed to extend from where his cheekbones ought to have begun, reaching randomly and ceaselessly toward the ceiling, though where the branches ended and their shadows stretched out, A’mariss was hard-pressed to tell.

“N̷̜̏̈́̉͘ow̵̧̤̯̃̆̓,̶̳̬͙̍́ ̵̪̾̔̓̄͜ǹ̸̢̨̲̩́͐ò̸͕̜͉̘͗́͗w,̵̲̽̄͐̅ ̵͕̜̪͍͒͂́no̵̟͂͝ͅẅ̶̝́͆̈́,̶̢̩̅̌̎̍” the Voidsent said, finally releasing her arm as it took a step forward and she, a step back towards the purple fire, which was quickly spreading, consuming the draperies as it went.

“There are much better ways for us to parley. We only thought to celebrate your victory over ol’Gamigin,” the top mouth speaks on its own, drawing A’mariss’s gaze away from the fire.

“T̸͖̖̳͒͜hou̴̗̮̝͖͑͑̌gȟ̴̞͎̝̺ ̴͓̗́̓͛i̴̘̊̿t ̵̙̩̅͜dep̸̞̀͛̂͜͜r̸͔̠͛̉̽iv̵̮̼͎̻̔͂ed̷̲͌̓̈́͘ ̸̛̩̊̐̒us̶͍̰̯̼̑̈́ ̵͕̾ȯ̸͇͒f ̶̠͠a̵̖̪͠ ̷͓̺̻͖̉̇̎me̷̫̰̞̍a̶̢̗̺̓l,̴̯̠̆̓” the second maw continues, “iṱ̴͉̍́̕͜ ̵̩̮̙͓̈́̋̚͠g̵̗͖͊̑͝ave ̷̣̤͌̐̽͜us̸̢̓̓͘ ̶̝͇̒s̴̞̗̖̈́͗o̴mȩ̸͔̤͉͊̊͗͘t̷̛̞̮̟́̚͜hi̵͑͜͠͝ņ̸̿̅͠g̴͖̜̾͛̋̎ ̵̥͔̓͝b̵̛̰̻͒̎et̸̛̖̑̓͂te̸͆��r.”

A’mariss’s tail falls limp behind her, the lion’s tip tufted up and flicking in agitation behind her. She didn’t like where this was going. The Voidsent “watched” her intently, leaning inwards, as though waiting for her to prompt it to explain; eventually, its head tweaked unsettlingly left, and its mouths made a little tsking noise.

“You, of course. A’mariss. A’mariss. Ă̶̝̤͆͝ ̵̮̺͋̆̍̔̾̒’̷͚͐́́͂͆ ̶̙͙̞͝m ̴̨̛͈̌͆̑̇̉̀̚a̸͎͐͗ ̵͔̅͗̄͑̍͝r̸̉͆̂̀ ̵̧̣̳̱̬́ì̷̡̠̻̩̉͋̌͊͋̀́ ̷͈̭͐̅͝s ̴̗͍̈́̎͝͠s̷̛͉͖̈́̔͂̋̈́̂.” Every hair on her body stood seemingly on-end as it intoned her name, almost like a chant. It leaned towards her once again and she took another step back, only for the Voidsent to flicker erratically and vanish from view. She whirled, smoke from the flames now wreathing the entire room, and at the center behind her waited the Voidsent, one black hand extended towards her.

W̵͈͊ė̸͔͍'̶͍̃r̴̫͎͕̣̒ę̵̺̹͙̐̈́ ̸̣̚b̴͚̑͠ou̸͙͍͖̽̂̆͠n̶̡͍̳̏̈́d,

W̸̢̧͖̠̞͇̗̟̲͕̤̪̦̜̙̙̘̜͈̳̦̰̲̣̉̔͗͆̔̽̏͛̓͗͒͗̍͌̽͘͝ẻ̵͔̻̩̳͖͙̈́͑̾̿̋͝͝'̶̨̡̡̧̛̛̯̻̞͓͍̘̱̲͇̻̼̳̘̮̞̜̭̦̱͕̝͙̤͓̙̓̈̾͌̈́͆͗̀͒̐́̕͝ͅre̷̢̧̬̯͚̪̝̥̮͙̹̲̤͙̠̦̭͚͔͈̮͐̔͋͑͌̍̎̄͐̚̚͝͝ ̶͍͖̽̉̋͆̇́̆̉̇̀̌̓̕̚ĭ̵̢̺͚̥̙̥̞͔̠̔̈̾̓͂͋̒̇̐̓̇̓̍̂͌̓͑̒̾̋̍͘͘͘̚̕͘͜͝ͅne̶̛͑͐͂́̍̒́̑͗̊͆rt, Ẅ̴̠́ê̷̻'̷̬͌r̶e ̶͎͠h̶̬͋a̶͝rm̷͇̃le̴̢̔ș̵̌s̶̝̓,

W̵̡̠̦̹͖͘e'̴̗̻̰̈́̚̚̚͝͝ŕ̷̘͕̈́̂͂̀͠e̷̟̟͈̩̦̽̉͜ ̴̜̦̲͆t̴̡́͌́̇̈́r̸̙͛̿͑ap̵̛͙͙͑̽̾p̸̻̳̼͒͘ͅed̸̙͛,

Wḙ̸͍̦̩͕͚͍̣̪̝͚̰̘̳̖̻̞̆'̷̝͊̄̇́̈́͋͛͆̇̿́̊̈̈͊̑̿́̿̉̀͝re ̴̨̢͚̪͇͓͐̄͌̒̋̌̔̓̃̚H̸͎̠́͛̐͊̐̄͒̈́̀̽͂̒́̅̏͌͊͒̕͘͘U̴̡͎̮̬͍͓͉̝͕͊͒͛͒̔͗̊̓̈́͌̍̒̍̚NGR̴̨̨̠͙̤̠̼͔͉̬̬̦̼̲͉͉̬̀̊̿̉̀̐͋̚͜ͅY̷̢̨̡̳̻͔̻̖͕͙̙̙̪̞͑̀̈͊̆͌͗͝͝ͅͅ!

...we are so very, very hungry.”

A’mariss’s jaw fell partially agape; she could feel the yearning in every word, freedom, freedom, freedom, freedom pounding in her skull like an incessant ringing, and the pull within her chest returned with a sudden vengeance. The creature’s outstretched hand was like a rod, and she the helpless fish hooked on its line as it slowly reeled her in. Her bow clattered to the ground like an afterthought as the creature arranged the hand that had been holding it against its shoulder, and held the other firmly as it took her by the waist and began to dance them through the smoldering ballroom.

“We want to make a deal, A’mariss,” she jerked; those words meant something, but--the room spun and she spun with it, as its voice cooed soothingly into her ear.

“No, no. Do not misunderstand us, my dear. We would serve you. Willingly,” it paused, its lips pressed against her ear; there was no maw filled with teeth in her periphery, just an ashen throat, bared almost in submission.

“Loyally,” it purred, “and we would never forget you.”

“You could save us.” Could she? It seemed like they had stopped spinning, but A’mariss’s vision was still churning. She closed her eyes against the flickering shadows and growing flames, tucking her cheek against the creature’s striped suit; why had she thought he smelled sour? It was all warmth as she breathed him in, like cloves and allspice and the heady musk from a Bloodglider’s wing.

“Change us.” Like Bloodgliders.

“Free us.” Like home.

A’mariss’s eyes snapped open as she wrenched herself free from the Voidsent’s grasp, stumbling to her hands and knees as the last vestiges of the enthrallment released her, awareness returning with an almost painful clarity. She found herself coughing; the room was almost wholly engulfed in flame, a small ring around the pair the only area untouched. Flames had consumed all the drapes and were making quick work of the ceiling as they rolled along it in waves. On the other side of the room, a support beam collapsed in a shower of pink sparks.

“No.” A’mariss croaked, and as she reached out, her hand closed around the haft of the Lanetli Arzu as though it had never left her in the first place.

The Voidsent roared; something inarticulate with rage. As she was staggering to her feet, the creature’s arm--or black, glittering branches?--lashed out to close around her throat, lifting her clean off the floor.

“N̘͈̼͕͈̥͉͔̾͢O̬̳͉̙̬̓͐ͣ̊̒?̠͉͂ͫͤ͡ IIt boomed, its maw opening wide.

“Ņ̢̰̗̤ͣ̃̽͌͛ͦ̉͂̓̾̚̚O̢̨̤̥͔͆ͧ́ͩͥ̑̀͐̑ͪ́͑͟? ͨ͗ͮ̿̔NƠ̆ͦ͗ͮ҉̷̡̛̗̟͚?̯͒ͪ̂̑͐̓͂̅ͣ̊͜ ͍̜̫̊̎͆́̇̍ͬ͜Ň̬̗͌͋̌̀͝O?̹̰̙̦̗̜͙̑̾̍͌͞͡͞͠͞ͅ” It repeated over, and over, and over again, breathing hot, rank breath from its split maw directly into her face. She nearly gagged, but it held her throat tight enough that she could no more gag than she could breathe. Tears streamed from her eyes, her free hand grappling and tearing at the branch that held her to no avail; for every layer of supple, black bark that came away beneath her claws, there only seemed more.

The Lanetli Arzu vibrated so strongly in her grasp that it was all she could do to hold onto it; she could feel herself fading as the Voidsent continued to roar, and the flames seemed to join it. Distantly, she could feel herself raking her claws across her own knuckles until the blood ran against the haft of her bow; aether surged from her and into the weapon, and the heat that shot up her arm was almost more searing than the choking heat of the room. Brilliant, blinding white light ignited behind the creature that had grabbed her; she could no longer discern its true shape beyond the shadows and endless grasping black branches, but a myriad of radiant arrows burst through its center mass and tore through the arms that were holding her.

A’mariss landed hard, wheezing, and felt an oily lump pressed against her windpipe. Try as she might, swallowing did nothing to shake the sensation and only left her near-to choking. She slid back across the floor as the violet flames began to catch on the branches of the Voidsent. It still roared wordlessly at her, limbs flailing as it struggled to tear free of the brilliant arrows that had partially pinned it in place; they would not hold it forever. Somehow, she drew in enough of a breath to force herself to her feet. She leaped through the shallow wall of violet flame, hardly even feeling the heat as she raced wildly back the way she’d come.

All the doors were open, now; the one that had blocked her path at the end of the hallway had collapsed outwards. She could feel the heat at her back as she stumbled into the foyer, forced her weak knees to keep going as she burst through the front door, leaped down the steps, and raced beyond the black iron trellis that had welcomed her so ominously earlier. Only once she was in the cobbled street did she turn to look back where she had fled; there was no sign of Voidsent, nor fire, nor the shadows she had been fleeing. There was only a terrifying emptiness, a sense of nothing that remained, like the hollow feeling of a thread snapping where she hadn’t realized one had been.

Trembling, she turned her gaze down to the bow in her hand. It looked no worse for wear, though it seemed to hum with a note of desperation. Her other hand rose to her throat, feeling the lump--several lumps--pressed just beneath the skin. Panic gripped her as she felt one of them give a gentle twitch beneath her fingers. Her mind raced to find someone, anyone she could go to; she bowed over her knees in an attempt to slow her breathing, feeling (not for the first time) the loss of Nazyl most keenly. He would have known what to do.

Bereft of other options, one other name rose to mind, and he was nearby. Tynos. If there was anyone else who could help her before it was too late--it was him. She looped the Lanetli Arzu over her shoulder, and began to walk, pausing near a street sign to get her bearing. If her panic-stricken memory was right, it was only a short walk towards the Goblet--and hopefully her salvation.

...Then she could attempt to process all that she’d just encountered.

#ffxiv rp #balmung rp #balmung #a'mariss renahg #a'mariss insp #;writing

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tomtefairytaleblog · 5 years

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It’s pretty easy to compare the scene in Pan’s Labyrinth where Ofelia meets the Faun to the scene in The Lion, The Witch, and the Wardrobe where Lucy meets Mr. Tumnus, especially since the circumstances are similar (girl in a time of war finds a magical world and meets a strange creature). I’m sure I’m not the only one who did back in 2006 when the first trailer for the former came out; plus, Guillermo Del Toro is aware of The Chronicles of Narnia and the first Disney/Walden film did come out a year before Pan’s Labyrinth did.

But Del Toro has also gone on record as being a fan of Arthur Machen’s writing, even explicitly referencing him in the faerie lore of Don’t Be Afraid of the Dark. And one of Machen’s more famous writings is The Great God Pan, which has a brief but creepy scene where a father finds his son in shock after the latter claims to have seen a girl playing with a strange man in the woods, implied to be Pan (”The man in the wood! Father! Father!”). So the imagery clearly goes pretty far back.

(In terms of concept, though, Del Toro’s film is more like Machen’s “The White People,” which is also about a lonely girl who gets drawn into a fantastical but dangerous world.)

#pan's labyrinth #the chronicles of narnia #the great god pan #the white people #guillermo del toro #arthur machen #cs lewis #film #books #portal fantasy #folk horror #cosmic horror #random thoughts #text

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kendahae · 3 years

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Pest Control With Pesticides – Know The Crucial Thing

Pest control administrators oftentimes need to turn to utilize chemical pesticides to control normal family pests, for example, cockroaches, bedbugs, or subterranean insects. Pervasions of these pests will as often as possible just react to chemical medicines since different kinds of control much of the time won't work. There is a wide range of classes and sorts of pesticides that can be used against normal family pests. A portion of these pesticides is designed explicitly for specific kinds of family pests. Nonetheless, most pesticide medicines are known as expansive range medicines which imply they can be used against many sorts of normal invasions. Which one will work in a given circumstance should be dictated by Home Pest Control Service that are learned in the chemical formulations engaged with pesticides and what pesticide can be best for a given situation.

How do Pesticides Work?

Pesticides as chemicals work in a wide range of ways and some are more successful than others. Notwithstanding, the most well-known class of pesticide, the organophosphates, have an overall method for controlling creepy-crawly invasions when they are carried out. Organophosphates work normally by going about as a destroyer of the catalyst known as acetylcholinesterase (sometimes called AChE) which is a fundamental chemical engaged with muscle control in all creatures. This catalyst capacities to separate a chemical nerve courier answerable for muscle compression known as acetylcholine (sometimes called ACh). Muscles in creatures contract because of the acetylcholine signal delivered by nerves and the work of acetylcholinesterase is to separate acetylcholine and permit the muscle to unwind. So how most pesticides work, is that they obliterate acetylcholinesterase and forestall muscle unwinding. What this implies for the influenced creepy crawlies is that the muscles controlling breathing presently don't work and the bugs rapidly suffocate and bite the dust because of loss of motion and absence of oxygen. Such a control method is extremely powerful and can be conveyed by surface splashes, mist concentrates, or gel draws.

Another normal control method is the utilization of chemical pesticides that influence the shedding phases of bug pests. As creepy crawlies develop from the sprite stage to the grown-up stage they go through a shedding of their external shell, known as the exoskeleton. A few pesticides really forestall this shedding of the exoskeleton and cause the creepy crawly to kick the bucket all the while. These kinds of pesticides can be conveyed in the same manners as with the organophosphates by utilizing surface splashes, pressurized canned products, or gel snares.

How to Get the Proper Pesticides?

To treat a pest invasion, contact the fitting pest service who can assist you with any major issue you might have. All through Dubai, Abu Dhabi there are consistently cases of those experiencing issues with bug pests, for example, cockroaches or subterranean insects. It is significant in these circumstances to reach out to a learned pest control administrator who knows what pesticides and medicines are generally proper for a given circumstance. Kendah Home Pest Control Service have professionals who have been trained and are proficient in a wide range of creepy-crawly invasions and the entirety of the method for appropriate pest control in Dubai. They can assist you with deciding the most secure and most suitable means for controlling whatever pests you are currently managing in your home or business.

How do pesticides influence the Environment?

On account of advances in science and innovation, just as constant health-care advocates campaigning for more eco-accommodating pest control, the unfavorable impacts of pesticides have been decreased somewhat for inhabitants of Dubai, Abu Dhabi, and the world on the loose. While it is not difficult to accept that ranchers and pesticide producers are emotionless and esteem money more than human security, this is an unfair and mistaken supposition. Pesticides are important to guarantee the endurance of harvests and to forestall the spread of different illnesses. A great many people know that pesticides check the spread of infection and guarantee that the food sources we eat are, for the most part, illness-free. Nonetheless, scarcely any individuals know precisely how pesticides achieve these accomplishments. Much fewer individuals can articulate how a few pesticides can really be hurtful to people. This article will assist with addressing those inquiries for you.

To begin with, how about we take a gander at how pesticides work. As of the date of this article and as indicated by the Stockholm Convention on Persistent Organic Pollutants (SCPOP), there are four sorts of pesticides: bactericides, which eradicate air and water-conceived microorganisms, herbicides, which eradicate natural microbes, fungicides, which take out contagious microorganisms, and insect poisons, which kill infection spreading pests. Every one of the four pesticides is sold as granules, fluids, and powders. Those of you whom successive cultivating supply stores have most likely seen pesticides showcased in at least one of these forms. Some of you might have additionally seen pesticides in magazines, web promotions, and so on.

By utilizing proficient pest control services you will assist with diminishing your openness to pesticide toxins. Kendah Home Pest Control Service, for instance, will assist with taking care of your pesticide needs in an expert way. There are likewise several things you can do all alone. For instance, buying organic food varieties is a protection measure you can take to guarantee that you are not uncovering your family or yourself to possibly hurtful pesticide toxins. There are additionally over-the-counter splashes/washes that you can join in your day by day cooking routine to ensure what you eat is more secure.

#HomePestControlService

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comicbookgeek13 · 7 years

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How to Properly Adapt Death Note in 105 Minutes

Alright, motherfuckers, I, like every other Death Note fan, watched one of my favorite franchises get shat all over for the sake of making a lame black comedy whose only goal seemed to be shitting on the source material because Adam Wingard comes off to me as thinking it’s stupid. A lot of people have been saying that “they only had 105 minutes” and “it’s an adaption so it couldn’t have been something that pleased fans”. I’ve written an outline for how to do a Death Note movie in 105 minutes that is accessible to American audiences while pleasing fans. It sets up for a sequel, yeah, but I think Death Note’s record of success when done right means that’s not much of a risk. The goal here is to prove that even when not allowed the thirteen-hour-long episode season of a Netflix series it deserves that the material can still be dynamically entertaining because it’s just that strong. I also set out to prove that if a 21-year-old hick with no professional experience in writing can write something that functions well enough to appease both the fans I know and have shared this with and people who don’t know the material (like my middle-aged father!) then there is no reason that professionals hired by Netflix couldn’t do the same. Read my outline below the cut.

Setting:

New York City makes the most sense as a parallel to Tokyo since it is just as heavily associated with its native country outside of said country. It also allows for a rich backdrop for the movie to pull from both in terms of casting and in terms of scenery. Characters:

Light Yagami- As the surname implies, Light and his family are all Japanese-Americans played by Japanese-American actors. Light is one of the top students in the country, and the top law student at his university. He is charismatic and suave. He dresses sharp, and keeps a room that is neat but not obsessively so. He is conniving and cocky. He is obsessed with purifying the world, and will do anything it takes to accomplish this goal. He explains his complex plans to Ryuk so we, the audience, can keep up.

Sorichiro Yagami- Hardworking and dedicated, Sorichiro is one of the finest among New York’s finest. He is a believer in the justice system despite its faults. A great police captain, he is an even better father and husband. He’s the reason for Light’s being a law-student and his sense of justice.

Ryuk- The only character not in need of recasting or redesigning from the Wingard film, most of Ryuk’s alterations are characterization-based. Ryuk has an easy-come-easy-go attitude towards the events of the film. He has no investment in either Light’s success or failure as would be expected from the sort that drops a Death Note for just any human to find. Snarky, creepy, and adorable in a bulldog sort of way, Ryuk is Light’s companion for most of the film.

Misa Amane- Barely factoring into the film, Misa is a musician with a goth-lolita aesthetic who rocketed to success after starting out on YouTube as MisaMisa. Her only appearance in the film is a scene where Ryuk is watching a talk-show. She is also to be played by an Japanese-American actor.

L- The world’s greatest detective and the Holmes to Light’s Moriarty, L needs to be as interesting to the audience as Kira himself. L’s sense of justice is the cause his insomnia because it drives him to always be working cases under one alias or another. A believer in the human capacity for change, L is disturbed by Kira and his popularity, but he is also excited to encounter an opponent that’s his intellectual equal. A person with Asperger’s, L has a preference for looser clothing, hatred of socks and any similarly rough fabrics, and particular ways of sitting and holding things. He has a great fondness for any and all sweets. L’s actor needs to be an unknown with the ability to be unconventionally attractive similar to the likes of Johnny Depp or Jared Leto. His actor should be British, and should be shown some of Juliani and Stanfield’s performances in order to get a handle on the character’s way of speaking. I would like for his actor to be white since L’s design from the manga and anime is one of my favorite in fiction, but I’d have no problem casting someone of another ethnicity if their performance during an audition felt like the right fit for the role to me.

Watari- An old inventor and ex-British military sniper, Watari, like Alfred Pennyworth, is an English gentlemen’s gentlemen. His being L’s financial support and public representative makes sense seeing as he’s the one responsible for raising the eccentric detective. This doesn’t need to be explicitly stated in the film, but instead shown through small, tender moments like Watari fetching L a blanket or sweet he didn’t ask for. His real name is Quillish Wammy, though that wouldn’t be revealed in this film, and race is unimportant in the casting of his character.

The Kira Investigation Task Force- The men who stuck around following the deaths of the 50 F.B.I. agents, the Task Force are all brave souls dedicated to the arrest of Kira. Mostly serving as an everyman’s way into L’s methods and an excuse for L to explain his plans to the audience, the characterization here doesn’t have to be too strong save for Matsuda and Aizawa. *Matsuda is a rookie detective whose age allows for him to have the most open mind when it comes to Kira. He still wants Kira caught, but he sees why so many support the killer.

*Aizawa is the most skeptical about working with L. He feels the detective has a way of using people that comes from a mindset too similar to Kira’s for his liking.

The Task Force should be casted as multiracial to take advantage of NYC’s melting-pot population and give representation. They receive their original names from the manga as aliases from L upon meeting him in person as a safety precaution.

Raye Penber- The F.B.I. agent charged with pursuing Light Yagami and fiancé to Naomi Misora, Raye is a man who opposes Kira as deeply as he loves his bride-to-be. He needs to have a good chemistry with Naomi so that the audience feels his death’s impact after only a scene or two with them together. He needs to be attractive in a James Bond sort of way. His actor should be Japanese-American, and someone who is unopposed to returning for a possible prequel adapting events of Death Note: Another Note: The Los Angeles B.B. Murder Cases.

Naomi Misora- Equal parts loving fiancé and cunning ex-F.B.I. agent, Naomi Misora is Light’s greatest threat after L. Having resigned from the F.B.I. in hopes of pursuing a career in writing and as wife and mother, Naomi is devastated by the loss of her husband. Her pursuit of Light Yagami is fueled by her hatred for Kira’s ideology and revenge for Raye, and is ultimately what gets her killed. Her death should subtly upset L to hint at one-sided feelings for the doomed woman picked up during the briefly alluded to L.A. B.B. Murder Cases. She should be played by a Japanese-American actor who isn’t opposed to possibly returning for a prequel adapting those events down the line.

Plot:

The skeleton for the plot here is the first Japanese live-action film.

The film opens with Light Yagami , a second-year law student who feels aimless in his path to become a part of a system he sees flaws in, bored in his seat-by-the-window during one of his classes. These feelings would usually either lead to a career of cynicism or of bucking said system, but things take an unusual turn when Light sees a notebook drop out of the sky during one of his classes. After class, he picks up the notebook, called “Death Note”, and finds a list of rules written inside of the front cover.

1. The Human Whose Name is Written in This Notebook Shall Die.

2. If a Cause of Death is Not Written Within 40 Seconds of Writing a Name, The Human Will Simply Die of a Heart Attack.

3. After Writing the Cause of Death, Six Minutes are Allotted to Provide Details for Circumstances Surrounding The Death.

He assumes the notebook to be a morbid prank.

The next scene has Light discover the authenticity of its powers after writing down the name of a man holding a gas station hostage after seeing live news coverage of the event on the TV in his room. Initially horrified, Light decides to use the Death Note to clean up the world after a court case that gave a rapist a three-year prison sentence is discussed in one of his classes the next day.

The next scene is set a few days after this with Light returning home to his room to find what is apparently a demon waiting for him. The demon explains it is actually a bored god of death, or Shinigami, named Ryuk who dropped the Death Note, what is used by Shinigami to fulfill their job of killing humans, in the human world so “something interesting” would happen. He spends the rest of the film eating apples and cracking wise. Light learns only people who have touched the Death Note can see Ryuk after his sister comes in his room wanting help with her math homework.

Through a montage, we see that Light’s killing of criminals, initially only local and then international, soon garners him a following on the internet in places like Facebook, Tumblr, Reddit, and 4Chan. The name Kira, based on saying “Killer” with a Japanese accent, catches on as the way his supporters refer to him online. The media calls the killings “ a strange series of heart attacks”.

The next scene shows NYPD Captain Sorichiro being called to the Commissioner’s office, and finding a well-dressed old, British man called “Watari” waiting for him alongside the commissioner. Watari explains that he represents “L”, the world’s greatest detective. The police commissioner explains that Watari is the public’s only direct line to L. Watari then pulls a laptop from his briefcase, and opens it to reveal a white screen with a black Old English style “L” in the center. A voice put through several digital filters greets the men in the room, and declares itself to be L. L tells the men of Interpol’s debate over the cause of so many criminal deaths, and that he suspects the deaths to be murders. His reasoning is that criminals being so specifically targeted makes a disease unlikely. He suspects these murders to be perpetrated by a single killer somehow since the range of the killings would take a number of people working together that would make success as unlikely as a disease. He accompanies his reasoning with charts displaying information backing him up displayed on the laptop screen. L says that he would like to work with the NYPD to assemble a 50-man task force with Sorichiro at its head because he suspects Kira may be operating out of New York City since that’s where the initial killings were located.

Next up is a scene of Light’s family greeting Light’s father, who is revealed to be Sorichiro, after he’s gotten home from work. He mentions the NYPD doing something about Kira after Light’s sister mentions her classmates talking about the killer at school. Ryuk laughs over Light’s Dad unknowingly being after him.

We then get a scene of the Task Force’s HQ being set up. L speaks to the men, again through a laptop Watari brings, commenting on their bravery and how he will be releasing a public statement against Kira.

We cut to Light watching TV in his room only for the broadcast to be interrupted by what is called a worldwide broadcast. A man named Lind L. Taylor appears on screen, and declares himself to be L. He speaks out against Kira, calling him evil and childish, and claiming he will single handedly apprehend the criminal. Light, feeling insulted by this, writes Taylor’s name in the Death Note. After Taylor dies of a heart attack, Light gloats to Ryuk, but is interrupted when the broadcast cuts to the “L screen” previously seen on the Watari’s laptop. L’s synthesized voice expresses astonishment at how well his plan worked. He addresses Kira directly as he explains that the man named Lind L. Taylor was an inmate on death row set to be executed that night who had agreed to pretend to be L in exchange for being pardoned in the event that Kira didn’t kill him during his TV appearance. L adds that the broadcast wasn’t actually a worldwide broadcast but limited to New York City. Had Taylor lived, the plan would have been implemented in different areas using different inmates. L knows Kira’s location, and that a name and face are needed for him to kill. He dares Kira to kill him without having either on the detective. Ryuk thinks this all hilarious, and Light is furious. L declares that he is justice, and the broadcast ends.

A montage of television programs discussing L’s TV appearance plays, ending with singer Misa Amane expressing her support for Kira. It’s shown that it’s Ryuk that’s been looking at these TV shows, and he turns to tell Light how badly he’s been shown up. Light tells Ryuk he’s already going to get back at L. Using his father’s username and password, Light looks at inmates convicted in cases involving rape, murder, or child molestation, and uses the Death Note to make them all write suicide notes on the walls of their cells using their own blood before committing suicide in differently specific ways that test the limitations of the Death Note.

We next have a scene of the Task Force discussing the deaths, and realizing that there is a message to L hidden in the first letter of each sentence in the notes that can only be seen when they are examined together. The message is, “L, did you know that gods of death love apples?” L says that the message isn’t the real point of these deaths, but it was to show that Kira can control people’s actions before they die.

The next scene is of Light and Ryuk walking through a park. Light’s wearing a Bluetooth headset so that he doesn’t look like a crazy person while talking to Ryuk. Ryuk tells Light that someone is following him, and is only telling him because it makes the Shinigami feel like he’s the one being watched. Ryuk says it’s been three days since this began when Light asks him.

Next is L telling the Task Force that he has F.B.I. agents tailing members of each of their families. When they express outrage, L explains that Kira has to have a connection not only to law enforcement in general but specifically the Task Force to know to access the database the NYPD keeps on inmates in relatively local prisons since no one outside of L, Watari, the commissioner, and actual members of the Task Force know that L is working with the NYPD. This quiets the discontent some, and it is totally killed when Captain Yagami expresses his support of L’s plan.

Next we have Light in his room writing names in the Death Note when Ryuk tells him that there is a simple way to figure out the name of his stalker. He explains all Shinigami have eyes capable of seeing the names and lifespans of all humans they see in order to do their job of writing names in their Death Notes, and that Light can be given this sight with no change in the appearance of his eyes in exchange for half of his remaining years of life. Light declines this offer, and tells Ryuk he already has a plan.

We then have a scene of the man tailing Light returning home to his fiancé, a woman named Naomi Misora. She’s working on a novel about a young man searching for his missing friend from college. He says he’ll be able to focus on their wedding again soon as he’ll be done with tailing the families he’s been assigned to follow Friday. Naomi asks if he thinks that any of them could be Kira, and he tells her no. He adds that she would be the better out of the two of them to ask since she was good enough to work with L when she was in the F.B.I. She dismisses him by saying she’d rather focus on writing and loving him than Kira.

Next we have Light getting on a bus to the zoo with his stalker close behind. Light spends the first few seconds of the ride with his headphones in and watching a video on his phone. This is all interrupted, though, when a man with a gun takes the bus hostage. He uses the driver’s radio to demand $10,000 from the zoo. Light looks to the seats behind him to see his stalker sitting in the seat directly behind his. Light asks him if he wants to do something about the hijacker, and the man agrees. Before they do anything, though, Light wants proof that the man isn’t working with the hijacker. After a moment’s hesitation, the man shows an F.B.I. badge revealing his name to be “Raye Penber”. Satisfied, Light says he’ll pass him a note since the hijacker’s about to turn his attention back to the passengers. Light drops the paper as he’s passing it, and the hijacker notices. After reading the paper, he points his gun at Light’s face, and asks him if he’s “Some kind of hero?!”. Before he can kill Light, though, he notices Ryuk standing in the aisle of the bus. Ryuk expresses surprise and laughs when he realizes that the paper must’ve been torn from a page in the Death Note. Panicking, the hijacker shoots at Ryuk, the bullets just passing through to break the rear window, and demands the driver stop the bus. He runs out of the bus only to be hit by a car. After the police let Light leave the scene, Ryuk asks him if the hijacker was a criminal Light wrote would do all of that in the Death Note to which Light answers yes. He adds that the incident would have always ended in his favor since he would have at least seemed “too noble” to be Kira had Penber provided some other means of proving he wasn’t working with the hijacker, but the name will allow for Light to send a message.

Next is a scene of Raye telling Naomi over breakfast that he won’t be able to go with her to meet with the priest like they’d planned . Naomi, confused, asks Raye why, but he tells her he can’t say.

Next is Raye going down to a subway to catch a 1:00 PM train heading to some arbitrary location. He is approached from behind from a disguised, hoodie-wearing-Light, who tells him that he is Kira, and that he will kill everyone around them unless he complies to his demands. Light speaks in harsh whisper to mask his voice somewhat. Raye complies, and takes the seat next to the door of the train at Light’s instruction. He takes a manila envelope containing a cheap cellphone, sheet of paper, and a pen from the luggage rack also at Light instruction. The phone rings, and Light is on the other end of the line. He tells Penber to write the names of his fellow F.B.I. agents current tailing anyone in relation to the Kira Investigation. Raye says he doesn’t know the names. He asks for Raye’s superior that is heading the team of agents, and Penber gives it to him. A few moments later, Raye receives a phone call from his superior, and is told the names of his fellow agents. Light again tells him to write down the names, and Raye does so this time. Raye is told to put the cellphone, pen, and paper back in the envelope before placing it back on the luggage rack, and that he is to get off at the train’s next stop. As all of this occurs, a narration from Light begins. “Raye Penber. Heart attack. He cancels any and all plans he has, and tells no one why. He heads to the subway for the 1:00 PM train heading for ((Insert Arbitrary Location Here)). There, he encounters the man known as Kira, and complies with the man’s demands. He gets off at the stop that comes after his compliance, and dies.” Towards the end of the narration, Raye gets off the train, turns to find a smiling-and-envelope-holding Light standing behind the now closed train doors, and die, shocked, reaching towards his killer as the train departs.

Next is Light and Ryuk exiting the subway, and entering a dirty alleyway. Light pulls out a bottle of some flammable liquid from his hoodie pocket, pours the liquid all over the envelope, and drops a match. He adds the bottle into the resulting fire, and smiles knowingly at Ryuk.

We cut to Captain Yagami informing the Task Force that all 50 of the F.B.I. agents tailing their families and the man supervising the agents have died of heart attacks. He says that, in light of this, any who wish to exit the investigation are free to do so without consequence. All but six men take this offer. Captain Yagami tells L that there are only seven of them left. L expresses disappointment while complimenting the bravery of the seven. One of the men (Aizawa) rebukes this compliment by insulting L for hiding himself from the world and keeping them at an arm’s length. L takes this to heart, and tells the men to meet him at a specific hotel in two days. The same man who rebuked L’s compliment asks why they have to do this, and Watari tells him that they are going to be meeting L.

Our next scene is of Raye Penber’s funeral with a vengeful Naomi watching her fiancé’s casket be lowered into the ground.

We then cut to the Task Force arriving in the lobby of the designated hotel to find Watari waiting for them. The old man leads them to the room where L is staying. After they enter, a man about Light’s age with pale skin, messy black hair, a white long-sleeve shirt, and baggy blue jeans comes out, and reveals himself to be L after greeting them. Each member of the Task Force gives their name in return, and L tells them that they would all be dead if he were Kira. He gives each member their corresponding manga name as an alias, and asks for them to refer to him as “Ryuzaki” from now on. He gives them a pep talk that assures them that justice will prevail in the end.

Next we cut to Naomi talking to the driver of the hijacked bus during his lunchbreak. She asks him if he saw Raye talking to anyone after showing him a picture of her fiancé. He says he saw him talking to a young guy who didn’t even flinch when the hijacker pointed a gun in his face.

We cut to Watari placing a blanket on L, who has fallen asleep in his crouching/sitting position only for the detective to be awoken by the ringing of his personal cellphone. Naomi is the one calling him, and he expresses quiet surprise after finding this out. She tells him she suspects that Light is Kira because of Raye’s death after revealing his name to him, and that she’ll be proven right if she’s found dead soon. L says he won’t be able to use her claims as proof in a court case since his personal cellphone is the only one he has that isn’t bugged. She says she knows this, but that she also knows he’ll find something that can be used in court now that he has this information. Naomi ends the phone call with a “goodbye”.

The next scene begins with L telling the Task Force he wants to bug Captain Yagami and the Commissioner’s houses. They’re understandably upset, but L explains by showing footage of Raye Penber’s death as captured by security cameras. He says his shock before dying means he recognized a person on the train, and his reaching even as he dies suggests that person was Kira. Raye was tailing members of the two families so Kira must have been among them, and killed Raye for getting too close with the deaths of the other agents being a means of covering themselves and an intimidation tactic. Sorichiro agrees to the bugging of his house under the condition that he and L be the ones to watch the feed with the others watching the commissioner’s. L accepts this condition, and says the observation will only last for two weeks.

We next have Light returning home to his room. Ryuk suggests that they play video games now that the human has come home, but Light acts as if the Shinigami isn’t there. We see L and Sorichiro watching all this and everything else in the house on various screens. After putting his school things away, Light leaves the house. He now tells Ryuk that he suspects his room has been bugged, and can’t speak to him in his house until they’re gone. When asked how he could know such a thing, Light says he’s been putting a pencil lead above the top hinge of his bedroom door as a means of preserving his privacy while away from home since he was a teenager because the lead always breaks when the door is opened. Ryuk is distressed by his apple supply being cut off, and Light is frustrated over not knowing how L could even suspect him. Ryuk asks Light just what it is he’s going to do about it, and Light smiles after a moment’s consideration.

We cut to L and a clearly haggard Captain Yagami watching the Captain’s family eat dinner. L expresses admiration for Sorichiro’s dedication to his family. Sorichiro asks why Light’s room has the most cameras, and L says Light’s intellect makes him the most likely to be Kira. On the camera feed, Light says he’s going to his room to do homework. He grabs a previously opened bag of chips, and heads for his room. He starts doing his homework, eating chips every few minutes. Downstairs, the local news reports on the apprehension of a man who’d robbed a grocery store, killing three people in the process. The man suddenly dies of a heart attack. Light’s shown no change in behavior that would allow for him to see this report. Throughout all of this it should cut between the feed and L and Sorichiro watching it. The Task Force celebrates Light and the rest of Sorichiro’s family being relieved of suspicion, and L is frustrated.

We cut to reveal Light had a piece of the Death Note, another pen, and a smartphone hidden in the bag of chips.

The next scene is Light leaving school, and none other than Naomi Misora meeting him on the way to his car. She answers his confusion by telling him her name, and that she knows he is Kira. Light calls her crazy, trying to get past her, but Misora won’t let him pass. She tells him that Raye Penber was her fiancé, and that she’ll see him exposed to avenge Raye. Light pushes past her, and drives off.

We cut to Light getting home to his room. Ryuk excitedly tells him all the cameras are gone, and Light tosses him an apple he’d been keeping in his desk drawer.

Our next scene has the Task Force arriving to L’s hotel room. L asks Captain Yagami if he’s enjoyed going home to which the Captain says yes. L begins to tell them what he thinks their next plan of action should be, but he is interrupted by his cellphone ringing. He answers to find Naomi once again waiting for him on the other end. She tells him she’s sending him a link to a video feed so that he can watch Kira confess to his crimes. L asks her just what she’s planning to do, and she tells him she’s already done what she planned to do before ending the call. L tells Watari to go to the linked feed. The feed shows Light tied to a chair, and alone in a dark room. He seems confused and scared, calling for someone to explain what’s going on. Sorichiro is horrified, and asks L what’s going on in an accusatory tone. L tells Watari to begin tracing the feed, and gives the Task Force a summation of what’s going on. They all watch as Naomi enters the dark room, apparently a warehouse given the door type. She says she knows Light is Kira, and he’s going to have to either confess or kill her like he killed Raye before she can kill him if he wants to live. Light denies her accusation, and begs to be let go. This deeply disturbs the Task Force. Naomi begins to torture Light in an attempt to get a confession. Tension builds as we wait for Watari to find the location. He finds that the feed is coming from a warehouse called “The Yellow Box” which was used as a location for mob negotiations in decades past. Sorichiro and the Task Force immediately head out.

We cut between their racing towards The Yellow Box and Naomi’s torturing Light.

Naomi pulls out a gun, aiming it at the bleeding and crying Light, saying that she is going to kill him in ten seconds if doesn’t confess or kill her first. Before she can shoot him, though, Sorichiro and the Task Force arrive, telling Naomi to drop her weapon and put her hands above her head. Naomi, apparently realizing she’s gone too far, asks Raye to forgive her and shoots herself in the head. Sorichiro unties Light, embracing him and crying over his relief for his son’s safety. He and the other Task Force members walk him out of the warehouse so that he can receive proper medical attention. Over this tender scene, Light narrates,“ Naomi Misora. Suicide. After abducting the person responsible for her fiancé’s death, she contacts those responsible for the Kira Investigation, and provides them with a way of watching as she tortures her captive in order to get him to confess to being the killer known as Kira. She threatens to kill her captive, but, upon the intervention of the police, realizes how far she’s taken her search for answers, and ends her life with a gunshot to the head.”

Our final scene starts with Light in his room, now bandaged in the areas where he was most severely injured during his interrogation. The doorbell rings, and he goes to the door to answer it. He opens the door to find L on his doorstep. The detective reveals his identity to Light, and asks to speak with Light inside. L explains to him that he wants Light to join the Task Force. He adds that he suspects Light to be Kira. He talks of how Naomi had called him before Light’s abduction, and how she’d said Light must be Kira if she were to die soon. He adds how uncharacteristically irrational she was in her final actions, and how they know Kira has the ability to control the actions of his victims before their deaths. Light counters this by saying that her fiancé’s death must have sent her over the edge, and that he would’ve just killed Naomi while she was torturing if he actually were Kira since he knew her name and face. Light then asks why L would want him on the Task Force if he suspects that Light is Kira. L lies that Light’s odds of being Kira are only 5%, and, that if he is wrong about Light being Kira, Light’s track record of successfully assisting the police in previous cases would make him a great asset in finding and arresting the real Kira. Light fakes consideration, and accepts L’s offer by shaking the detective’s hand. The film closes with Ryuk laughing and saying, “Humans are so interesting!”

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hannigram-a-b-o-library · 7 years

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Hey! I was hoping you could help, i'm currently looking at about a bazzillion open ao3 tabs of ABO Hannigram fics and I just don't know where to start. I'd love something long that i can sink my teeth into. can you help???

Hi there @whataboutthefish!

I picked the brains of the wonderful fannibals in the knitting circle and here’s a list we came up with of some of our favourites, hope they are of some help to you. Behind the cut, in no particular order 💖

As always - heed the tags, but also do check out the writer’s notes as sometimes they explain that tags further and may help you decide if it’s for you if there is anything you squick. There are also some non-canon and AU fics in here, but if you would like some wildly AU fics or rarepairs then drop another line and we will see what we can do!

A Fine Piece of Real Estate by Della19Explicit // M/M, F/M, F/F, Multi // Will Graham/Hannibal Lecter // Series in Progress // selected tags: Graphic Depictions Of Violence, Cannibalism, Alpha/Beta/Omega Dynamics, Mpreg, Will the Morally Grey, Hannibal is Hannibal, Will Graham doesn’t need anyone’s help, Happy ending (with cannibalism), Alternate Universe - Canon DivergenceSummary: And I’m gonna get me some land.Words: 70,638 Works: 4

Been A Son by pinkbagels Not Rated // F/F, M/M, Other // Will Graham/Hannibal Lecter // selected tags: Alpha/Beta/Omega Dynamics, Weirdness, Hannibal is a Cannibal, weird alien booty stuff, I love writing creepy gory things, Original Murders, feminist leanings, wierd sex, implied non con, Hannibal is happily evil, Alternate UniverseSummary: Dr. Hannibal Lecter, world renowned psychiatrist, has been hiding a secret. He’s also the Chesapeake Ripper. Will Graham, Alpha, FBI criminal profiler and all around repressed aggressive mess is brought in to take down the Ripper. In hopes of helping him manage his empathy disorder while working the case, Dr. Lecter is brought in as a consultant to help harness Mr. Graham’s more unstable tendencies. While Dr. Lecter doesn’t mind Will Graham finding out about his murderous hobbies, there are *some* things he’d much rather keep to himself. Will Graham, however, is one persistent Alpha mongoose.Words: 126,185 Chapters: 18/18

Blood Bond by HotMolasses @hotmolassesExplicit // M/M // Will Graham/Hannibal Lecter // selected tags: Graphic Depictions Of Violence, Alpha/Beta/Omega Dynamics, Canon-Typical Violence, Murder SexSummary: In a modern, civilized society, most people take suppressants to keep their Alpha or omegan attribute from ever developing. Hannibal of course does no such thing, and is an omega desperate to awaken the Alpha in Will. He finally succeeds when they kill the Dragon together, causing Will to go into rut immediately.Words: 71,562 Chapters: 14/14

I could just eat you up (but not literally) by Orphan AccountExplicit // M/M // Will Graham/Hannibal Lecter // Selected tags: Alpha/Beta/Omega Dynamics, Mating Cycles/In Heat, Dom/sub, Impregnation Kink, Possessive Behavior, oh and cannibalism but I think that’s a given by nowSummary: Hannibal breeds Will. A love story in bodily fluids.Words: 42864 Chapters:5/5

Truths we are dealt by Nalyra @nalyrasExplicit // M/M // Series in Progress // Will Graham/Hannibal Lecter // selected tags: Graphic Depictions Of Violence, Post-Episode: s03e13 The Wrath of the Lamb, Canon-Typical Violence, Canon Compliant, Alpha/Beta/Omega Dynamics, Mating Cycles/In Heat, Possessive Behavior, Mating Bond, Serial Killers, Light Dom/sub, Bonding, Cannibalism, Rough Sex, Voyeurism, Hurt/ComfortSummary: Borne out of one of Bryan’s tweets, this follows current canon, Will Graham embracing his Omegan nature, Hannibal his, with Silence of the lambs compliance and lots of smut thrown in.Words: 54,355 Works: 6

Better Living Through Pheromones by canis_m @unicornmagicExplicit // M/M // Series in Progress // Will Graham/Hannibal Lecter // selected tags: Alternate Universe - Season/Series 01, Alpha/Beta/Omega Dynamics, Mating Cycles/In Heat, Caretaking, Discussion of mpreg, Daddy Kink, Spanking, Domesticity, Watersports, Come Marking, Praise Kink, D/s undertones, mentions of mpregSummary: On the hunt for the Minnesota Shrike, Will goes into heat early. Good thing there’s a doctor on call.Words: 24,853 Works: 3

Peachfire Whiskey by KareliaSweet @lovecrimevariationsExplicit // M/M // Will Graham/Hannibal Lecter // Selected tags: Alpha/Beta/Omega Dynamics, Alternate Universe - College/University, Teacher-Student Relationship, Sexual Coercion, Knotting, No mpreg, young!Hannibal, Mating Cycles/In Heat, Teasing, Scent Kink, Knotting Dildos, Bonding, Happy EndingSummary: Will knows he’ll remember this scent until the day he dies. Hannibal smells like firewood, and malt whiskey, and roasted peaches drizzled in honey. He smells like nothing Will has ever scented before, and it is so divine it dizzies him. - The Adventures of Professor Will Graham and His Terribly Naughty Omega Student, Hannibal Fucking Lecter.Words: 22,076 Chapters: 5/5

Who, O Lord, Shall Stand? by AGlassRoseNeverFades @aglassroseneverfadesExplicit // M/M // Will Graham/Hannibal Lecter // Selected tags: Graphic Depictions Of Violence, Rape/Non-Con, Alpha/Beta/Omega Dynamics, Dubious Consent, Cannibalism, Emotional Hurt/Comfort, Emotional Manipulation, Possessive Hannibal, Angst, Sleepwalking, Nightmares, Someone Help Will Graham, No Encephalitis At Least, Mpreg, Autistic Will Graham - Headcanoned Though Not Explicitly Stated In the Fic, Murder Family, Fluff, WeddingSummary: He was in love from the moment he stepped foot into Hobbs’ kitchen and saw the Omega standing there, chest heaving, pulse racing, spattered in the blood of an inferior Alpha. He had vowed to himself then and there that he would have Will, whatever the cost to the profiler’s sanity and to the lives of others. An Omegaverse story in which male Omegas are considered rare and precious according to society’s standards. Hannibal decides he wants Will and is ready to start a family with him, regardless of whatever Will wants. Starts in Oeuf but doesn’t diverge too drastically from canon until Savoureux.Words: 105,959 Works: 2

A Knack for Monsters by Sugarmouse @sugarmausExplicit // M/M // Will Graham/Hannibal Lecter // selected tags: Alternate Universe - Canon Divergence, Alpha/Beta/Omega Dynamics, Slow Burn, Knotting, Biting, D/s, Cannibalism, Murder, Mating Cycles/In HeatSummary: Will has enough problems dealing with his bad dreams and the fallout of old cases. He does not need new nightmares, he does not need yet another alpha thinking they can run his life. This new alpha though, he’s different. Perhaps they could become friendly, maybe one day even become friends. This is canon divergence from the pilot, how things might have gone differently if Will was an angry omega and Hannibal an intrigued alpha.Words: 66,651 Chapters: 44/44

Sonata Op 57 “Appassionata” Mov3 by DarkmoonSigel @darkmoonsigelMature // M/M // Will Graham/Hannibal Lecter // Selected tags: No mpreg, Alpha/Beta/Omega Dynamics, AU, Injured Will, Hurt/Comfort, Hannibal is a Cannibal, Possessive Hannibal, Master/Slave kinda…., Slow Build, Collars, Soul Bond, Psychic Bond, Knotting, Ravenstag, no encephalitisSummary: Will is on the auction block after being outed as an omega. Hannibal buys him for reasons. Hilarity, feels, cannibalism, and the monkey shit show that is Hannigram ensues.Words: 114,367 Chapters: 19/19

The Pleasure of Giving In by DrJLecter @drjlecterExplicit // M/M // Will Graham/Hannibal Lecter // Selected tags: Alpha/Beta/Omega Dynamics, Mating Cycles/In Heat, Canon-Typical Violence, Cannibalism, Hannibal is a Cannibal, Knotting, Mildly Dubious Consent, Fluff, murder!husbands, Manipulative Hannibal, a darker shade of Will, Possessive Will, No mpreg, Kidnapping, Murder, Manipulative WillSummary: Circumstance exposes Hannibal’s status as unbonded Omega. Chance lets him bond to Will before being claimed by another Alpha. What will opportunity bring? (With a side of cannibalism). There’s porn, there’s plot, there are feelings. And knots.Words: 40,133 Chapters: 10/10

Some that are currently WIPs that are being regularly updated and come recommended!

The Fairy’s Bride by AGlassRoseNeverFades @aglassroseneverfadesExplicit // M/M // Will Graham/Hannibal Lecter // Selected tags: Graphic Depictions Of Violence, Major Character Death, Rape/Non-Con, Underage, Francis Dolarhyde/Will Graham (briefly), Spoiler Alert: The Major Character Death is Francis Dolarhyde, dub-con, Kidnapping, Captivity, Captor Bonding, Stockholm Syndrome, Manipulation, Abuse, references to necrophilia, About as Much as in Red Dragon, Cannibalism, Alpha/Beta/Omega Dynamics, Dark Will Graham, No mpreg, Forced Bonding, Age Difference, Murder Family but in a Slightly Different Way, Some Implied and/or Imagined Animal Abuse, Autistic Will Graham, some Fluff in Here Too, All the Bad Boys Want WillSummary: “I imagine no matter the circumstances, the loss of one’s mate must be a rather traumatizing experience, particularly after so many years bonded.”Will laughs, just once, a quick, dark, rich sound that causes the hairs at the back of Hannibal’s neck to stand pleasantly on end. He does not shy away from eye contact with Hannibal the way he does with so many others, rubbing his thumb along his lower lip, enough to tug it gently out of place as he considers his response.He curls his lip back into his mouth to wet it before asking, “Tell me, Doctor Lecter, have you ever been mated? Willingly or…otherwise.” But for the barest tightening of his smile and a flash of something once brittle, now hardened, behind storm-colored eyes, one would never suspect the sort of madness and past traumas that lurk behind the omega’s guarded cerulean gaze.Not unless one knows exactly what to look for.Words: 39,717 Chapters: 11/?

Remember (that you are) to die by 13empress Explicit // M/M // Will Graham/Hannibal Lecter // Selected tags: Graphic Depictions Of Violence, Alternate Universe - Different First Meeting, Amnesia, Established Relationship, Implied Mpreg, Alpha/Beta/Omega Dynamics, Betas rule the world, Dark Will, Gaslighting, Murder Husbands, Attempted Murder, Grey Will, Serial Killer Will, Post Mpreg, Slow Build, Vulnerable Will, Manipulative Will, Hannibal is Hannibal, Secret Identity, False Identity, Fluff, Sassy Will Graham, Happy Ending, Mystery, Murder MysterySummary: “How long have I been here?” Will asked, but immediately waved off her answer, realizing it didn’t matter either way. “Look, my name is Will Graham – I don’t know what happened but you have to give my partner a call.”“I’ll get the doctor,” she told him, her voice trained to the mellow murmur just about all medical professionals used on omegas.Will opened his mouth to tell her that there was no need, that he felt fine, and if she would just listen, he could discharge himself and be out of her hair in thirty minutes flat. He grabbed the safety rails and forced himself to stand, though the motion made him a little dizzy. Something on his peripheral vision grabbed at him. The whiteboard strip above the hospital bed – W GRAHAM-LECTER, omega, male, B positive – struck him like a physical blow.Words: 200,744 Chapters: 24/?

The Baby by SpklvrMature // M/M // Will Graham/Hannibal Lecter // Selected tags: Discussion of Abortion, Alpha/Beta/Omega Dynamics, Mating Cycles/In Heat, Knotting, Fluff and Crack, MpregSummary: Will is a very special omega. Special in that he really doesn’t like those smelly, noisy, disgusting, little humans that sometimes grow inside of bigger humans, before tearing apart their birth canal in their grandiose exit into the world. Being in his mid thirties, he thinks he has escaped this nightmare, but mother nature happens to be a bitch…Words: 54,495 Chapters: 15/?

Resurrection Fern by strangestorys @strangestorysExplicit // M/M // Will Graham/Hannibal Lecter // Selected tags: Alpha/Beta/Omega Dynamics, Mpreg, Pregnancy Kink, Belly Kink, Fluff, A little angst, Mating Cycles/In Heat, Knotting, Unplanned Pregnancy, Discussion of AbortionSummary: After the fall, Will and Hannibal are living a quiet, still celibate life together when Hannibal goes into an unexpected heat. Gratuitous first-time heat sex occurs, and a few weeks later, they’re surprised to discover Hannibal is pregnant. They find themselves building a new relationship and facing the skeletons in their mutual closet as they prepare for fatherhood.Words: 15,055 Chapters: 5/9

Overcoming by purefoysgirl @jadegreenworksMature // M/M // Will Graham/Hannibal Lecter // selected tags: Alpha/Beta/Omega Dynamics, Slow Burn, Slow Romance, Alternate Universe - Regency, Alternate Universe - Victorian, Angst, Hurt, Emotional Hurt/Comfort, Emotional Baggage, Emotional/Psychological Abuse, Alternate Universe - Arranged Marriage, Hannibal is Not a Cannibal, Empath Will Graham, Sassy Will, Past Infidelity, Past Child Abuse, Implied/Referenced Cheating, Implied/Referenced Child AbuseSummary: A Victorian A/B/O romance in which Hannibal Lecter is the future Duke of Westvale who has been away at war for the past ten years. His Grandfather has made good on a contract made shortly after Hannibal’s birth to procure him a wife. It was supposed to be easy. Naturally, with the Omega, Will, given in the place of his twin sister, it is anything but, because if there is one thing Hannibal Lecter despises, it’s Omegas.Words: 67,214 Chapters: 10/55

#asks #replies

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leekchess87-blog · 5 years

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“We Are Looking in a Mirror”: Ramsey Campbell Curates the History of Horror

NOVEMBER 4, 2018

FIRST, THE BONA FIDES. The Folio Society is a British publisher that produces limited hardcover editions of classic titles, both fiction and nonfiction. Their books are handsomely produced and usually include original illustrations of very high quality. Until 2011, Folio titles were only available to subscribing members, but they are now sold to the general public via the company’s website. Although most of their releases are reprints, they have commissioned the occasional anthology of specialized interest, such as The Folio Book of Ghost Stories (2015), edited by Kathryn Hughes. The newly issued The Folio Book of Horror Stories (2018) is a follow-up volume with a more expansive editorial remit.

The book’s editor, British author Ramsey Campbell, needs no introduction to aficionados of the horror genre. He is arguably the most distinguished living writer of horror fiction, having won 12 British Fantasy Awards for his novels, stories, and anthologies, as well as lifetime achievement awards from the Horror Writers Association and the World Fantasy Convention. His fiction spans the gamut from eerie tales of supernatural dread to works of extreme, graphic horror, and this wide range perfectly equips him to helm a volume that purports to canvass the field from Poe to the present.

Campbell’s introduction makes the case for a generous construction of the genre’s borders. While horror is a form distinguished by its characteristic affects, those emotional states can vary from “supernatural fear” to “psychological disquiet” to “terror devoid of a physical cause.” Horror, Campbell writes, “is the least escapist form of fantasy […] It shows us the monstrous, sometimes to reveal that we are looking in a mirror.” The editor’s catholic tastes are evident in his choices, which start with Poe’s “The Fall of the House of Usher” (1839) and conclude with Adam Nevill’s “Hippocampus” (2015). There are 15 stories in all: two from the 19th century, five from the first half of the 20th, five from the second half, and three from the 21st. They include obvious classics alongside unexpected selections by major authors and a few contributions from relatively obscure talents. The book thus manages both to satisfy readers new to the field, by providing a sense of its historical development, and to please well-versed fans, by presenting them with unexpected gems.

There are a few surprising omissions, none more notable than Robert Aickman, whom the editor himself has often praised as one of the finest authors of weird fiction ever. Campbell acknowledges that another curious absence from the book — J. Sheridan Le Fanu — was the result of a lack of space, but while Le Fanu’s work is in the public domain and thus readily accessible, Aickman’s is not — though NYRB Classics recently released a welcome compendium of the author’s “strange stories.” Considering that a third of The Folio Book of Horror Stories is consumed by two long texts, Arthur Machen’s “The White People” (1904) and Stephen King’s “1408” (2002), it might have been possible to select briefer works by those particular authors in order to find room for Aickman, or Clive Barker, or Roald Dahl, or Richard Matheson, or Joyce Carol Oates, or any number of other worthy figures who are absent here. It should also be said that the canon presented in Campbell’s volume is exclusively Anglo-American: no Hoffmann, no Kafka, no Borges, no Quiroga.

But these are quibbles. If the reader wants a more extensive introduction to the genre, there are comprehensive works available, such as David G. Hartwell’s The Dark Descent (1987), which features 56 stories, or Jeff and Ann VanderMeer’s The Weird (2012), which includes over 100. One of the chief pleasures of The Folio Book of Horror Stories is its relative concision, the fact that it can be hair-raisingly devoured on a single lonely night, as well as the opportunity it presents to witness one of the preeminent talents in the field curate a “greatest hits” volume. Campbell has edited more than a dozen anthologies, including award-winning installments of the “Best New Horror” series (1990–’94), but none of his previous stints as editor has afforded him the historical or thematic scope this one does.

Campbell shows himself to be a skillful anthologist indeed: the selected tales echo one another in curious and provocative ways. The first two entries are a case in point: both Poe’s “Usher” and Charlotte Perkins Gilman’s “The Yellow Wallpaper” (1892) are tales of stifling claustrophobia, of domestic environments cursed by the tainted legacies of their past inhabitants. But while Poe’s story uses the distancing technique of an external narrator, who watches his childhood friend succumb to madness, Gilman offers an indelible first-person portrait: her narrator, by the end, is irremediably insane. As Campbell remarks in his introduction, works like Gilman’s show a particular strength of the genre — its ability to deploy narrative voices “impossible in conventional terms,” and thus to evoke extreme psychic states with terrifying immediacy. This contrast between distancing and immersive styles runs throughout the volume: Lovecraft’s “The Music of Erich Zann” (1922) and Reggie Oliver’s “Flowers of the Sea” (2011) relate, from an uneasy but external vantage, the mental deliquescence of an acquaintance or loved one, while Shirley Jackson’s “The Bus” (1965) and Dennis Etchison’s “Call Home” (1991) plant readers squarely inside the nightmarish predicaments of their protagonists, who find themselves at the end — like Gilman’s narrator — trapped in recursive loops of lunacy.

Several of the stories combine these two techniques via the traditional framing device of the mysterious manuscript found in some cryptic archive. M. R. James’s “Count Magnus” (1904) features the diary of a researcher whose antiquarian obsessions summon a vampiric revenant; his frightful story is bookended by the bland observations of a narrator who discovered the manuscript “in a forgotten cupboard” of a dilapidated house. In Machen’s “The White People,” a pair of occult dabblers ponder a wild account of sorcerous initiation penned by a young girl who died in mysterious circumstances. The most unnerving of this subset of stories is Thomas Ligotti’s “Vastarien” (1987), in which a hapless bookworm is literally possessed by the eponymous tome: “Each passage he entered in the book both enchanted and appalled him with images and incidents so freakish and chaotic that his usual sense of these terms disintegrated along with everything else.” By the end, he has been absorbed into its fragmented dreamscape.

A turning point in the volume, historically speaking, is Fritz Leiber’s 1941 story “Smoke Ghost.” As the title implies, it is a tale of eerie haunting, but the eponymous specter does not lurk in some cloistered abbey or rural forest, as in Algernon Blackwood’s “Ancient Lights” (1912); rather, it is the veritable incarnation of big-city squalor and malaise. A grimy, shambling creature “with the soot of the factories on its face and the pounding of machinery in its soul,” it stalks the protagonist relentlessly, first as a series of sooty silhouettes glimpsed from his subway seat and high-rise office building, then as a demonic amalgam of all the psychological trials of urban life, and finally as a demonic idol demanding total subservience and devotion. In short, Leiber transplants a Gothic monster into a hyper-modern space, thus setting the tone for future chroniclers of urban anxiety and dread, such as Campbell himself.

The editor sums up Leiber’s achievement succinctly: “Whereas previously the supernatural might invade a mundane setting, in ‘Smoke Ghost’ that setting is its source.” In the wake of “Smoke Ghost,” even the most trivial incidents of modern life can be occasions for ghoulish horror: a bus ride (in Jackson’s tale), a message left on an answering machine (in Etchison’s), a night spent at a big-city hotel (in King’s). Works that revive the Gothic tradition more directly, such as Ligotti’s, come across in part as self-conscious pastiche: a deliberate reversion to the genre’s roots. It is a tribute to Campbell’s skills as an editor that such a brief conspectus of the field can lend itself to such large-scale observations and comparisons.

The stories in the book that most affected me were the three I had never read before. They are also the most graphically gruesome, thus giving the lie to the notion, advanced by some critics, that it is always preferable to suggest, rather than to explicitly unveil, a tale’s central horror. Margaret St. Clair’s “Brenda” (1954) is a skin-crawling story of a pubescent girl who, while on holiday with her parents, develops a weird psychic bond with a stinking, silent, shambling stranger:

He was not a tramp, he was not one of the summer people. Brenda knew at once that he was not like any other man she had ever seen. His skin was not black, or brown, but of an inky grayness; his body was blobbish and irregular, as if it had been shaped out of the clots of soap and grease that stop up kitchen sinks. He held a dead bird in one crude hand. The rotten smell was welling out from him.

The tale hints cryptically at — but never offers a clear answer for — Brenda’s motives in embracing this foul golem; as Campbell comments in his introduction, sometimes “an enigma can be richer than an explanation.” St. Clair was, during the 1950s and ’60s, a prolific author of science fiction and fantasy whose work is neglected today. The editor deserves credit for unearthing this genuinely creepy story from the moldering issue of Weird Tales where it has been immured for decades. Indeed, Campbell has done much to rehabilitate interest in this author’s work, having edited a retrospective volume for Dover Press, The Hole in the Moon and Other Tales by Margaret St. Clair (though this title has unfortunately been delayed by copyright issues).

Campbell’s own contribution to The Folio Book of Horror Stories is the sublimely grotesque “Again” (1981), a tale of claustrophobic entrapment so intense you actually feel vaguely frantic while reading it. While several of the stories in the book derive their frissons from repressed sexuality, there is nothing repressed about Campbell’s story: it is shockingly explicit in its grim evocation of an erotic slavery that survives death itself. I found myself stifling gasps at its baleful twists and turns. Surprisingly, the story was not included in Campbell’s 1987 volume Scared Stiff: Tales of Sex and Death, where it would have been right at home.

The final story in the volume, Nevill’s “Hippocampus,” is something of a revelation. Campbell calls it, in his introduction, “bracingly experimental,” and it is most certainly that: a calmly narrated exploration of an unmanned freighter adrift in mountainous seas, it slowly unveils — without ever fully explaining — the grisly bloodbath that claimed the ship’s crew. “The pale flesh of the rotund torso is whipped and occasionally drenched by sea spray, but still bears the ruddy impressions of bestial deeds that were both boisterous and thorough.” There are Lovecraftian hints of occult entities unearthed and unleashed, but these are mere background to a boldly cinematic and meticulously detailed tour of a floating abattoir. The effect is, by turns, bewildering and disgusting, and altogether brilliant. “Who can say what future [the story] adumbrates?” Campbell inquires. If “Hippocampus” is any indication of the present strengths of the genre, its future would appear to be as bright as the past so ably anatomized in The Folio Book of Horror Stories.

Rob Latham is a LARB senior editor. His most recent book is Science Fiction Criticism: An Anthology of Essential Writings, published by Bloomsbury Press in 2017.

Source: https://lareviewofbooks.org/article/we-are-looking-in-a-mirror-ramsey-campbell-curates-the-history-of-horror/

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