#and i love her like my own daughter

[mafuyuashina]

i hope you all know how much i love mafuyu asahina.

[stil-lindigo]

little dove.

a short comic about Ash and Snow's first meeting / how Snow got her nickname.

Snow's story

Ash’s story

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notes:

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all my other comics

store

[nattikay]

OC lineup! All the characters that currently exist in this "story"

[spiritoast]

happy flora friday (its saturday

[peachyutdr]

i finished it, was kicked out of the game, and then spent the next 10 minutes drawing this. i will now go take a shower, most likely cry, and then go through the emotional turmoil of convincing myself to reset so i can do a geno run. i hate it here :D

[yardsards]

do people who have listened to taz balance but not graduation Know that it was HEAVILY IMPLIED that lup and barry eventually adopted a lil sorcerer child who got disowned by his family for his natural necromancy magic, and they taught him how to use his powers for good and were overall great parents that he looks back on fondly

(and said child grew up to be a dimension-hopping lich, caretaker of the dead, and very sweet adoptive father of a major npc)

[starry-bi-sky]

What would a mother not do for her child What lengths would a mother not go There's a bond that exists between mother and child With no end to how strong it can grow It's a promise for life between mother and child It begins from the moment of birth.

================

She is six years old, and standing on the porch at her Auntie Alicia’s cabin. She is six years old, and holding an old rifle in her hands, standing at the railing and pointing the nozzle at a large target a couple feet away. There’s a pair of old ear muffs covering her ears. Behind her is her daddy and her sister, and Auntie Alicia. She can’t see them. 

Danielle Martha Fenton is six years old, and her momma has her arms wrapped warmly around her, keeping the gun steady for her. It’s heavy and the butt digs into her shoulder uncomfortably, and she feels nothing but determined. And nervous. 

Her momma was teaching her and Jazzy how to shoot, and they’re down in Arkansas to visit Auntie Alicia for her second “Divorce-iversary” as Auntie calls it. She keeps a hunting rifle in her gun safe for the rabbits that like to nibble on her garden. She mostly grows rhubarb, which goes untouched. But her carrots and greens and other veggies like to be tempting snacks for the game. 

Regardless, she is six years old and learning how to shoot. Her momma and her daddy (mostly her daddy) have been banned from every shooting range outside of Amity Park in a hundred mile radius. So Auntie is the best place to learn, or so momma says. 

Danny thinks it's just an excuse to see her sister, not that she's complaining. She loves visiting Auntie.  

She’s already seen Jazzy do this, her momma told her before the muffs went on to shoot when ready. No use trying to fire when you’re not; you can’t afford to miss when shooting ghosts. 

Danny breathes out steady, just like momma taught her, and quells her trembling little fingers. She focuses down the barrel, and pulls the trigger. 

Immediately, the recoil throws her off, the side of the gun that her cheek was resting on knocks against her skin, harsh enough to bruise if it weren’t for her momma’s steady hands holding onto her. The bang of the gun startles her more than she thought it would, and her heart leaps up and runs a jackrabbit through her chest. 

The gun is carefully slipped out of her hands, and Danny lets it go easily, her cheek smarting in pain and her eyes wide and following up to momma. Momma turns the safety on, and with a gentle hand, pushes against her chest. Danny takes a few steps back, and slips the ear muffs off her head. 

Mommy is smiling big at her, something that Danny can’t help but replicate on her own face as her heart swells. “Did I get it, momma?” She asks, watching as she passes the gun off to Auntie Alicia, who steps over to take it.

“I’m going to go see, sweetie, but I think you did.” Momma coos, before planting both her hands on the porch railing and, in a single leap, vaults over the side and onto the grass. She’s dressed all comfortable for the summer heat, with her hair all tied back and in shorts and a tank top and nice boots. Danny’s ribs swell hopefully, and she stands on her tiptoes to watch her walk over.

“I’ll be hard-pressed to believe if you didn’t, Martha Mae,” Auntie tells her, grinning like a cat, “that was a damn good shot.” 

‘Martha Mae Knight’ was Danny’s granny’s name. Auntie Alicia calls her that because of her middle name — and because, by her words, she has her momma’s weird-shaped eyebrows and piercing blue eyes. The kind that could scare a hawk into singing like a robin. It was Danny’s favorite nickname ever.

Daddy laughs brightly, the sound painful on her ears but twice as nice, and despite the distance, Momma whirls her head around to shoot Auntie a glare; “Language, Alicia. Not around my girls.” She warns. Her accent always comes through when they’re around Auntie. It’s Danny’s favorite thing to listen to. 

“Do you think so, auntie?” Danny says, bright-eyed and ever-optimistic. Auntie Alicia nods fiercely as Momma finally reaches the target and searches for the bullet hole. Daddy then comes up behind her, still laughing, and claps a hand onto her shoulder so hard that it makes her knees hurt.

“Of course she did!” Dad boasts, as bright as the sun and twice as warm. He shakes Danny affectionately, wobbling her on her feet and pulling her straight into his side. She goes so willingly with a burble of giggles. “She’s got the eyes of a Fenton! And our family are darn good shots.”

Auntie eyes him up and down, her smile immediately fading off into a pressed line. “I’m sure you mean she’s got the eyes of a Knight. You couldn’t hit the broad side of a barn at twenty paces, Jack Fenton.” 

Jazzy holds back giggles from where she’s standing by the door, her ear muffs in hand, and Danny watches her Daddy’s dark eyes immediately narrow. Just like Auntie’s, his smile tapers off into a frown. 

Before he can say anything, there’s a cheer from the yard, and they all turn to Momma clapping her hands in delight. 

Danny immediately pricks her ears up, and would’ve darn near rushed over to the railing if it weren’t for her Daddy’s hand on her shoulder. She yells instead, excitement thrumming like a hummingbird against her ribs, “Did I hit it, momma?!” 

Momma beams at her with all the pride in the world, “You sure did, Danny!” And she turns to press her finger against the target, right on the inside red ring of the battered old bag. “Right here, sweet girl!” 

There are cheers from all around, and Danny’s heart bursts inside her lungs with shiny, sunshine glee. She puffs her chest out big, and smiles so wide it hurts the cheek where the gun smacked her. Her Daddy shakes again, squeezing her tight against his side in a hug that Danny happily reciprocates. 

“What’d I tell you, Martha Mae?” Auntie tells with a big wink and a wide grin, the gun still gripped tight in her hands as Momma makes her way back over. “You got a Knight’s eye.” 

When Momma makes it back over the railing, she hugs Danny tight and praises her shot. Danny looks her in the eyes and chases the feeling, and asks to shoot again.

[wisebeth]

why does the pjo series have to unnecessarily villainize goddesses (hera & athena) or show them as silly ladies (aphrodite & demeter) BUT posiedon and apollo are somehow shown as the coolest/most likeable gods, even though arguably, they're right after zeus on terms of corruption?

ares shown as the worst god after zeus and hera amuses me. last time i checked, he was the patron god of amazons and literally killed a man for attempting to rape his daughter but guess who cursed women for rejection? apollo. guess who raped women when they said no (aside from zeus)? posiedon.

[slurpyboii]

OH MY GODDDD MY SON FINALLY GOT A NENDOROID OH MY GOD OH MY GOD OH MY GODD

[m4rs-ex3]

tdp s6 really said this one's for all the daughters out there. stay safe girlies

[possamble]

What are your headcanons about Marcille's mom if you have any? It's interesting that what drew Donato to her was cause she lived the history he studied, or that was said somewhere at least. She must've had an interesting life.

so this was going to be just a normal answer but then I realized I have a Lot of Things To Say. so here goes, a compilation of what we know for a fact from the canon, what I've extrapolated from the visual cues and details, and my theories based on all of that.

Things we know for a fact about Marcille's mother because they were explicitly stated in the manga and supplemental materials:

She was a court mage for a Tall-man kingdom at the southern part of the Northern Continent

Donato, a court historian, fell in love with her because she had lived through the history he was studying, and he courted her for 17 years (age 15 to 32) before getting married

She was a cheerful person who rarely showed extreme emotion and took things as they came

She always cooked a huge meal for Marcille on her birthdays

She remarried a gnome after Donato's death and a short distance away from Marcille's childhood home

Pipi, Marcille's pet bird, was actually older than Marcille and originally belonged to her mother (bird died at 62)

She was extremely heartbroken when Donato died and ultimately ended up instilling a deep fear of mortality in Marcille with her words

the only time she showed extreme emotion in front of her family was when Donato could no longer eat his favourite dish near the end of his life.

She scolded Marcille for being cruel to ants (implying she can have a stern side when needed)

Things that are explicitly shown but mostly through visual cues

She has a very distinctive style of dress always involving a ribbon choker (mirroring Marcille's habit of always wearing a matching choker with any of her outfits that don't cover her neck)

She was almost stereotypically good at housekeeping and traditionally "wifely" things (very frequently depicted wearing an apron or doing some domestic chore when not at work, seems to have been an avid cook).

She knits? (also, note the affectionate smile as she's looking at Donato and Marcille reading a book together in the full panel)

She was as excited for Marcille's milestones as Donato was.

She didn't tell Marcille much about elven food

(there are a couple things that this panel in particular implies:

She lived a good deal of her life (if not being born and raised) in a mainly elven country in the West, implied by her knowing enough of an elven region's cuisine to prefer Tall-man food over it

seems to have a pretty carefree and casual demeanour overall, if this is how she replied to Marcille asking her about it (sounds like she never gave her culinary preferences that much thought to begin with)

slightly related to number 2, it seems like she and Marcille had a fairly casual parent-child dynamic (especially in comparison to the Toudens' memory of their father)

(local elf tastes Italian food once and never goes back))

However, she seems a lot more... serious in most of the other times we see her? Almost like the very stereotypical archetype of a graceful elf.

Subsequent conclusions about her personality:

Usually pretty carefree and cheerful at home, has been a loving and attentive parent throughout Marcille's childhood (while not being so doting that she didn't discipline Marcille).

Slightly more conjectural theories on her personality:

Had a much more graceful and professional personality at work, which would explain the more serious portraits we see of her.

Given that both she and Donato had positions at the royal court, it seems a little odd that she'd go out of her way to do all the housework herself, so maybe she just enjoyed doing it?

Now taping all the evidence together and toeing the line between analysis and fanfiction:

It's clear that she loved Donato very much and was utterly devastated by losing him. But there's one thing that really stuck out to me in what little we see of her:

Doesn't she seem... angry? The way she's gritting her teeth, clutching the tablecloth, and how this is the first and only time we see her eyes opened that wide. In the following panel, you see her being quiet and dejected after her initial outburst. She's still crying very intensely, but her brows are furrowed, and she's not really responding to Donato's affection in her body language.

We're not told the details of how she felt about losing Donato other than that it upset her. But this, to me, implies that she was angry and resented that he was aging, that the end of his life was approaching. An "it's not fair" type of preemptive grief. And if this was the first and last time she cried like this in front of her family, she was either very good at coping in private... or very bad at letting herself feel unpleasant emotions until they become unavoidable and end up overwhelming her.

It's not too remarkable a detail on the surface. It's even reminiscent of what the audience has seen of Marcille. But... when it comes to the big picture, you'd think an elf who voluntarily chose to marry a tall-man and have a half-elf child would have been better prepared for this.

It kind of recontextualizes her cheerfulness to me.

"I'm sure everything's gonna be okay!" (or some variation thereof, depending on what translation you have).

And this is stated to contrast her extreme grief when finally confronting Donato's failing body and eventual death. But I'm wondering if... maybe this optimism was why she was so upset. What if she went into all of it thinking "everything's gonna be okay"? What if she was a little young by elven standards, and just followed her heart thinking that her own resilience would get her through anything?

Of course, only to get completely overwhelmed when she actually loses Donato. She turns into a completely different person. And that's heartbreaking on its own-- but what the audience sees is the effect it had on Marcille. Can you imagine being her, watching your invincible and upbeat mother suddenly lose all the light in her eyes in one go?

I've already made a huge post about how I think Marcille models her "work persona" off her mother, but another thing that stuck with me as I was looking for more details in the manga was this:

copy pasting from the other post i made about it lmao it's like... the second she resigns herself to lifelong pain and terror, there's another portrait of her mother facing her like this. with their heads bowed, in mirrored body language of resignation and despair and sorrow. Except it's posed like Marcille is still looking at her mother but her mother is looking away.

It took me a second to realize, but I think that it's a visual metaphor for the fact that Marcille's mother was the only long-lived role model she had-- and she failed to model healthy grief for her daughter. I don't say this as an accusation or to disparage her as a character, but just as a matter of fact. In her, Marcille was seeing herself older and losing a short-lived spouse or loved one of her own, and all she saw was hopelessness.

But her mother didn't mean to instill hopelessness and terror in her. She wasn't really thinking of how it would truly affect Marcille at all (at least, that's how I'm interpreting her looking down and away from Marcille in the metaphor), she was just sad. And she, in her own way, was trying to protect her daughter and help her prepare for future losses.

What she meant was "loss is inevitable, and you have to learn how to be in pain but live on anyway." What Marcille heard was "loss is inevitable, and you will be scared and hurt for the rest of your life."

Again. Marcille's mother doesn't feature explicitly in the story the way her father does -- but in so many ways, her shadow, her silhouette, her reflection is always hanging over Marcille.

All that to say... headcanon-wise (everything from here on is 100% without evidence lmao), I'd like to think that she matured and realized that she failed Marcille. I imagine her being regretful about it, wanting a chance to fix it but never finding a way to insert herself back into Marcille's life when Marcille is so so so busy becoming the most accomplished mage possible. I imagine her being herself again, now, so many years after her loss and after remarrying -- but with her cheerfulness tempered with a lot more wisdom and the pain of having gone through loss like that. I think the second Marcille actually tells her what happened in the dungeon, she'd want to go running to her daughter again -- if Marcille tells her the full truth instead of just being embarrassed she let things get that far. (oh, the tragedy of her wanting to be more like her mother and an accomplished adult who doesn't need to be babied... being embarrassed to actually tell her mother how much she fucked up...)

There's also the tension of her having remarried -- I know that there's at least a little bit of resentment that Marcille harbours about that, because she's childish like that at heart even if she makes an effort not to externalize it. I think that her mother would be aware of that, potentially adding to her sense of guilt and apprehension at trying to reappear/intrude on Marcille's life. I honestly don't think Marcille has met her stepfather -- or even considers him a stepfather rather than "mama's new husband" and kind of a total stranger. I think she and her mother actively don't talk about it in their correspondence, like an elephant in the room.

but, ultimately, I think her mother is on her side no matter what. Ancient magic? Dark necromancy? Sure, she'll feel guilty and like she was partially responsible for setting Marcille down such a painful path, but she wouldn't care. that's her daughter!! she would've moved back west and been petitioning for her at the court, buying a house right next to the Canaries barracks and visiting her every day that she wasn't on a mission. And if her husband had opinions on Marcille becoming a "dark arts user," he either gets over it or it's divorce with him. Yes, she might have had her optimism completely humbled by losing Donato like that -- but she's still headstrong and self-assured and she doesn't care what people think of her. It's her way or the highway and she's always going to be in Marcille's corner.

(She also needs a name lol. I went with Juno, just to be cute about "Marcille"s closest real life equivalent being Marcella, which is the female version of Marcellus, which in turn is a diminutive of Marcus, which was derived from Mars. Absolutely in love with Marcille potentially being named after Ares/Mars the fucking god of war btw)

[vegaseatsass]

You know, these past two episodes I was thinking to myself, Su Yin is almost perfect in every way, simply the ideal devoted, protective, loyal, dedicated sworn brother, call him Da-ge indeed!!!, but my one piece of constructive criticism is that he needs to learn how to give real hugs - he does a lot of manful shoulder clasping, but Xiaobao is a shivering chihuahua desperately in need of cuddles and body heat, you gotta HUG THAT BOY - but now I see that Su Yin's hugs are simply reserved for his horrible little gremlin of an imperial cousinwife.

[loudmound]

hi. welcome to my mary shepherd-sunderland post.

what will follow is who i think she is as a character, what she means to the narrative of sh2, and why people should think and talk about her more bcs me and the 4 other mary fans are dying out here.

DISCLAIMER BEFORE WE BEGIN: a lot of this post will be enmeshed with interpretation and headcanon that draws from me analyzing the text of sh2. this is My Post about mary. stormy mary post. please understand this.

the foundation of mary's character is an exceptionally strong one, and for someone like me, i enjoy making inferences about her person before the illness, during the illness, and near the end. the personality she has in sh2 is flexible enough to allow what i imagine her to have been like in my mind's eye.

i do not want this post to be read as the Definitive Canonical Interpretation of mary. i am just doing my best to inform my analysis of mary with the text as well as building from that set foundation given to us as the audience.

with that out of the way, please enjoy.

PART ONE: MARY AS A CONCEPT

what exists of mary is filtered through the lens of memory before the cumulative letter in the respective endings we receive it. throughout sh2, her status and state of being is re-contextualized as her husband moves closer and closer to the truth of the matter. she is an individual wrapped in idealistic fantasy that is slowly and surely stripped away the longer the game goes along, and the more we actualize her as the person she once was.

this element of conceptualization and fantasy is a through-line in sh2's narrative. mary is everywhere james looks in his version of the town. she's in the rot and rust on the walls, she's in the monsters he fights and runs from, she's in the places he goes, her face and voice is maria's, and she even has some of her memories and personality traits. it is truly understated how much mary just... IS in sh2, in spite of her not being physically present.

there's also this dichotomy i've been thinking about in the inability for mary and james to exist outside of one another, thematically speaking. for fundamentally being two different people, they are inextricably tied to one another in a really unfortunate and tragic way. james grafts himself to mary's memory before her sickness and slowly begins to resent the woman she's become out of anything but her own volition, and mary grafts herself to james because... she has to.

she's sick, she's dying, she's largely bedridden and in constant pain. she cannot rely on herself anymore; she has to rely on the people around her to take care of her, and when she inevitably goes home to live out whatever time she has left... it's james she has to rely on. and while i think james finds immense comfort and pleasure in living in the past they had while refuting the present, mary is thoroughly imbedded in the present and resents the past by means of something that she can no longer have. neither of them can, but i've always interpreted mary to be a very pragmatic and proactive individual.

she discusses in her letter how pathetic and ugly she feels, how she waits in her cocoon of pain and loneliness that's been grafted onto her unwillingly while she waits for james to visit her, and it's clear to me that she is the kind of individual that puts so much emphasis on being a useful and beautiful woman. that is what gives her worth as a human being within the society in which she lives (late 80s usa in my opinion). canonically, she is a housewife, and while that certainly coheres, i'm of the belief that she was a woman who worked outside the home as well, but also someone who did not do enough unpacking to really get away from gendered roles expected of her.

i really do believe that she feels she failed james spectacularly as a partner, but also as a wife; therein, as a person in his life. both of them dealt with their own baggage regarding gendered expectations, but mary in particular's is incredibly potent and crushing if you actualize her as someone who, in turn, wanted to be the perfect wife to james. kind, patient, nurturing, submissive, etc.

of course, as we all know, the perfect wife/woman/whatever you want it to be, is an unattainable concept, because how can anybody human like mary exist within such ridiculous, reductive parameters?

PART TWO: MARY AS A PERSON

so, in that case, who was mary, then? who was she, if not this idealized vision of a wife long lost?

as i've alluded to before, i envision her as a very pragmatic and proactive person; in the video tape of her, she seems very playful and outgoing, but also contemplative, appreciative, and straightforward. i've always seen her as a very different person from james in regards to how she navigates through life.

she's comparatively much more outward and readily emotional, but seems to retain a level of quiet interiority that meshes very well with james' very inward attitude. a very typical "bubbly wife and stoic husband" sort of situation on the surface, but i've always thought that mary greatly appreciated having james as an emotional anchor of sorts; somebody who can soothe the more keyed-up aspects of her personality, given how quiet and easygoing he is.

given how she mentions how angry she was all the time at the advent of learning of her incumbent death, i view her as somebody who really does not like being out of control of her own life. she has an idea of how she wants things to be and she wants them done the way she has already since chosen. (do not interrupt her routines. she will get very irritated.) she's very particular, and i think she's had to learn how not to just take the reigns from somebody else if she perceives them to be going about something "incorrectly" because this particular flaw has led to some arguments/falling-outs with loved ones in the past.

in that particular vein, holy fuck is this woman a fixer. she needs to fix everything she possibly can. the sink's busted? don't worry, she's had a lifetime of fixing shitty plumbing in her childhood home because nobody else bothered. need a couple more bucks for gas? don't worry, she always keeps a few extra dollars on her because she knows what it's like to be a few short and not have anyone else to turn to that you can trust.

you've been deeply traumatized and scarred by your adverse childhood experiences and it's left you with maladaptive and dysfunctional coping mechanisms? don't worry, she'll be there for you, in sickness and in health.

to me, mary's the kind of person that likes seeing the fruits of her labor, too. she takes great pride in being as self-sufficient at she has been, and does very much enjoy sharing that with others as much as she can. genuinely, i think she's very giving and compassionate, but jesus, when it came to james when he was struggling (before she got sick), it certainly got a bit dire. using your wife for free emotional labor is one thing, but when that wife welcomes it for a while because she has a pervasive desire to fix everything, including you? yeah.

also, of course, mary felt a pertinent obligation to doing such, being The Wife and all, but she's also a human person and got exhausted dealing with the amount of baggage her husband had, and their relationship got pretty rocky because of james' unwillingness to seek professional help (stemming from trauma with the laughable us-healthcare system) and mary's unwillingness to recant over and over again what she has in her toolbox.

which is where silent hill comes in. a belated honeymoon of sorts, mary and james take a trip to take their mind off the doom-inspiring monotony that is domestic life, and it's great!

until it isn't.

PART THREE: TERMINAL ILLNESS

so, the nature of mary's illness has never been clearly stated canonically, but we know that it gave her a persistent cough, rendered her bedbound, made her hair fall out, and made lumps grow all over her skin. i'm of the belief that she had hansen's disease, but cancer is also incredibly plausible too.

hansen's disease is one of those things that can lie dormant for years, and it can sometimes take a decade for symptoms to surface, so i don't think it was really a matter of mary catching anything from silent hill, per se. (i do think toluca lake has just the most godawful brain-eating bacteria in it but that's aside the point.) it's definitely a curable disease, but perhaps the strain mary had was a particularly severe variant. point being, however, is that this thing ruined her inside and out.

in the beginning stages, (year 1 or so) i do think she was pretty touchy, emotionally speaking. she tries to keep up appearances as much as she can and is able to, but it's clear that something has shifted for the worst. she's much more somber in the moments of quiet. her contemplative nature turns to brooding. she smiles, still, but her smiles are undoubtedly laced with a wry, bitter sadness.

she's now toiling with thoughts of dying as a way out, too. it'd be easier if they'd just kill me, she laments at one point. simultaneously at the crux of wanting freedom from one's pain in death but terrified of said death as being eternal, too.

it's something you can't ever undo.

now... i'd say a pretty controversial aspect of mary's character during this period of time is whether or not she was abusive towards james during her illness. cases have been made, it's a fairly ambiguous situation as presented in-game, but i think mary's anger that she expressed was quiet, overall. she tried to keep it quiet, at least, and when she did lash out, it was almost always in part due to her newfound level of self-loathing. when she's yelling at james in that hallway, she's yelling at herself more than she is at him.

she's no longer a person, to herself and to others around her that treat her like a dying animal than the woman that she is; the woman that she used to be. i'd be livid if i were her, too!

she also mentions in her letter that she "struck out at everyone she loved most." i have very strong reason to believe that she loved laura, and that unfortunately, she too was caught in the crossfire of mary's mood swings/outbursts. i also think that the guilt mary expresses when we're listening to the hallway conversation is genuine; i don't think her outburst and subsequent apology was a manipulation tactic to make james feel bad.

i think she's genuinely suffering. she doesn't know what to do with these compounding negative feelings. she has nowhere to put them. james comes in at a bad time and becomes the target. after the damage has been done, she realizes this and crumbles immediately. she's hurt james. she needs to do damage control however she can.

of course, none of this is to say that women can't ever be abusive/abusers and we can have conversations about the nuances of that all day, but... it's disquieting to me to see a consistent reading of a terminally ill female character's torment and anger be read as "abusive" to further exonerate the male character's deed of murdering her. like, i think we should consider that for a bit. i think we can hold that mary's behavior was not the best, but james' wasn't, either.

mary waited for him, but he never comes. he stays away, festering in his own grief, mourning her before she's even passed. i see james' aversion to seeing her in large part as a trauma response due to past abuse while growing up; when she shouts at him like that, it drags all of those ugly feelings and memories up.

it's a relationship i see as something that was mutually declining. it was something that was left to die. much like mary was, in a lot of ways.

mary was terrified that james hated her. that she disgusted him with her appearance, that he pitied her for being ill and effectively useless to him. that was something plaintively out of her control, being in the hospital. james could've ripped the bandage off and braved seeing her. he could've talked to her. he could've rekindled what was deteriorating. but he didn't.

again, mary's proactive nature of yearning for james, wanting to see him, wanting to talk to him and talk about them and what to do when the time comes. she wants to figure this out as best she can.

but james doesn't, and he still never comes.

mary poured everything left in her that she could muster in that letter. she profusely apologized for everything, for things that weren't even her fault to begin with. she told james that she loved him in that letter, because she couldn't say it to him to his face any longer. she didn't know if she would have any time left to do such.

but she does. and however long later, he kills her.

mary isn't a perfect victim, nobody that's a victim in sh2 is supposed to be. but she is still an individual that deserves compassion nonetheless, and i think the game does its due diligence in getting that across.

PART FOUR: MARIA

i think have to at least touch upon maria a bit if you're writing a post about mary. i think that's just the way it is.

maria, as we know, is a manifestation created by silent hill as a means to confront/interrogate/"punish" james by emulating mary but with very... choice character design changes.

she's clad in leopard print and a cropped red blouse. she's a dancer at heaven's night. she has bleach blonde hair with the roots peeking in. her face is all done up. she still extroverted, but far more provocative and alluring. she's a fantasy; something unattainable.

but she could be yours in whatever way you want her to be!

maria is utterly fascinating as an interrogation of james' character, but also as a reflection of mary, too. in born from a wish, she expresses her fear of pain and death, of being alone in town with no one else around, while also toiling with suicidal ideation. (sound familiar?) she seeks out companionship in whatever form it takes, and jumps on it when she does find it in ernest.

how much of mary is maria has always been up for debate and forever will be, but i think a lot of mary lives within her. the obvious, being the memories that she has of laura and the video tape left in the lakeview hotel, her hot and cold behavior with james, but also in the existential misery she feels in born from a wish. that desire to die to escape the pain of feeling alone, but also wanting to be with somebody else more than anything, and how death would undoubtedly take that away.

i also think her dyed hair isn't even hers; mary had that haircut and dye job when she first met james at that house party all those years ago.

i think maria's standing as a sentient individual is true, but in the sense that she is the combination of both mary and james' baggage made sentient. she never truly existed for herself, as her own person. she'll always have a little bit of someone else in her, someone she doesn't even really know, and that's... utterly tragic.

i think she realized this too when she points that gun to her head. but she chose james anyways out of that same desire for companionship. maybe she could be his new mary. maybe she could be better than mary. it's truly all so fuck.

PART FIVE: CONCLUSION

mary is the reason why sh2 happens for james. full stop. you cannot have sh2 without mary. there is a foundation laid for you to examine and explore. she is as infinitely fascinating as james is, if not more so. join me.

this post is sprawling and probably a bit confused at times because i wrote it on a whim, but i HOPE that i was able to get across the larger ideas of why i love mary as a character and who she could've been before her illness and death. i didn't touch upon everything i possibly could (mary and laura's relationship deserves its own post, i think), but this post is already long enough. i'll edit it in the future, undoubtedly.

thank you so much for reading all the way. listen to her final letter and cry with me.

[moeblob]

son boy raccoon trash can man suffering in a dnd au as a cleric bc his warlock will not stop committing murders and he has to keep coming up with reasons murder is valid to convince the gm its fine and under control

[zeb-z]

I just think Tallulah gets to be upset about this. “It’s not Wilbur’s fault” “He’s not a bad dad” “He loves his daughter so much” yes! These are all true! And it’s not his fault! But he’s still not there. And Tallulah has gone through so much and still hasn’t seen him, the one time he was around was the one time she wasn’t, and all she has are letters and “I’m thinking of you always” and things that used to be theirs together, but he’s still not there. She’s waited and she’s been patient and she’s loved him all the same, and he’s still not there. Like yesterday, and the day before, and the day before, from the happy milestones to the traumatic events, he’s still not there.

She knows that it’s not his fault, but it doesn’t change the fact that he’s absent. That in and of itself just adds to the sorrow, because she knows why he’s gone, and she’s been told time and time again it doesn’t mean he doesn’t care, she knows this - it doesn’t mean it doesn’t sting, that it doesn’t hurt, that she doesn’t yearn for her father to be there more than anything in the world, and he’s just not there.

So yes, she gets to be upset, and be caustic, and stomp her feet and write bitter messages, and be angry and vitriolic, because she’s a little girl missing her father, who feels things with her whole heart and soul - and that means she gets to feel the ugly parts of it, too.

[brionysea]

I'm trying really hard not to just be The Complainer because that's an energy I don't want to bring here when I love (present tense; I rewatch it like 5 times a day) arcane season 1 so much but does anyone remember when powder was taken in by silco and being raised by this very utilitarian merciless 'the ends justify the means' type character made jinx turn out violent and merciless as well. and vi was horrified by her and the lanes were terrified of her and piltover was falling over itself trying to scapegoat her as the one bad apple of the undercity to kid themselves into believing that everyone else was perfectly fine with being treated as less than. and that contrasts vi after vander etc. died because she was raised by him and internalised the idea that no one wins in war and fighting back against systemic oppression isn't worth the damage it causes to your own community which is why she ended up working with cait and the council like vander worked with grayson. the people who raised them shaped them into who they are today but then in season 2 jinx has a daughter and she's suddenly completely normal and well adjusted and her attachment style isn't digging her nails in until she draws blood at all. like What. what happened. didn't things used to mean something