#and nearly as much heathcliff

[throughpatchesofviolet]

I listened to some of LCB!Rodya's voice lines, today, and I think it's cute that she calls people "darling" ...

[firestorm09890]

there's a part of canto vi I've been thinking about since it came out, and it doesn't actually have anything to do with Heathcliff.

this

She is bitter as fuck and as time goes on she's getting worse at keeping it down. Sinclair's the one who started it, by talking about how sad it is that they'd never get to see color, and Rodya starts to get a little irritated over it (yeah, sure, pity the Backstreets folk and their poor miserable little lives, privileged nest boy), but she's obviously trying not to straight up call Sinclair a privileged nest boy because she doesn't want to. But then Yi Sang and Ishmael join in on talking about how sad this place is with no color and she just can't keep her opinion down.

But that makes the atmosphere tense, and she hates a tense atmosphere, so she changes the subject and her tone, not giving a damn about how obvious it is. also, haha, ice and cold references.

And actually, this doesn't really have much evidence to support it, but I wonder if she holds a higher level of resentment for Sinclair in particular.

Canto II had some discussion about how Rodya wishes she was special (and while I think what Sonya said about her killing the tax collector just to feel special is absolute bullshit, I do also think there is some truth to her wanting to feel special), and introduced us to the concept of The Sign in a way that was vague and more like foreshadowing than actually introducing it. Then Canto III was all about The Sign, and how special Sinclair is, and since then we've had people talking about signs and stars and a new birth of the world and it's all stuff Rodya doesn't get to be part of.

I don't think she wants to hold resentment for Sinclair, and she especially never wants him to know, but going back after all this time and rereading this one interaction with him in Canto II felt pretty jarring.

the more important part of this is the way it feels like she's making a joke at Heathcliff's expense, for being poor, like even though she's also from the Backstreets she feels she's "above" it.

She absolutely does not feel this way.

On my way to find the first passage, I reread some other interesting stuff:

Once again, there's the harsh juxtaposition between casual, fun-loving Rodya, and tired, poor man's advocate Rodya. Almost everyone on the team speaks through the lens of a Nest dweller (I have to wonder if learning that Heathcliff was apparently raised in a mansion made her even more bitter), and the way she's so short with her mention of the Sweepers makes me think she's thinking about how painfully obvious it would have been to any other Backstreets dweller. And then, right after, dropping back into her casual voice, and Sinclair revealing that Rodya used the fucked up Backstreets creature to tease him...

Other obvious moments of Rodya being bitter as hell about rich people include this part of S.E.A.

and this part of her observation logs on Spiral of Contempt (actually, nearly everything in that log that isn't about the physical abnormality has to do with how much she hates how rich people look down upon the poor)

Hong Lu's canto comes after Don's, and then after his is Ryōshū's, who, based on her source material, probably served one of the most awful, contemptuous rich people the sinners have access to, and I really hope at some point here Rodya gets to snap in a big way

...hey so I wrote this entire post at 1 in the morning and then saved it to drafts because I didn't want to post something at 1 in the morning. the Timekilling Time trailer came out about two hours later, featuring both Rodya... and the long-awaited return of the Yurodiviye. so now it's past 3 in the morning for me but I'm posting it now anyway because ohohoho seeing the Yurodiviye again has given me SO much energy

I have a feeling all this is going to be very relevant extremely soon

[clanwarrior-tumbly]

Ello! Remember Friendly Alternative Y/n? Can I maybe request Mark introducing them to Thatcher Headcanons? :0 atleast then maybe the police will have instead of a police dog a police alternative XD also the feeling of just imaging protecting Y/n at first from a shocked thatcher is so adorable :0

Thatcher visited the Heathcliff residence one evening under the guise of another "wellness check".

But in reality, he thought there was more to Mark's case than just the simple statement he provided.

Surviving not one but two Alternate attacks might sound like an act of pure luck or divine intervention, yet it didn't seem plausible that this kid could've taken all of them on by himself.

He suspected a third party might've been involved--or something that Mark was unwilling to share with the authorities at the time.

The lieutenant figured he'll be able to answer the questions he didn't get to ask before.

However the "surprise visit" goes about as well as anyone would expect....with Mark panicking and you hiding in the shadows, watching and wondering what would happen.

He gets rid of any and all evidence of your presence, until Thatcher finds a drawing in the trash alluding to you, a Type 3 Alternate, being some sort of "guardian angel".

That didn't make any sense.

This kid must have a case of MAD that distorted his perception of Alternates as protectors.

But Mark gets extremely defensive when he suggested this.

"Listen, I know it sounds crazy. I never thought I'd consider one of them to be a friend, but I can prove it! I can bring [y/n]-"

"Wait...you gave that thing a name-?"

"No, lieutenant. I gave that name to myself."

Thatcher nearly jumps out of his skin as you appear from the shadows, instinctively reaching for his gun...but remembering Mark's words and seeing the terrified look on his face, he calms down a little, sitting back down.

Immediately he can tell you're nothing like the broadcasts said.

You aren't currently mimicking anybody, being a "pure form" similar to N/The Façade.

You're not hostile in the slightest, and he asks you why.

Long story short, you managed to gain his trust and he thinks you'd be helpful in his investigations.

You wind up going to the station as an "undercover" officer in-training, with him and Ruth (after convincing her that you're on humanity's side) showing you the ropes.

Ofc you're not a perfect copy of a human being, but the rest of the MCPD suspects nothing.

The 333 Alternate is less-than-pleased to see you prevent it from killing Ruth and Thatcher when you accompany them to the Murray residence, calling you a "traitor" to your kind.

You knew the risks of helping the organization Gabriel was trying to dismantle, but it's one worth taking if it means Mandela was a little bit safer, especially Mark.

At the end of the day, you'd always return to his home just to make sure he was alright.

And also to ramble about how much you liked having a "real human job".

[darkficsyouneveraskedfor]

professor steve or boss steve?

👀

I don't know what this is but I chose professor Steve

One is the Loneliest Number

“I’m sorry I’m late,” you bluster in through the door, “I got caught–”

You stop short. The room is empty. You check your watch, the small golden piece your mother got you before you left for college, and peer around once more. There is only one other body in the immense room. Your professor, Dr. Rogers.

“Oh, hi, I…” you sputter, “it’s not the wrong day, is it?”

The question strikes you as stupid the moment it hangs before you. No, he wouldn’t be here if it was the wrong day.

“Did I get the wrong time?”

He sits up, setting down the book on the desk before him. He looks unimpressed as he leaves on the hardcover of his copy of Wuthering Heights. Your own is a curling paper back with wrinkles along the spine. You bite your lip and teeter on your toes, turning your toes together.

He watches you, sliding the book loudly across the wood, “you are the only one. Seems like this wasn’t such a good idea.”

You frown and look above his head, at the face of the clock ticking on the wall. It’s almost twenty minutes past the hour. You feel worse for him now than you did running in late.

“I’m sorry, professor, I…” you look around awkwardly, “I was so excited but maybe someone else will show up. I don’t mind waiting.”

He seems less than heartened by your words. He sighs and looks down at the book, running his fingers across the embossed cover. You go to the middle row and lift your bag onto the desk, fishing around for your copy.

“Maybe we can get started without them,” you volunteer, searching for anything to kill the unease, “I really enjoyed the book, Prof–”

“Don’t bother. Go back and have fun with your friends,” he waves you off as he turns back up the aisle, “I won’t keep you. Obviously, you coeds have a lot more going on than some ancient tome.”

“Oh, uh,” you blink at his back, his broad shoulders stretching the tweed of his blazer. He talks as if he’s terribly old but he hardly shows it. There’s a few strands of silver in his hair but you can hardly tell as they blend into the golden highlights, “so, what do you think? Did Bronte mean to reprimand her protagonists or romanticise them? I thought the narrative was kinda condemning, don’t you think?”

He stops and pushes his head back. A long breath as he turns on his heel.

“Really? Most would say it’s overly praising, that it glorfiies Catherine and Heathcliff’s love,” he intones, “at least, most girls your age say so.”

“Well, I uh… found it almost annoying that Heathcliff refuses to change,” you explain as you sit down, “truly, but with Hareton, Catherine can grow…”

“Hmm,” he hums and walks along the next row, turning a chair around to sit, “tell me more.”

You rub your dry lips together before you find another thought. You don’t want to admit that you were scrolling on Reddit and a lot of your ideas were borrowed from the arguments there. Still, you came all the way here and you just couldn’t bring yourself to leave him. 

You go on about the mirroring of Heathcliffe and Catherine, how their similarities are almost detrimental, as if they are part of each other rather than lovers. He nods thoughtfully as you speak.

“I don’t know, I think I need to do a second read,” you shrug as you eyes meet his. The intent blue irises nearly make you wither.

“I think you got it,” he allows his mouth to curve just a little, “thank you for humouring me.”

“No, professor, I–”

“I’m not stupid, the letters beside my name would at least suggest that,” he leans back in the chair and frames his book with his thumbs and index fingers. 

You admire the cover, leather inlaid with the image of the literary amours, “yours is much prettier than mine.” You close the curling cover and try to hold it smooth, the blocked font offering little more than simplicity. “I got it from the second-hand pile at the student shop.”

“It has character,” he says as he reaches over, his thumb brushing yours as he slides it from beneath your grasp. He flips through the pages, the soft breeze of the flutter causing a short blond strand to droop down his forehead, “a special sort of beauty.”

He peeks up at you. You don’t know what to say. What he’s waiting for. You smile as his gaze follows your nervous fingers as they tap against your throat. You still the anxious gesture and look at the clock.

“Like you,” he breathes. 

Your eyes drop back to him and you shake your head, “pardon?”

“Hm,” he tilts his head, “I didn’t…” he cranes to look at the clock, “well, I won’t keep you any longer. I guess you should–”

“Have you been to Marge’s? The new cafe down by the arena?” You blurt out. Your habit of rambling when you're addled never fails to corner you, “I was going to go there after and have some tea. Maybe…” you touch your cheek, suddenly embarrassed. “Oh, shoot, I guess that’s too forward. I’m sorry, I’m not… I’ll go.”

You reach for the book but he keeps it in his grasp. Your eyes meet his as he watches you, “I like tea,” he offers, “if you don’t mind the company.”

[allergyjelly]

Alright, pardon my autism, but I was rewatching the best moments of Canto VI, and noticed something. During 6-44 when Meursault restrains the Erlking, his E.G.O color is different.

This isn't new, sure. Earlier in the same chapter Bodybag went from Envy to Wrath, but that was something that really had a big draw to it. Everyone and their moms talked about the implications of Bodybag changing E.G.O color, but I've seen NOTHING on Chains of Others. My only guess is because much like I did at first, people just didn't notice. Pride and Gloom are nearly the same color, and let's be real most people were more taken aback from Meursault's action here in of itself. So why did his E.G.O change? From how he speaks in the cutscene, this doesn't seem like an emotional decision on his part.

Well for those who don't know, in the book, Meursault has a girlfriend. This is where my mind immediately went to, the idea that this action was driven by how he relates to Heathcliff's plight. But that still felt off to me, seeing as Meursault doesn't really have empathetic emotions like that. Thinking a little more about it, I think it's more meant to represent a subconscious drive behind his actions here. In his mind, he thinks he's just acting on what he needs to do, but deep down he's thinking about Marie (his girlfriend in the book) with these actions. I think this highlights something really neat about E.G.O in the sense that it isn't good or bad. To put it simply, he doesn't love Marie, what's driving this negative emotion is his longing to have her again. Not because he loves her, but because he wants her, a feeling which was expressed many times in the book (especially during his time in prison). To summarize, I believe his E.G.O is Gloom here because he longs for what Heathcliff is chasing, and is venting those emotions through his "logical action" of restraining the Erlking. This is not a jealous action, else I think it'd be Envy. This is his sadness towards no longer having something he wants. I'm certain that something will be expanded upon with his Canto.

[pizza-hats-of-the-world-1882]

comc reread chapter 1: the arrival

literally in the second sentence of the entire book we get a chateau d'if mention. wonder if thats relevant. lots of boat words i dont understand [bodes really well for me reading master and commander lol]

we of course meet good egg edmond dantes and i'll just come right out and say it: if a man in classic lit has black eyes, hes insane and has something wrong with him. aramis, edmond, heathcliff, etc. this also applies to grey eyes but thats a different kind of insane. hope this helps<3

[does anyone think leclere was poisoned? like it says he had a long meeting w some guy (prolly bonaparte related) and then suddenly got very sick? theres nothing to actually imply this im just saying this recreationally] [also: sea burial! reminds me a lot of smth that happens later winky face]

naturally we get some pro-boney sentiments, and it turns out that napoleon even remembers one of the morrel family serving him! this definetly doesnt have anything to do with dumas' family history winky face

lots of sad foreshadowing for papa dantes [who am i kidding this chapter is 90% foreshadowing for everyone]

"Edmond, you have a very handsome mistress!”

“She is not my mistress,” replied the young sailor, gravely; “she is my betrothed.”

“Sometimes one and the same thing,” said Morrel, with a smile.

“Not with us, sir,” replied Dantès.

i just think this quote is very funny. look your employer dead in the eye and tell him your a virgin. why not man [i do love how much you can tell from the way they talk to each other that edmond and m. morrel are friends<3 love and peace on planet earth]

“No, sir; I have all my pay to take—nearly three months’ wages.”

“You are a careful fellow, Edmond.”

“Say I have a poor father, sir.”

again w the relatable lols eddie

“Yes, yes, I know how good a son you are, so now hasten away to see your father. I have a son too, and I should be very wroth with those who detained him from me after a three months’ voyage.”

MAX MENTION!!!!

"There’s a providence that watches over the deserving."- m. morrel, completely unaware of the foreshadowing

"I think he never liked me since the day when I was silly enough, after a little quarrel we had, to propose to him to stop for ten minutes at the island of Monte Cristo to settle the dispute—a proposition which I was wrong to suggest, and he quite right to refuse."

its like. so obvious on a second read. hey can y'all stop foreshadowing for five seconds i need to write a tumblr post

[literatureismyentirepersonality]

Is Heathcliff Byronic in your opinion?

I'm not a great fan of the term in all honesty. It tends to be slapped on all Gothic and Romantic heroes willy nilly and while it's a useful social and literary context, 90% of the time it becomes reductive. A Byronic character is ultimately a celebrity insert, which Heathcliff is absolutely not.

He does, however, have some character elements which are evolved from the basic Byronic hero model that the Brontës engaged with furiously in their juvenilia. Emily and Anne's juvenilia is largely lost, but we know that their world was relatively similar in shape (the geography and characters were nearly identical, but all the siblings had their own canon, which they fought to establish over each others') to Charlotte and Branwell's.

Angria, Charlotte and Branwell's principal play world, featured heavy politics and war in a world full of extreme Byronic figures. There were multiple different characters who were modelled on Byron, but they borrowed also from the Duke of Wellington and other heroes. Drinking, affairs, charismatic cruelty, brooding and cheerful destruction are all prominent traits of their favourites. Charlotte would eventually begin to bring romance into this world, which Branwell seemed to chafe against by reactively making the Byronic figures even worse.

Gondal must have contained these figures to some extent, but was more female focused. Stories of love predominated, as well as Romantic tales of imprisonment and isolation. Emily and Anne may have been whump girlies. The majority of this work is lost though so we don't have much idea of the extent to which they might have engaged with their siblings more political Byronic figures, but it's safe to assume that Emily read stories that contained Byronic heroes and was immersed in the culture producing them.

Heathcliff contains several obvious Byronic influences: his charisma through cruelty, his laughing wickedness, his broodiness, his drama BUT he is not a simplistic Byronic hero. His Byronic broodiness is not the product of the usual Romantic drama of affairs or deep and sudden tragedy. Byronic heroes tend to have suffered unlikely and shocking things— married to madwomen, dramatic and gothic illnesses, etc. What is striking about Heathcliff is the realism and natural progression of circumstances that produces him. Economic disadvantage and racial discrimination place him as the ultimate and obvious punching bag in a dysfunctional family where he suffers the effects of paternal distance, alcoholism and Cathy's struggle against misogynistic societal expectations. Not only is Heathcliff a natural product of his environment; the people around him are too. Part of Emily Brontë's genius in creating Heathcliff is that she grounds him competely without losing the drama of his more Byronic cousins.

I think he has Byronic element and his relationship with the Byronic archetype is interesting— but I still hesitate to call him or any sophisticatedly constructed character Byronic. (Even Rochester!)

[burningvelvet]

A very long analysis on Heathcliff, his relationships, and his origins: or, how Wuthering Heights drove me insane :)

Links to my previous WH analysis (which aren't required to read this post!): 1) my post analyzing heathcliff & his relationships with cathy2.0/isabella/hareton / 2) smaller post analyzing heathcliff & the earnshaws in relation to theories about his parentage / 3) misc. heathcliff/cathy analysis

-

On Heathcliff's origins, his mysteriousness, and his arrival to Wuthering Heights:

As I mention in that 2nd link, I think the theory of Heathcliff being Mr. Earnshaw's son is an interesting theory of conjecture because even if not true (and it probably isn't) it allows us to more deeply explore the generally accepted basis of the canon, which is that Heathcliff is not related to them, but nevertheless is still caught between the labels of "family" and "outsider," just like he would have been if he had indeed been a bastard, a step-child, or even more formally adopted. Under Mr. Earnshaw's wishes Heathcliff shares a room with the children, he is given equal gifts and clothes as them, and he is preferred over Hindley. And while he may not be in line to inherit legally, he ends up inheriting anyway, an idea which lends itself to the novels Joseph-approved theme of predeterminism/fate.

So I'm not dead-set on any singular interpretation or theory as to Heathcliff's role in the story or the details of his background. Much of his character is inherently mysterious: his race and age are unknown, his family history and origins are unknown, what he was doing for 3 years of Cathy's marriage and how he acquired his wealth are unknown, some of his feelings and motives are highly debatable (as I discussed in my post about his odd dynamics with Cathy 2.0, Isabella, & Hareton: https://www.tumblr.com/burningvelvet/738901817580290048/my-analysis-on-heathcliff-and-his-relationships), & whether English was his first language is also questioned (many people including myself have wondered at the line where we're told he "repeated over and over again some gibberish that nobody could understand," though it could have just been panicked child's speech).

Many academics have noted how Wuthering Heights follows various testaments of the Gothic literary tradition, not only by the involvement of death, violence, ghosts, etc., but also in the use of incestuous themes (whether literal or metaphorical) and the use of the Other in Heathcliff, aided by the mysteries of his origins and his racial ambiguity.

As for Heathcliff not revealing much about his childhood, I believe this part of it could be due to trauma as well as regular childhood amnesia. He may not remember anything. A lot of people don't have many memories from before the age of ~6 anyway — and I just looked it up— his real age is never given but he is believed to be around the same age than Cathy who was described as "hardly six years old." I had thought they were a little older for some reason. He's also said to have been "speaking gibberish" which I once considered may have been indicative of a foreign language and/or accent but now, because of his age and probable low background, it may have been due to his just being very young and maybe unsocialized and shy. It actually makes my heart ache when Nelly describes him :(

Here's an excerpt from chapter 3 describing Heathcliff's childhood:

"He threw himself into a chair, laughing and groaning, and bid them all stand off, for he was nearly killed—he would not have such another walk for the three kingdoms.

'And at the end of it to be flighted to death!' he said, opening his great-coat, which he held bundled up in his arms. 'See here, wife! I was never so beaten with anything in my life: but you must 'en take it as a gift of God; though it's as dark almost as if it came from the devil.'"

We crowded round, and over Miss Cathy's head I had d peep at a dirty, ragged, black-haired child; big enough both to walk and talk: indeed, its face looked older than Catherine's; yet when it was set on its feet, it only stared round, and repeated over and over again some gibberish that nobody could understand. I was frightened, and Mrs. Earnshaw was ready to fling it out of doors: she did fly up, asking how he could fashion to bring that gipsy brat into the house, when they had their own bairns to feed and fend for? What he meant to do with it, and whether he were mad? The master tried to explain the matter; but he was really half dead with fatigue, and all that I could make out, amongst her scolding, was a tale of his seeing it starving, and houseless, and as good as dumb, in the streets of Liverpool, where he picked it up and inquired for its owner. Not a soul knew to whom it belonged, he said; and his money and time being both limited, he thought it better to take it home with him at once, than run into vain expenses there: because he was determined he would not leave it as he found it. Well, the conclusion was, that my mistress grumbled herself calm; and Mr. Earnshaw told me to wash it, and give it clean things, and let it sleep with the children.

Hindley and Cathy contented themselves with looking and listening till peace was restored: then, both began searching their father's pockets for the presents he had promised them. The former was a boy of fourteen, but when he drew out what had been a fiddle, erushed to morsels in the great-coat, he blubbered aloud; and Cathy, when she learned the master had lost her whip in attending on the stranger, showed her humour by grinning and spitting at the stupid little thing; earning for her pains a sound blow from her father, to teach her cleaner manners. They entirely refused to have it in bed with them, or even in their room; and I had no more sense, so I put it on the landing of the stairs, hoping it might be gone on the morrow. By chance, or else attracted by hearing his voice, it crept to Mr. Earnshaw's door, and there he found it on quitting his chamber. Inquiries were made as to how it got there; I was obliged to confess, and in recompense for my cowardice and inhumanity was sent out of the house.

This was Heathcliff's first introduction to the family. On coming back a few days afterwards (for I did not consider my banishment perpetual), I found they had christened him 'Heathcliff': it was the name of a son who died in child-hood, and it has served him ever since, both for Christian and surname. Miss Cathy and he were now very thick; but Hindley hated him: and to say the truth I did the same; and we plagued and went on with him shamefully: for I wasn't reasonable enough to feel my injustice, and the mistress never put in a word on his behalf when she saw him wronged.

He seemed a sullen, patient child; hardened, perhaps, to ill-treatment: he would stand Hindley's blows without winking or shedding a tear, and my pinches moved him only to draw in a breath and open his eyes, as if he had hurt himself by accident, and nobody was to blame. This endurance made old Earnshaw furious, when he discovered his son persecuting the poor fatherless child, as he called him. He took to Heathcliff strangely, believing all he said (for that matter, he said precious little, and generally the truth), and petting him up far above Cathy, who was too mischievous and wayward for a favourite.

So, from the very beginning, he bred bad feeling in the house; and at Mrs. Earnshaw's death, which happened in less than two years after, the young master had learned to regard his father as an oppressor rather than a friend, and Heathcliff as a usurper of his paren's affections and his privileges; and he grew bitter with brooding over these injuries. I sympathised a while; but when the children fell ill of the measles, and I had to tend them, and take on me the cares of a woman at once, I changed my idea. Heathcliff was dangerously sick; and while he lay at the worst he would have me constantly by his pillow: I suppose he felt I did a good deal for him, and he hadn't wit to guess that I was compelled to do it. However, I will say this, he was the quietest child that ever nurse watched over. The difference between him and the others forced me to be less partial. Cathy and her brother harassed me terribly: he was as uncomplaining as a lamb; though hardness, not gentleness, made him give little trouble."

From this excerpt we see that Earnshaw 1) despite being racist toward Heathcliff, is also wildly protective of him - so much so that he kicks Nelly out of the house FOR DAYS for initially not allowing Heathcliff to sleep in his childrens room 2) Earnshaw doesn't like Cathy that much, and prefers Heathcliff over her; later when he dies he has a nice moment with her, but still asks her why she can't be a better child (lol) 3) Earnshaw did not name Heathcliff on his own accord but Heathcliff is named after Earnshaw's own son that died!!! And that says a lot; we're also never really told how Mrs. Earnshaw felt about him being named after her dead kid, or if she had a part in it or not, or if she grew to like Heathcliff too — she just dies soon after - however, I think we can all assume she always favored Hindley over Heathcliff, since we're told Hindley's jealousy grew after her death 4) Heathcliff is described by Earnshaw as a "gift from God" which I find kind of suspicious because Earnshaw struggled so much just to get him home... um, God had no part in that, Mr. - unless he's referring to the kids existence imo. At any rate, if Heathcliff isn't biologically related to Earnshaw, we're still led to have the sense that Heathcliff is sort of predestined to be there 5) Heathcliff was indeed a bit scraggly/unkempt when he arrived, but imo that doesn't mean he was necessarily a homeless orphan; if he did have a mother/family, they probably would have been living in harsh conditions anyway just by being impoverished, and if not, maybe he was just a bit dirty from wandering outside like normal kids do, and like he's so fond of doing anyway on the Moors later on - he could have just been playing outside when this white guy comes along and takes him under his coat! 6) Earnshaw says he asked around for the kids parents and felt obligated to take him on, though the kid was struggling... so yeah, regardless of if he's omitting other info or if he's his father or not, we can infer that he essentially kidnapped Heathcliff.

After re-reading this excerpt, I don't think it's as likely that Earnshaw had seen/known Heathcliff personally prior to his taking him home, but I still don't think any of this totally disproves the theory that Earnshaw could have been lying to Mrs. Earnshaw/omitting certain information.

Why was Mr. Earnshaw in Liverpool to begin with? I and many others often assume it was some sort of a business trip, and it probably was, but after re-reading the part where he leaves, I can't actually find anything to definitively confirm what he was actually there for. He could have been in Liverpool specifically to take Heathcliff with him. Another thing that doesn't make any sense is the fact that he walked all the way there alone: "I’m going to Liverpool today, what shall I bring you? You may choose what you like: only let it be little, for I shall walk there and back: sixty miles each way, that is a long spell!’"

He's then gone for 3 whole days. Meaning according to him, he walked 120 miles in 3 days, half of that while carrying/dragging a struggling small child, who he says he took because it would be his easiest option: "his money and time being both limited, he thought it better to take it home with him at once, than run into vain expenses there."

He's contradicting himself, because if he was so concerned about finances then he never would have taken on another child, as Mrs. Earnshaw immediately supplies (meaning if he was on a mission to retrieve Heathcliff, he didn't tell her): "Mrs. Earnshaw was ready to fling it out of doors: she did fly up, asking how he could fashion to bring that gipsy brat into the house, when they had their own bairns to feed and fend for? What he meant to do with it, and whether he were mad?" Ummmm you're telling me there isn't something a little suspicious or weird about any of this?!

And why would he be walking in the first place when he has horses — was he really so tight on money as to not want to support/feed them on a journey, or did he just not want to be recognized or attract attention, or did he not want to deal with a child riding on a horse for the first time? I assume carriages/wagons were out of the question for costs, and I know people walked a lot back then, especially in rural farmlands, but that is a very long journey as he himself says. What was so important? Did he even go to Liverpool at all? And why did he bundle Heathcliff up as if to hide him? To avoid suspicions about having a bastard child, etc.? And we're told Mrs. Earnshaw was expecting him home earlier, and we get no indication if she knew Mr. Earnshaw's plans or whereabouts.

And why does Mr. Earnshaw act so upbeat and nonchalant about all of this, when we're told he's usually really stern? Ie he supposedly treats Nelly well eg, telling her he'll bring her back fruits on his journey, but then he LOCKS HER OUT OF THE HOUSE FOR MULTIPLE DAYS for not following his orders about putting Heathcliff in the children's room on his first night there.

Where tf did she even go lol? Am I forgetting some part about her family having a nearby house? How far did she have to walk to get there, alone and unaccompanied as a young woman? Probably less than 120 miles in 3 days, but still! He's known Nelly her whole life, and he's supposedly known Heathcliff for a day (in which time Heathcliff has already led him into physical exhaustion), and yet he already prefers Heathcliff over her as well as his own children.

Even excusing Nelly being a narrator of debatable reliability, and being sometimes contradictory & biased against Heathcliff, Mr. Earnshaw's behavior still seems a bit outlandish and it makes sense that Mrs. Earnshaw would ask him if he had gone mad. I course, I may be looking too far into this, but how can I not?

Heathcliff's trauma, his relationship with Mr. Earnshaw, Earnshaw as kidnapper, and race:

I think Heathcliff is certainly severely traumatized. I'm not a psychologist but Nelly's line "hardness, not gentleness, made him give little trouble" is textbook childhood CPTSD, and it is partly due to Earnshaw indeed being a kidnapper with a white saviour/"white man's burden" complex.

I think the following quote by Nelly supports this kidnap view, in that she actually refers to him being kidnapped; Emily may also be encouraging us to speculate on even the most outlandish theories of his origins like Nelly does:

"‘A good heart will help you to a bonny face, my lad,’ I continued, ‘if you were a regular black; and a bad one will turn the bonniest into something worse than ugly. And now that we've done washing, and combing, and sulking—tell me whether you don’t think yourself rather handsome? I'll tell you, I do. You're fit for a prince in disguise. Who knows but your father was Emperor of China, and your mother an Indian queen, each of them able to buy up, with one week’s income, Wuthering Heights and Thrushcross Grange together? And you were kidnapped by wicked sailors and brought to England. Were I in your place, I would frame high notions of my birth; and the thoughts of what I was should give me courage and dignity to support the oppressions of a little farmer!'"

Like in Charlotte's Jane Eyre, Emily also borrows taboo Romantic and Orientalist imagery and racializes the gothic Other figure, because this idea of the foreign/non-white body was a source of anxiety to a lot of white British Victorian readers. This is a popular concept in Gothic literary studies & a lot has been written on it, so I won't go into it too much.

Like Charlotte's Bertha Mason, Linton Heathcliff's identity as being mixed race is essential to his character — in the narrative, him being white-passing is supposed to relate to his identity being more Isabella/Linton (as also evidenced by his name) and less Heathcliff's, who is disappointed not to see his own resemblance in his son.

Since we seriously don't know Heathcliff's true origins, we can't ascertain his ethnicity (given his descriptions/epithets/Nelly's speculations, he is likely fully or part Roma, South-Asian, or African), and we can't tell if he or his family/mother were highborn, enslaved, or simply free, but we do know that slavery was still very active in England in the late 1700s when Heathcliff is a child, and his hometown Liverpool was the center of the slave trade, so connections to slavery either ancestrally or during his hiatus (a popular theory, explored in the book Heathcliff: the Lost Years by David Drum) are possible.

More evidence for the theory of Heathcliff having a previous history of child abuse and unknown early trauma, possibly relating to the slave trade (which doesn't necessarily discount the Earnshaw parentage theory either imo, and if anything may make it more likely if his reasoning for taking Heathcliff was that he wouldn't want his biological son enslaved) — is the portion where Nelly describes Heathcliff and how he initially took Hindley's abuse stoically:

". . . a sullen, patient child; hardened, perhaps, to ill-treatment: he would stand Hindley's blows without winking or shedding a tear, and my pinches moved him only to draw in a breath and open his eyes, as if he had hurt himself by accident, and nobody was to blame. This endurance made old Earnshaw furious, when he discovered his son persecuting the poor fatherless child, as he called him. He took to Heathcliff strangely . . ."

When Nelly adds that Earnshaw called Heathcliff "poor fatherless child," I see this as ironic whether Earnshaw is his biological father or not, since he is still the closest thing he has to any sort of "father figure" nominally, and symbolically in line with the view of Earnshaw as flawed micro-colonizer. In the act of standing up for Heathcliff over his own teenage son and future master of the house, he is basically acting as a pseudo-father preferring one son over another; for Hindley, the blow is deepened by Heathcliff not being Earnshaw's son in name.

For clarity's sake, whenever I refer to Mr. Earnshaw as Heathcliff's unofficially adoptive father or father figre, I do so sort of hesitatingly. Mr. Earnshaw/Heathcliff do not have a regular father/son dynamic; we're told that Heathcliff did not embrace but rather fought Mr. Earnshaw the entire 60 miles back to the Heights.

Surely the above may be hyperbole, but we must keep in mind that Mr. Earnshaw's gifts for Cathy/Hindley/Nelly were lost or destroyed in the process: most symbolically, Mr. Earnshaw's struggle to obtain Heathcliff led to Hindley's fiddle being broken, Cathy's whip being lost, and we're never told what happened to Nelly's gift of fruit, but we can assume it was lost or never got to be obtained as a result of his preoccupation.

Heathcliff's relationship with Mr. Earnshaw is complicated because of the racial power imbalance & as I said, Earnshaw having a white saviour complex & basically kidnapping Heathcliff despite (or so we're told) not fully knowing if Heathcliff had a family or not. Most important are Heathcliff's own feelings about the situation; Earnshaw's wild affection is clear.

We're told by Nelly's observations that Heathcliff clearly did not have a great love for Earnshaw: "I wondered often what my master saw to admire so much in the sullen boy; who never, to my recollection, repaid his indulgence by any sign of gratitude. He was not insolent to his benefactor, he was simply insensible; though knowing perfectly the hold he had on his heart, and conscious he had only to speak and all the house would be obliged to bend to his wishes."

When Mr. Earnshaw was dying, Heathcliff was sitting with Cathy who was singing to Earnshaw. When they realize Earnshaw has finally passed, Heathcliff seems to genuinely grieve as equally as Cathy (Hindley is at college at this time):

"The poor thing discovered her loss directly — she screamed out — 'Oh, he's dead, Heathcliff! he's dead!' And they both set up a heart-breaking cry." Later when Nelly returns from getting help: "I ran to the children's room: their door was ajar, I saw they had never lain down, though it was past midnight; but they were calmer, and did not need me to console them. The little souls were comforting each other with better thoughts than I could have hit on: no parson in the world ever pictured heaven so beautifully as they did, in their innocent talk . . ."

Yet we also know by Heathcliff's odd dynamics with Nelly and Hareton, and even by some of his behavior around Catherine I (who is the only person that most of us can agree he really loves), we can see that, probably due to trauma, Heathcliff does not know how to show affection "normally."

By his earlier disconnected reactions to Hindley's abuse, we can see that early on he had trouble reacting to negative emotions as well, which probably led him to his later emotional dysregulation & bursts of rage/frustration, which make complete sense in his situation and are why we can still often sympathize with him in his path of vengeance, even despite his abusiveness.

So we do not know the full extent of Heathcliff's feelings toward Mr. Earnshaw, and whether he truly had deep affection for him or somewhat resented him, but whatever his feelings were, they were clearly complex. As we all know, Heathcliff is capable of feeling very strongly, and when he does, he is usually vocal about it (see: literally most of his dialogue). He can't go 30 seconds without roasting someone lol. But he is oddly ambivalent and quiet about Earnshaw.

You could also (& countless academics have) argue that Earnshaw/the Earnshaw family is essentially a microcosm of colonization, Heathcliff is symbolically captured/enslaved by Mr. Earnshaw (which highlights how white saviourism is oxymoronic), and then actually becomes almost literally enslaved by Hindley later on.

On Heathcliff and Hindley:

Both are extremely flawed. Both are wildly in love with women who die from labor, both become abusive single fathers, both are defined by their grief and feelings of revenge, both want to kill each other all throughout the story, both actually try to do so to varying extents. Heathcliff saves Hareton from Hindley's negligence by catching him, Hindley saves Isabella from Heathcliff's abuse by tackling the latter (in what I think is one of the novels best sequences, Isabella's narration of the period of Heathcliff and Hindley's fighting and her escape). Heathcliff's bond with Hareton, like Hindley's bond with Isabella, is both manipulative and touching in turns. Ditto for their bonds to Nelly.

Many people believe Heathcliff had a role to play, directly or indirectly, in Hindley's death. Evidence for this: 1) teen Heathcliff wishes Hindley could drink himself to death but acknowledges doctor Kenneth says he won't: "‘It’s a pity he cannot kill himself with drink,’ observed Heathcliff, muttering an echo of curses back when the door was shut. ‘He’s doing his very utmost; but his constitution defies him. Mr. Kenneth says he would wager his mare that he’ll outlive any man on this side Gimmerton, and go to the grave a hoary sinner; unless some happy chance out of the common course befall him.’" 2) later, Kenneth remarks to Nelly that "He's barely twenty-seven, it seems; that's your own age: who would have thought you were born in one year?'" 3) Joseph once accused Heathcliff of attempting to murder Hindley during their fight ("And so ye've been murthering on him?") - in which Isabella said Heathcliff had to barely restrain himself from not killing Hindley. Joseph later adds suspicion to Hindley's death when, after Heathcliff explains to Nelly how Hindley had been suffering from the effects of alcoholism but died suddenly in the morning, Joseph "confirmed this statement, but muttered: "I'd rayther he'd goan hisseln for t' doctor! I sud ha' taen tent o' t' maister better nor him—and he warn't deead when I left, naught o' t' soart!'" (trans. from WH Reader's Guide site: "'I'd rather he'd gone himself for the doctor! I would have taken care of the master better than him—and he wasn't dead when I left, nothing of the sort!'"). So Heathcliff told Joseph to fetch Kenneth which left Heathcliff alone with Hindley, who was then dead when Joseph/Kenneth arrived.

My own theory is that Hindley probably choked on his own vomit (a common form of death by addiction) because of Heathcliff's description of he and Joseph finding Hindley "snorting like a horse; and there he was, laid over the settle: flaying and scalping would not have wakened him." It is after this that Heathcliff is alone with Hindley and he dies. Heathcliff can be seen as guilty through inaction imo, though he would justify it by saying he was letting nature take its course.

Heathcliff and Hindley take turns enslaving each other throughout the story. Hindley's seniority, legitimacy, and race give him advantages, while Heathcliff's early favoritism by Mr. Earnshaw and his later accrual of wealth, wit, and strength give him some advantages. We're told by Nelly (and she's biased, but she's the main source we have) that Hindley bullied Heathcliff immediately, to which Heathcliff weaponized Mr. Earnshaw in his favor, as evidenced by the horse scene.

If, when Hindley returned to become master of Wuthering Heights after Mr. Earnshaw's death, his wife Frances had taken a liking to Heathcliff, or if Hindley had simply matured in his time away — in other words, if Hindley had decided to grow up and let bygones be bygones — I wonder if Heathcliff would have done the same, and decided to be peaceful & not to continue their childhood rivalry.

The bulk of Heathcliff's lust for revenge really stems from Hindley's treatment of him after Mr. Earnshaw's death, when Hindley, as the new Mr. Earnshaw, really does follow through on that childhood promise during the horse scene to use his wealth/power/independence to render Heathcliff miserable, and to turn him out or keep him enslaved. Possibly at the beckoning of Frances (which I mention later,) Hindley succeeds in fulfilling this childish power fantasy, and this is partly what inspires Heathcliff to obtain the means of flipping the script and later rendering Hindley a weakened dependent.

Although Hindley is racist/absorbed his parents racism, note that Catherine was not/did not, and so Hindley's true hatred of Heathcliff imo is more motivated by jealousy/envy for his father's affection than it is anything else, & his own feelings of inadequacy & self-hatred which likely would have existed anyway & were just fuelled by being "usurped" in his father's affection.

I really blame Mr. (& Mrs., though we sadly have so little insight into her character) Earnshaw for Hindley/Heathcliff's rivalry, because I feel like we can assume Mrs. Earnshaw must have favored Hindley more when Mr. Earnshaw started favoring Heathcliff, considering Hindley's hatred increased after the grief from his mother's death, — and this favoritism & parental split is bound to deepen the split between their favorites.

Hindley's hatred of Heathcliff really increased after his father & then his wife's deaths (meaning he had prolonged complex grief), which I'm assuming compounded & brought back his feelings of his original grief for his mother, resulting in further hatred of Heathcliff who had nothing to do with any of it but whose arrival Hindley just subconsciously associated with his mother's illness/death & his father's emotional abandonment (which we could consider a mental death which took place before his physical death; imo Hindley's whole character is defined by grief).

To enhance their pseudo-brotherly rivalry, which some may say is reminiscent of Abel/Cain (especially if you believe the theory/opinion that Heathcliff murdered Hindley or was otherwise in any part to blame for his death), we again have the fact that Heathcliff was named after Hindley's dead brother.

Heathcliff is actually Heathcliff 2.0, and maybe it was Mr. Earnshaw's grief that led him to use Heathcliff 2.0 as a replacement child the way Hindley uses Mrs. Earnshaw 2.0 as a replacement mother.

All throughout the story we have people being named after each other and taking on each other's roles, ie the whole 1st/2nd generation parallels (we could extend it to be 1st/2nd/3rd since I've highlighted the narrative importance of Mr./Mrs. Earnshaw), Linton Heathcliff, Cathy 1.0/2.0. — but we know nothing about Heathcliff 1.0 other than that he died in childhood.

Was he Catherine's age, younger, or older? Did Catherine see Heathcliff as a replacement brother? Did Heathcliff 1.0 die before Catherine was born? Was he Hindley's age? Did Hindley already have grief/trauma from Heathcliff 1.0's death and resent Heathcliff 2.0 for usurping not only him, but his dead brother's place?

We're told that "the family" gave Heathcliff 2.0 his name, but I assume Mrs. Earnshaw and Hindley may not have been involved due to us never seeing that they care for him — and Joseph may have had a role in it, but he's also rarely thoughtful, and Nelly was gone — so could Cathy have suggested the name Heathcliff? (which brings to my mind Edward Rochester telling Jane Eyre to "give him his name" when he proposes to her, asking her to call him "Edward" — this would be poetic of Catherine/Heathcliff's relationship).

The meaning of the names Heathcliff/Hindley are very similar; they also share the same initials, syllable count, and the "ee" sound. Heathcliff is a combination of "heath" (a synonym for "moor"; what he and Cathy love to roave on) and "cliff." In meaning, apparently (according to some sources on Ancestry.com) Hindley is a habitational name from hind 'hind, female deer' and lēah 'woodland clearing' — which is basically another way of saying heath/moor. So there is a lot of similarity in their names, and this tainted brotherly theme, both of which must have been intentional.

Regardless of whether Heathcliff & Hindley are foster brothers or half-brothers, this naming choice is still a sign that Heathcliff was predestined to be part of the family, and lends itself to the other themes of predeterminism in that Heathcliff ends up becoming the master of the Heights after Hindley the way he would have if he were his biological brother.

Mr. Earnshaw telling Hindley he'd bring him back any gift he chose, and then returning with that gift having been broken by Heathcliff, are ample reasons to explain the hatred that moody 14-year-old Hindley immediately feels for him, who was about half his age and therefore an impractical playmate. He is more like a new sibling, and like an older sibling, Hindley is horrified at being overshadowed by the family's new addition. Since we don't know whether Hindley knew or was close to Heathcliff 1.0, we can hesitantly assume he may have been upset by the naming.

On Heathcliff, Hindley, and Frances:

I would like to briefly touch more on Hindley's wife's death (so closely followed by his fathers death) bringing up feelings of his mothers death. Hindley's wife Frances Earnshaw is the second Mrs. Earnshaw and she only comes to the house right after Mr. Earnshaw dies. I believe Hindley parallels his father, Frances parallels his mother (so like many men, he metaphorically "married his mother"), and that Frances also has some similarities to Heathcliff.

Frances has an unknown origin story and Hindley keeps her background from his father on purpose, and this could have been intended to parallel the first Mr. Earnshaw from possibly keeping Heathcliff's origins vague: "What she was, and where she was born, he never informed us: probably, she had neither money nor name to recommend her, or he would scarcely have kept the union from his father."

Frances also immediately dislikes Heathcliff... just like Hindley's mother, the first Mrs. Earnshaw, did: "Mrs. Earnshaw was ready to fling it out of doors: she did fly up, asking how he could fashion to bring that gipsy brat into the house, when they had their own bairns to feed and fend for? What he meant to do with it, and whether he were mad?"

We don't know why Frances dislikes Heathcliff, but it wouldn't be a stretch to assume it has to do with his race & status, because it is only after her disapproval that Hindley banishes Heathcliff to the role of a servant/slave, we can assume. We can also assume Frances disliked Heathcliff from the beginning, since we're never told that she took a liking to him like she initially does with Catherine; we are only ever told she dislikes him:

"She expressed pleasure, too, at finding a sister among her new acquaintance; and she prattled to Catherine, and kissed her, and ran about with her, and gave her quantities of presents, at the beginning. Her affection tired very soon, however, and when she grew peevish, Hindley became tyrannical. A few words from her, evincing a dislike to Heathcliff, were enough to rouse in him all his old hatred of the boy. He drove him from their company to the servants, deprived him of the instructions of the curate, and insisted that he should labour out of doors instead; compelling him to do so as hard as any other lad on the farm."

It is after the last quote that we learn Cathy and Heathcliff become increasingly "feral" outdoors, as Heathcliff is forced to toil in outdoor labor, and Cathy insists on keeping him company while he's at it. At this point they are both essentially orphaned, and then neglected and abandoned by Hindley and Frances, the new Mr. and Mrs. Earnshaw, who take on the roles of the former Mr. and Mrs. Earnshaw, who were similarly neglectful and emotionally abandoning to their children.

On Cathy and Heathcliff:

In the beginning, Lockwood reads this diary entry from Catherine I which proves the prior analysis in that she compares Mr. Earnshaw 1.0 to Mr. Earnshaw 2.0 (Hindley):

""An awful Sunday,' commenced the paragraph beneath. 'I wish my father were back again. Hindley is a detestable substitute — his conduct to Heathcliff is atrocious – H. and I are going to rebel — we took our initiatory step this evening."

Notice how in the death of Mr. Earnshaw and then under the tyranny of Hindley (Mr. Earnshaw 2.0), Cathy and Heathcliff are often sharing each other's emotions, and their bond is very twin-like. They both cry & grieve in their room in unison after Earnshaw dies, and although Heathcliff is the one primarily sentenced to torment by Hindley, Cathy doesn't abandon him to it and instead often keeps him company in his punishment, recalling when she was younger and her father would try to keep Heathcliff away from her to punish her.

Even when Cathy does sort of abandon Heathcliff to marry Edgar, in her speech after Heathcliff leaves, she says that her plan was to use her control over Edgar to benefit Heathcliff, so she really never intended to abandon him at all. Abandonment, attachment issues, separation, loss, grief, being torn away from someone/somewhere/something, are all major themes in this story, often expressed by familial and more often filial experiences.

Cathy and Heathcliff's relationship basically embodies all these themes the most poignantly, in that Heathcliff abandons her because he thinks she's abandoning him and he can't bear it and would rather leave than be left; then as soon as he returns, Cathy ends up actually physically abandoning him by dying! And later on, her ghost taunts him (I believe most of us can take the ghost plot as canon & not hallucinatory considering how many characters attest to it), and he once again returns to her like he did before.

Their whole relationship is about overcoming obstacles to separation, and being determined to retain their attachment as an act of defiance (even if it means defying life, death, physics, etc.) — this is why they're considered the most romantic couple in literature even despite their awful behavior most of the time, because in writing/literary pedagogy as a general rule it is almost always the goal of romantic leads to overcome obstacles which separate them from their lover, – and Heathcliff and Cathy take this goal to a new level by overcoming not only their childhood punishments of separation from one another, but overcoming the impossible obstacles of LIFE AND DEATH to reunite in the spirit realm where no one can separate them again — not even God.

Both Catherine and Heathcliff say that they know they won't go to heaven; God literally doesn't want them, and he has abandoned them, and this is the ultimate abandonment/seperation. Thus, all they have in the universe is each other — and if their relationship didn't work in life, they're determined to make it work in death!

Some final thoughts on Mr. Earnshaw and the making of Heathcliff:

Due to all of my previous explanations, I consider Mr. Earnshaw a possibly well-intentioned man but who ultimately failed all of his children (along with Mrs. Earnshaw) by 1) emotionally neglecting/abandoning Catherine because she was a "bad child" & acted more boyish than Hindley, 2) emotionally neglecting/abandoning Hindley in favor of Heathcliff (and maybe it was partly because Hindley was becoming a moody teenager and Heathcliff was comparatively younger/easier to handle bc of his trauma-induced subdued nature, but whatever his reasoning, it had disastrous consequences), 3) emotionally neglecting Heathcliff too by not being involved enough in his integration with the family & not checking in on him and Hindley, 4) straight up just not being that involved to begin with and not seeming to teach his children anything, hence why they're all bratty and grow up to be deeply maladjusted.

Notice how Nelly's motivational speeches to Heathcliff, and her taking care of him when he was sick, have an extraordinary affect on him, meaning Mr. and Mrs. Earnshaw probably didn't show him even half as much attention or real affection. Like most English fathers at the time, Earnshaw thought his job as father/master was to merely provide provisions, leave the children with the women to be actually raised, and be done with it. The most unique thing he does in his life, and indeed his whole role in the story, is bringing home Heathcliff.

Maybe most importantly, I also just realized that Earnshaw kidnapping Heathcliff parallels Heathcliff kidnapping his own son after Isabella dies (and also him kidnapping his daughter-in-law Cathy II), and while this narrative parallel works if Earnshaw is merely Heathcliff's adoptive father, it also could be working to suggest that Earnshaw was his biological father, knew Heathcliff's mother had died, and so went back for him and took him by force. If Heathcliff's mother had recently died (or been separated from him), this would have compounded his trauma of being taken by Earnshaw, and this would have furthered his childhood memory loss, which could be another reason why I don't think Heathcliff remembers very much about his origins.

Heathcliff has much in common with Frankenstein's creaure. Yet, he is essentially a self-made man, his own creator and creature. We are even led to think of him as inhuman, as Isabella suggests with her referring to him as such and even calling him vampiric. And he does bear a lot of similarity to John Polidori's Lord Ruthven, from the first vampire novel The Vampyre (a Byronic tale, based on Byron's short story Augustus Darvell). Heathcliff's canonically mysterious origins and mysterious hiatus are necessary to his character; like Isabella and Nelly, we're supposed to question him and form our own opinions on the matter.

[compassmili]

Would you want to talk about Turrtle Dove? :> I've seen the design posts about them but I have like. No clue what their deal is, but I am very interested bc they do look really cool! :>:>

(personality and interaction and interests and such)

Of course! She's newer, so I haven't talked about her nearly as much... Her basic info is that she's about 23-26, uses she/reap/it/noise pronouns, and uses a falchion called Ruinbringer! Noise believes herself to be a reaper of death, her fate solely that to bring people to their ends. Reap does not have any drive of reaps own, instead only carrying out the orders of others. She is also from a fallen Wing, but I haven't decided which... v_v Oh also noise believes that it can see dead people and see into the afterlife.

In regards to personality, she's very robotic and flat. Noise silently accepts the orders given to her and follows them out without complaint. Reap is simply a puppet for others. Her lack of emotion comes from the fact that her soul is straight up trapped within the stuffed animal she carries around. The only emotion reap is capable of feeling and showing is desperation when in battle. Failure is not an option for her. After her Canto, with her soul freed, she returns to her "normal" self. Reap, while still mainly keeping to herself, speaks a bit more and is truly a very kind individual who wants the best for everyone. Reap seeks to help others.

Interactions... I'm unsure if she would have any interesting ones. I think that maybe others would be annoyed with her due to her lack of emotion and drive. Reap is a husk of a person and I can see people like Outis getting very frustrated with her. I'm split between whether Heathcliff would also find noise aggravating or if he would pity her. I think Don would like Turtle Dove's stuffed animal, and maybe Turtle Dove would be the only one to listen to Don's infodumps. After Turtle Dove's Canto, I think that's when she'd be able to form proper relationships with others.

Interests... Before her Canto she doesn't really have any (Sobbing emoji I'm on desktop rn.) Really the only thing she "enjoys" would be her stuffed animal and music. Reap is essentially always wearing headphones. When her soul is freed, she has an interest in sewing, plushies as a whole, exploring cityscapes, scemo fashion and culture, chivalric and knightly tales, cats, and playing instruments. Her favorite foods are pancakes and boba :] Unsure what specific boba order she would get as I've never actually had it (Sobbing emoji)

In her base E.G.O, she gains her reaper wings and wields a scythe with an extended chine (The blade part) :]

Knights, angels, and music are all something noise is very associated with! She is a knight as well as a reaper ^_^

[necrotic-nephilim]

3 & 21, please! 🙌

for the choose violence ask game!

3. screenshot or description of the worst take you've seen on tumblr

my first answer to this one is here, but as for another one that kills me inside was, a certain poll going around where the OP asked if Jason would be a fan of Wuthering Heights and they included propaganda from the reblogs. and i won't include a screenshot bc the OP was quoting someone else but the propaganda for "fuck no" basically said

"Wuthering Heights romantize violence and toxic, abusive relationships and Jason dislikes abusers and would be infuriated. Just the sheer idea of Heathcliff [pisses him off]. The "I was hurt and mistreated and so now I get to hurt everyone around me" mentality he also really hates. It's terrifying. He tries not to think about it too deep."

and i just. like i don't care if you think Jason is or isn't a fan of the book but this justification haunts me. bc firstly, it paints Jason as if he doesn't. hurt other people because he's hurt as his trauma coping mechanism, esp during his return and a lot of ppl get caught in his crossfire just bc he's angry. like he's reacting to trauma, but that *is* how he copes. he just kinda. drags ppl into his nonsense, it's what makes him fun. secondly, acting like Jason, a grown adult, cannot understand that fiction is fiction and that fictional abusers do not "romanticize" anything bc they are not real was... wild. yes Jason hates abusers. but not fictional ones. this whole take reeked of an anti pushing anti ideologies onto a fictional character who Would Not Care and i just. i think about it took much for what it is. also acting like Jason has a concept of what a healthy relationship is, somehow is the funniest part in this.

21. part of canon you think is overhyped

OH MY GOD, JOKER: LAST LAUGH. *specifically* the infamous "Dick killed the Joker and Bruce gave him CPR" god. we have milked this for everything it's worth. can we pls let it go. most fanon misunderstands it as well. bc it was a reaction to Tim's (supposed, not real) death, not Jason's. and Dick was immediately horrified and regretful. i think fanon has ran with trying to make Dick the angry one and so these moments get cherry-picked. is this moment interesting? yes. but it's so overhyped. in a similar vein, the whole "Bruce wanted to kill the Joker but Superman stopped him" has also been overused and misunderstood. like nothing about that moment in Death In The Family would change... really any of Jason's actions, but especially not Jason's feelings about Bruce not killing the Joker. DITF is a poorly written comic to begin with, but this moment is a mess and really isn't nearly as significant as fans want it to be. Bruce thinks about murder all the time. but he doesn't follow through. that's the point of his character. like these moments were fun to explore briefly, but i think fanon has overstated their importance by far. fanon really likes to overstate small moments and misinterpret the canon impacts of them. these are just two examples of so many. it gets to me.

[dark-falz]

PSO Timeline of the Profound Sadness (Detailed lore timeline regarding Episodes 1&2,)

There's also stuff about Phantasy Star 0 in here too because they take place in the same universe! But I'm trash and didn't beat it and it was years ago so idr shit I'll go back to it one day ok promise anyway

LONG LORE POST completely spoiler

Inhabited planet Coral is drained of natural resources. The government, organizations called "The Alliance of Nations" (includes 10) , and "Black Paper" initiate the "Pioneer Project" to find a new planet to colonize. They are gifted from a passing asteroid with Photon energy. They use it to backtrack where it came from to find a place to inhabit. After approx. 7 years, Ragol is found. Coral mentions; Shino: RAcaseal, purchased & passed down to Zoke Dr. Calus: was working on an AI, also named Calus, who developed his personality. Calus dies before the AI is completed. Dr. Jean Montague: 11 yrs. old approx, researches D-Cells brought back from probes with Dr. Osto, create MAGs* which are the beginning of the MOTHER/Delta program 7 yearsish later (travel is heavily disputed among sources apparently but w/e) The people on Pioneer 1 included; Heathcliff Flowen: Deputy Army Commander Rico Tyrell: Pupil of Flowen, Scientist, Hunter Dr. Osto Hyle: Lead researcher Mr. & Mrs. Graves: Photon Engineer, Geneticist WORKS (Government military) AI: Olga, Calus, & Vol Opt (meant to assist with Pioneer 1 research and step 2 of MOTHER) - AI Purposes: - Vol Opt: Security - Calus: Information - Olga: Contact, nearly identical specs to Calus (unsure if these two count as AI as they aren't mentioned much) - MOTHER: evolution & control - Delta: Caretaker of MOTHER Established buildings Gal Da Val Island - Research Facility (Houses Delta/MOTHER Vortex and will house Olga) Mines - Robot building plant (+All mine enemies) - Houses Calus (EPI)& Vol Opt - Dr. Osto's first lab (mines 2) Forest - Central Dome: supplies, communication center

Exploration begins followed quickly by construction. Animals are noted as friendly and docile.

Dr. Osto & Graves create a mutant life form for unmentioned reasons, it starts off small, but has the ability to self-replicate.

Ruins are discovered by Flowen. Military WORKS sends in investigation team. Everyone becomes possessed, then dies turning into the bad guys as portrayed in the quest: From the Depths. Flowen leads a second team in. Falz is unsealed and kills everyone but Flowen, leaving him wounded. When he escapes, Falz is sealed again.

Flowen's wound is infected with both D-Cells and Parasitic Gene Flow, causing them to be alive in their own. Osto calls this a "D-Type Factor". Flowen knows his time is short, and pledges his body to Dr. Osto for research under 2 conditions. - A letter is set to his family informing them of his death. - That pioneer 2 is postponed/stopped from reaching Ragol (Spoilers: Neither request are honored)

Flowen is unaware of the Central Control Area's existance until he is brought there.

Olga is moved to the SeaBed, where Osto had been working on developing a super soldier. Construction of the Cental Dome is completed. Flowen's body is merged with Olga in hopes of controlling it. In failure Olga Flow is dumped into the Testing Subject Disposal Area.

Scientists tried moving De Rol due to his size. De Rol kills the scientists and escapes through the ducts. Its tentacles that stab you during battle is what caused the mutation of the cave's dwellings'. (Barbra Ray is a speculated open or salt-water variant)

War continues on Coral and the 10 Nation Alliance is weakening. Instead of telling the Government to stop Pioneer 2, Osto calls Ragol a "Paradise World" and gets the approval to make bioweapons.* Pioneer 2 starts route.

Animals becoming violent and infected causes Rico to begin investigating. Rico activates the pillars upon investigating them, being under the impression they were built to commemorate the landing of Pioneer 1 from the government, however concluding this was a lie. Rico investigates until her demise and leaves confirming messages that: the ruins is a spaceship from the Algo star system of the Original Phantasy Star series to seal Dark Falz, the reborn Profound Darkness every 1000 years to reborn itself from hate as the seal weakens.

On Pioneer 2, Dr. Montague is working on developing Elenor/Mother 00 and Ult/Mother 01 and Elly Person begins contact with Calus.

Pioneer 2 reaches Ragol (approx 7 years)

Explosion caused by Dark Falz in Central Dome occurs when connection is attempted, everyone from Pioneer 1 is killed with the exceptions of Mutated Rico & Mutated Flowen.

Vol Opt's security system is breached due to explosion and corrupted due to unusual Photons & D Cells causing everything in the Mines to attack.

Calus reaches out to Elly for "help" but has been corrupted and craves a human body. Elly backs up & stores his data before he shuts himself down.

Military attempts to take over Ult following Dr. Osto's plans. Eleanor & Ult fuse to become MOTHER, briefly, as due to abnormal Photon energies, its too much for Eleanor.

Calus data is used by Pioneer 2 to begin development of the "CALs system." This is part of a navigation system any Hunter can access. (Like Rico's messages, the floating things that drop you info in episode 2, is part of "Calus".)

Natasha Milarose receives a message from someone on Ragol leaving the impression that someone from Pioneer 1 is still alive on Gal Da Val Island.

Going through VR testing with Elly before permission to reach the island, Calus has form of a FOmar. (techincally there are 2 one with red eyes and one with blue eyes, one loves Elly and wants to be with her aw the other is always basically on the clock doing what its suppose to. ((Assuming this is due to abnormal photons and having 2 of the same system on top of each other which is CAL system active in VR field as well as on Elly, the operator, but no info.)))

Flowen leaves messages using Olga AI through the terminals you use to unlock the Central Control Area. (all terminals in the Seabed belong to Olga)

Calus enters the MOTHER vortex in expectation of being evolved with a true physical form to be with Elly.

Delta admits Dr. Osto abandoned her and the MOTHER system. (though the "abandonment" could have been due to a multitude of reasons with how full his hands were getting.)

I think this mostly wraps up the timeline covering entirely episodes 1&2

Extra stuff:

Flowen's full dialogue

MAG* - "A mag is a core of D-Cells surrounded by metal plating. The D-Cells are kept in control by an "Emotional AI". This means any mag is actually a cyborg of some sort, because they are a fusion of living and mechanical tissue. This is also why spraying them with various medical items causes them to change their shape so drastically.

"This is also why they can do the Photon Blast. The mag is able to absorb the energy from your photonic attacks on enemies, and also to absorb the pain from hits and turn it into photon. They had mags doing PBs on Coral, where the blasts did not take on a particular shape. The things you see in your PBs on Ragol look the way they do because the abnormal photon count, and D-cell count on Ragol is really high. The PB animals look like dark enemies, but with light color bodies. This is the influence of Ragol." - Translated from The Book of Hunters (Eleanor & Ult also carry D-cells)

Bioweapons - The bioweapons scientists of Pioneer 1 were making included using D-Cells, Parasitic Gene Flow, and living beings. This extended from animals, to plants, to even the scientists themselves in efforts of creating a "super solder". The reason behind this is because Falz is seen as an eternal entity, and that's what the scientists want to harness for themselves. Montague does a similar process, but instead using monster parts and photon energy from the mutated creatures, as oppose to mutated genes, to create weapons.

Links to information that helped me accumulate all this: phantasystardynasty PScave (I have dialogue with Flowen's text linked, if you want dialogue from another quest, just change the text between "script/" and ".html" to the quest of the dialogue you want to look out without spaces) Fandom Wiki (multiple pages from this one) This Tumblr post

[throughpatchesofviolet]

A Cup of Earl Grey

Synopsis: Heathcliff has a late night customer at the café.

Ship: The Adventure of Wuthering Heights

Words: 1184

Warnings: mention of food

Note: Takes place in Seven Association AU.

“I swear that lass leaves all these dishes on purpose,” Heathcliff grumbled, glaring at the teacups stacked on the counter as he scrubbed coffee grounds from the bottom of a mug. “Can’t have me going home early, can she? No, she’s gotta make me wash all these damned cups, first.”

And who the hell’s getting coffee here? Don’t we only serve tea? He flipped the mug over, slamming it down on the drying rack before snatching a teacup, dunking it in the warm, soapy water lapping at the edges of the sink. Bubbles tickled his wrists as he rubbed a washrag over the submerged cup, muttering to himself all the while.

“This café’s supposed to be a place for tea snobs, innit? I shouldn’t be scraping coffee grounds out of mugs.” He grit his teeth, tearing his hands from the water and turning the teacup over, shaking it out before setting it on the rack. Cool air nipped at his fingers as he reached for another cup, and he released a faint sigh of relief as he dipped his hands back into the warm water, soap swirling around his wrists as he continued scrubbing.

I just have to finish these dishes, then I can go home. He assured himself, setting aside the second teacup and grabbing a third. Home … where I can finally get some sleep.

A bell chimed from across the room, and Heathcliff shook himself, glancing over his shoulder before returning his attention to the sink, a weary smile tugging at his lips.

“You know … if I didn’t know any better, I’d say you fancied me,” he said, letting the cup sink to the bottom of the basin as he wiped his hands on his apron. “You’ll be having the usual, I take it?”

“Superb deductions on both accounts,” Sherlock Holmes replied, seating herself on a stool beside the counter. “As expected, you’ve turned into a fine Fixer for the Association.”

“Nah … I’m still no good at writing up case reports.” Heathcliff shrugged, sliding a cup and saucer across the counter as he approached the stove, gently lifting a kettle and pouring a warm, amber liquid into the cup. “One lump or two?”

“Come now, my dear Heathcliff—if you have the foresight to prepare my favorite tea in advance, then surely you know how much sugar to add?” she shook her head, sighing. “And here I was praising your deductions mere moments ago …”

“I know it’s two, alright—I was just …” he trailed off, and Sherry raised an eyebrow, but Heathcliff simply slid the saucer towards her. “There—Earl Grey, with two lumps of sugar. We have a few biscuits leftover from the lunch rush, if you’d like something to eat.”

“The tea’s fine,” she said, frowning at the warm liquid as Heathcliff turned back to the sink, dunking his hands back into the soapy water and continuing to wash the dishes. “You don’t mind if I smoke, do you?”

“Faust says this is a ‘no smoking establishment,’” Heathcliff replied, glancing back at her. “Besides—I just made you a fine cup of tea. Drink it.”

Sherry huffed, but she made no objection, raising the cup to her lips with the grace of a proper lady, her pinkie finger extended as she took a long, thoughtful sip of tea.

“You added honey,” she said softly, gently setting the cup back on the saucer.

“Figured you’d like it,” he muttered, focusing on the dishes again. “I overheard some snob rambling on and on about it to Faust—how it … what was it …? ‘Brings out the citrus flavors?’”

“Because Earl Grey is infused with bergamot oil … yes, that’s right.” Sherry hummed, twirling a strand of hair around her finger. “That’s … cute.”

Heathcliff started, nearly dropping the teacup he was washing. “Cute? I’m … I mean, that’s not … tea doesn’t taste cute, Sherlock—someone as smart as you should know that.”

“I’m not referring to the tea,” Sherry said, her eyes sparkling as she studied him.

Heathcliff swallowed, avoiding her gaze as he set the last of the cups on the drying rack, his cheeks burning. “Then you’re talking about the saucer—the blue floral patterns on it are cute, aren’t they?”

She sighed, beckoning him closer, and he complied, folding his arms on the counter across from her. Sherry looked him over for a moment, then leaned forward, straightening his tie. “I’m talking about you, my dear Heathcliff—you’re cute.”

She tapped his nose affectionately, and he scowled, trying to ignore the warmth spreading across his face. “I’m nothing of the sort.”

“It’s an objective fact, actually,” Sherry replied, grinning. “Allow me to outline my findings—you, a man who’s expressed little interest in the preparation of tea before tonight, just so happened to overhear Faust discussing Earl Grey with a customer, and you decided to eavesdrop in hopes that you’d learn how to improve my beverage of choice. You were hoping to either surprise or impress me … which is the very definition of ‘cute,’ whether you like it or not.”

“I am not cute.” Heathcliff growled, gritting his teeth as Sherry cupped his face.

“Fine, fine … but you’re plenty handsome, at least.” Her words were soft, almost inaudible, and Heathcliff barely had time to register them before he felt her lips brush against his. He froze, then closed his eyes, his hands instinctively finding Sherry’s wrists as he leaned into her kiss. A sweet, citrusy flavor lingered on her lips from when she’d sipped her tea earlier, and Heathcliff smiled as she pulled away.

“You still have to pay for that tea, love,” he said softly, slowly opening his eyes.

“Must I?” Sherry asked, raising an eyebrow. “I believe I’ve paid you quite well.”

“Oh, you have … it’s just I can’t exactly go to Faust and say ‘Yeah, a customer kissed me last night and I let her go without paying her tab.’” Heathcliff tapped the counter. “So … that’ll be two pounds.”

Sherry sighed, reaching into her pocket and fishing out a couple of bills, sliding them across the counter towards Heathcliff. “Does that suffice?”

He nodded, then leaned forward and placed a gentle kiss on her forehead. “Be safe on your way home, Sherlock.”

She hummed thoughtfully, turning to leave. “I’ll see you tomorrow, then?”

“I’ll be here,” he replied, pulling a fresh washcloth from his apron and proceeding to wipe down the counter. “And I’ll be sure to have your Earl Grey prepared in advance—two lumps of sugar?”

“And a spoonful of honey, if you wouldn’t mind.”

“Two lumps and a spoonful of honey. Got it.”

Heathcliff waited until the café door swung shut behind her, then sighed, folding the washrag and setting it beside the sink before picking up the cup and saucer he’d served Sherry with.

Once this is washed, I can close up and head home.

He glanced at the contents of the teacup as he carried it to the sink, and a smile played on his lips as his thoughts drifted back to Sherry.

I have to think up some new way to surprise her tomorrow …

[sunshine-for-serotonin]

yandere mark heathcliff headcannons please?

Yay!! A Mandela ask! Thank for requesting my darling, I hope these meet your expectations!

I see Mark as being more of an obsessive yandere than a possessive yandere, that doesn’t mean he isn’t going to kidnap or manipulate you into staying with him, he’s just very gentle about it all.

Any affection you give Mark of your own free will makes him cease to function, not because you did something wrong, but a large part of me sees Mark as touch starved and to finally get that validation from you of all people makes him think he’s died and went to heaven.

just because he’s gentle with you though doesn’t mean he is defenseless against anything he perceives as a threat to you, him, or your relationship. He has a gun for a reason, darling.

In truth, I don’t think he even would have ever gone to Cesar’s house, because Mark would have been so paranoid about leaving you for anything. Instead of the two of you succumbing to the hands of the alternate, you instead spend your time trapped in his suffocating embrace while Mark begs you not to leave him in between sobs and apologies.

as mentioned above, Mr. Heathcliff over here loves physical affection of any kind, and yet he still manages to be overly shy about both giving and receiving even simple things like you cupping his face. Mark’s favorite position to cuddle in is to lay on top of you with his head tucked under your chin, because he’s baby and also because I said so.

Kissing Mark is an experience for sure, and it’s also never a casual thing. If you just give him a quick peck and then try to pull away, Marks turning red and freezing before chasing after you for a real kiss as well as a long cuddle session where he rants about how much he loves you, how he would do anything (even kill) for you, and how he would do anything you asked!!! (except let you go)

your first kiss after he kidnapped you, he looked at your lips constantly and when you asked him what his deal was, Mark turned the brightest shade of red you’d ever seen. You’re also pretty sure you heard him murmur “please, want a kiss” under his breathe, but to this day you still aren’t sure. Mark had slowly crept towards your standing form and encased you in an iron grip as you moved to try to evade him, and held you nearly impossibly close to him. His lips went to your ear and you could hear him whisper “please love me , please” as tears swam in his eyes.

Taking pity on your captor you tried to pull Mark off of you so you could see his face, but the poor man only held you tighter as sobs racked his body and leaked audibly into his voice. Gently gripping his hair and pulling lightly, you told Mark to look at you and you could see what a mess he was as he trembled pathetically in your vision.

Gently cupping his face, you guided his lips to yours. Marks body immediately went taut before practically melting into the kiss, you’re pretty sure you even heard him whimper slightly but that’s neither here nor there. After a few seconds pass, you try to pull away but Mark is quick to object, the soft chanting of “no, no, please, please kiss me more, please don’t stop” is quick to sway you to rest your lips on his once more as Mark all but melts into a puddle of love, obsession, and happiness.

Mark would do absolutely anything for you besides let you go, darling. It seems you have quite the worshipper on your hands, just kiss him and give him affection and Mark will die a happy man.

[sawdust-emperor]

It is fascinating to watch Heathcliff slowly drag everyone he's related to down into his orbit. Especially because he doesn't seem to want them to be there?

He admits Hareton would be a great nephew if he had stepped up for him, but he hates Hareton's dad so much that he takes it out on the boy, leaving him illiterate and poorly mannered.

Isabella was infatuated with him (Heathcliff) a funhouse-mirror image of Catherine #1 and Edgar, but he pursued her despite a lack of returned feelings to get back at Edgar for "taking" Catherine from him. Crucially, in spite of saying out loud that he doesn't care for her to her face, and in spite of her sister in law telling her this guy fucking sucks, he actively pursues her, leaving it up to a sheltered 18 year old to figure out he wasn't teasing or that he WAS being manipulative (and Catherine wasn't trying to torture her by saying he sucked) trapping her until he nearly killed her.

Edgar, Isabella's brother, had resigned himself to being disowned post-marriage, but they do eventually reconcile once she's on her deathbed all the way in London, and he tried to bring Isabella and Heathcliff's child back to raise it. But he can't, because Heathcliff demands the new kid the day Edgar gets him there!

Heathcliff raises the kid, and eventually finds this child deeply unpleasant to be around (Ellen says he cant even converse with him for long without having to leave), but since he's both Linton and Wuthering Height's closest heir, he keeps him, and hopes to doubly secure the Linton estate by fostering romance between the cousins, Cathy (#2) and his sickly son who likely won't live to 25. Unclear how he feels about Cathy, but given Hareton's and Isabella's fate, it's likely she's more a reminder of Edgar than her mother to him.

So he won! He did it! Now he's got a bunch of land he acquired by loaning gold to the alcoholic he was living with (adoptive brother, Hareton's dad, who he hated but couldn't outright murder) mortgaged to the estate. He has the land. He's about to get Edgar's land too, and ensnare Edgar's daughter, the last bit of Catherine that's alive. And he fucking hates all of them, and he hates being a landlord, and his tenants hate him back, and all of this was for nothing because Catherine (#1) is dead and what could have been a tolerable family made of what remained of all of them is instead a total nightmare, because he was abducted from the streets as a child by a white man with a savior complex and lofty ideals but no ability to keep his kids in line. Heathcliff was forced to adapt to this, learning that love is an exception, not the rule, and its only natural for family to hate each other thanks to Hindley's exclusion of him, a pattern he continues on everyone he has power over. God damn.

[boredmezzosoprano]

Did Nelly love Hindley?

Due to my obsession with Wuthering Heights I came across this fan theory that states that Nelly Dean was actually in love with Hindley. It was apparently a popular enough theory that the 1970 movie went ahead and made it canon. At first I was like 'nah' partly because Hindley is the character I care the least about and also because when you read Nelly's narration of the story, it seems like she doesn’t really like anyone but then I reread the book and I started to see why people might think that. The first thing you have to remember is that despite how most adaptations portray her, Nelly was not an old woman when the Earnshaw's were children, she was actually the same age as Hindley. Anyway there were several things that made me think she might have carried a torch for him. It’s mentioned early on that after Frances Earnshaw dies (something Nelly was not particularly sad about) Hindley completely loses his sh*t! As his alcoholism gets worse he becomes extremely violent to the point that every servant at Wuthering Heights quits except for Nelly and Joseph. Joseph stays on just so he can act like the moralistic prude that he is and Nelly stays to look after Hareton (or so she says). Not even Hindley nearly killing her and Hareton gets her to leave! When Cathy asks Nelly to come with her to Thrushcross Grange Nelly turns her down to stay at the Heights (once again using Hareton as an excuse), despite the fact that Thrushcross Grange is a nicer place and she would get paid more. She seems quite upset when Hindley orders her to go with Cathy. While at the Grange she’s constantly paranoid about something happening to Hindley and uses every excuse to visit the Heights. There’s one chapter where she goes to the Heights and and is swept up in the memories of her and Hindley playing together as children and she even briefly hallucinates Hindley sitting across from her. Lastly when she later hears about Hindley's death she is absolutely devastated, much more than she had been about Cathy’s death or any of the other deaths in the book. She even describes it as such:

So perhaps her attachment to Hindley was simply because they grew up together although she also grew up with Cathy and that didn’t seem to conjure any kinship between them. It’s hard to say whether or not Ms. Brontë was trying to infer some affection on Nelly's part or not. Personally I think that there’s a lot of important details in the story that Ms. Brontë alludes to but never confirms or denies and just lets the audience come to their own conclusions (such as Heathcliff’s paternity and his whereabouts during the three years he disappeared from the Heights). I’m not certain that Nelly did have feelings for Hindley but I believe it could be a possibility…

[7association-was-here]

I can’t believe all the nonsense that has been occurring lately in our association.. an absolute disgrace these people are. Vacations, pets, absolutely unprecedented.

So I, Outis, have volunteered to deliver the report regarding the case recommended to us by the Liu Association (The death of the Stigma Workshop manager) to prove that the Seven still has some dignity left also because the report draft Yi Sang handed to me was filled with nearly nothing but poetic prose…

So, taking into account what we knew then there were only two facts very plainly displayed. First is the victim’s identity as a workshop manager. And secondly this has something to do with the Mirrors as well.

Now I’m not quite up-to-date with that case as much as everyone else seems to be but I believe this aligns very closely to a similar case Heathcliff has handled. The case involving another workshop owner’s death and the Mirror room found beneath his warehouse. There is a pattern, no? Workshop owners and that Mirror.

Therefore I tried thinking of various reasons as to why these two factors specifically would connect. The first thought was that perhaps these Workshop owners had been hired to manufacture or enhance this Mirror technology, but due to reasons unspecified had been executed by their employers.

That would have been plausible enough except for the fact I must also take into account the difference in executioners between the two cases. The first one with Heathcliff turned out to be a red herring(?) left by that deranged Mirror version of himself, while the second is by an individual who is presumably also a Mirror identity but that of the Liu Director’s. Those two have one thing in common with both being identities but does this imply that whatever faction or employer the victims had, are somehow in cahoots or in control of Mirror identities? That is certainly not a far fetched notion… But why and how? Do they have control over all Mirror identities or only to a specific few of them?

If that is the case I might need to check on that “mail delivery” I gave to Faust. He might know something since he’s one of them; one of those identities.

You know I didn’t even realise that artist looked like (and is) Yi Sang when I was putting him into Faust’s inbox… But erm, I’ve heard uninformed fixers calling him Faust’s cabinet creature.

Anyways bringing Yi Sang along might prove risky though as Faust warned us. But I shall see what can be managed. Not like he’s a crucial part of the interrogation.

This is Outis, end of report.