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muzetrigger · 4 months ago

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In celebration of Nevermore S2, I feel the need to explain why I’m hoping for more Ada page time/development and why she’s my absolute favorite character, despite the series being absolutely stuffed with quality.

Oh and also why MorellAda is peak. I WILL TAKE NO ARGUMENTS ON THIS POINT.

So yeah, MAJOR SPOILERS Y’ALL

Okay, so when we’re first introduced Ada, she’s a minor antagonist, not just in the sense that she’s not the main villain, but that literally, she’s just kind of an annoyance to both Lenore and Prospero. That being said, shortly after the Labyrinth arc, we see her genuinely impressed with Lenore and trying to make amends.

Now at that point, there’s no real reason for us to believe that Ada is telling the truth. Yeah, she seems like she’s being genuine, but so far, we also know that she’s been playing some social games to get ahead.

That’s where we get this first piece of insight into her character (not actually the first piece but whatever):

Ada chooses caviar as her last meal, despite not liking it, or ever having had it before. She is the only student who doesn’t enjoy her final meal, and that tells us that one, Ada doesn’t know what’s good for her; two, that she probably comes from a lower class background that never would have had access to caviar; and three, that she aspires to that upper class position. She is exactly what Morella would call a “phony” but while her phoniness impacts her social behavior in the ways that Morella criticizes, she’s also lying to herself without even realizing it.

Okay, but that’s a bit of subtle character development, so Red and Flynn hit us with this:

(In case you didn’t hate Montressor already)

This moment is so critical to understanding Ada because it shows that she has absolutely no limits when it comes to proving her worth to other people. Why? Because Ada has no sense of self-worth. She is completely dependent on other people’s thoughts to feel adequate. That’s why she clings so hard to Prospero and Annabel Lee, which makes this preceding exchange even more brutal.

Ada reaches out to Annabel for support, and Annabel ignores her.

Annabel BETRAYS her, and this is going to become something of a running theme for Ada.

Now, of course, Annabel has problems, but this is COLD.

So cold even Prospero is surprised, and this sets up why Ada crumbles so easily, because the one person she thought was her friend at this school, literally her roommate (and we know what happens when you’re not on good terms with your roommate), the person who gave her (fake) love advice, just left her out in the rain.

No one is on her side, not Annabel who’s ignoring her, not Prospero (who is rightly) annoyed with her clinginess, not Will who is supporting Montresor, and certainly not Montresor who is verbally abusing her.

The only person by Ada’s side is Morella, partly because she’s being targeted too, but also because Morella is trying to protect Ada.

(Look at that hug. That is a small puppy trying to cheer up her depressed friend.)

Chapter 39-40 firmly cemented Ada as my favorite character because we get a deconstruction of this preppy, pompous, phony personality into someone with crippling self-worth issues, and I don’t know about anyone else, but I relate HARD to those feelings of inadequacy and needing external validation. Will might be the doppelgänger, but Ada is the one with Imposter Syndrome.

Anyway, now we’re going to have to skip a few chapters, because while the haunted house arc is great, it doesn’t really do much with Ada’s character. We do learn that Ada was almost definitely a servant in her past life because she’s able to navigate the house’s secret passages, and we learn that yes, she’s a romantic who clearly doesn’t understand TPO (time, place, and occasion).

Those details are important to understanding Ada, because they help contextualize why her confidence is so abysmal (servants aren’t to be seen or heard) and why she clings so strongly to ideas of ladyhood and romance (the women she served would certainly have appeared to be more comfortable than her, though I’m sure Lenore and Annabel would disagree).

We also get this feast for the MorellAda shippers:

At this point, it’s implied that Morella has stonewalled dozens of students into Prospero’s death trap, but she makes one exception that she will not stand for, and it’s Ada.

At first, I thought this was a little weird, because why wouldn’t Morella protect Lenore? I mean, she’s the protagonist and clearly treats Morella better, but looking back, it’s telling that Ada is the one who Morella chooses.

Morella’s whole deal is that she wants to protect people, and Lenore isn’t vulnerable, Ada is.

Red and Flynn do a lot of excellent foil work in Nevermore, most prominently with Lenore and Annabel, but the contrast between Ada’s dependence on what other people think of her and Morella’s dependence on what she can do for other people is just another reason why I think MorellAda is so good.

But the real interesting events happen post-house.

Prospero has had it.

Now, was Ada being clingy? Yes.

Was she being totally oblivious to all of Prospero’s signals? Yes.

Did she deserve to be told directly that Prospero was just not that into her? Hell. Yes.

But did she deserve THAT much of a verbal beat down? Probably not, especially keeping in mind that Annabel told her this:

So now that I’ve thrown Annabel under the bus for her hand in this disaster, I want to look at one line from Prospero in particular:

“Nothing you say will make you good enough.”

It’s not the final line of Prospero’s diatribe, but it’s definitely the one that hits the hardest for Ada. She is trying SO hard to play the part of a lady in order to be loved, and she is being told that at a fundamental level, she is inadequate.

And she takes that about as well as someone who’s had this happen to them could:

A hatchet to the stomach’s going to ruin anyone’s day, but we can reasonably infer that the person who axe’d Ada was probably the young master she was serving and was having an affair with, and that he aimed for her stomach to abort any kind of child she might have carried.

Again, we see this theme of betrayal and rejection. Ada might not have been able to be a lady, but in an affair, she might been able to pretend that she genuinely had her master’s affection, even though she was just there at his convenience.

This was foreshadowed all the way back with Ada’s first confrontation with Montressor and it’s a great example of how thoroughly planned Red and Flynn’s writing is (Annabel Lee’s panic attack at Lenore’s death in the Labyrinth and the House Fire is another amazing example).

But, it’s also super traumatic which means we finally get Ada’s Spectre!

First, let me gush about how AMAZING this design is. Just aesthetically, it’s great. But it’s also amazing because of how it showcases so much of Ada’s identity. If you look at the spectre’s skirt, you’ll notice it has two distinct parts, a larger back that mimics a lady’s hoop skirt, and a pleated miniskirt, which wouldn’t be out of place in a skimpy maid costume. In her spectre form, we can clearly see Ada attempting to match a lady’s silhouette but upon closer inspection, we can also see the part of Ada that might have sparked her fatal affair, this symbol of risqué servantile behavior.

It’s also worth mentioning what ISN’T in the Banshee’s design, her abdomen. Obviously, this might be a reference to the fact that she was killed by a hatchet to the gut, but if we get dark with it (and it’s Nevermore, we can’t not get dark with it), what men traditionally (and unfortunately still do if the 2024 US elections are anything to go by…) value in a woman, her reproductive ability, is absent.

Ada, who places so much importance on what others think of her, is literally is worthless to them. (I want to clarify, I DON’T personally believe that, but from a 19th-20th century male perspective, that tracks.)

We could also read her abdomen’s absence as another attempt for Ada to play into feminine expectations. Because she’s missing her stomach, she has a tight hourglass figure. I don’t personally believe Ada has an eating disorder, but as the last dinner scene clearly indicates, she has a complicated relationship with food and what stigmas are attached to specific cuisines, and unfortunately many people do metaphorically throw away their stomachs to pursue beauty goals like Ada’s spectre does literally.

Stepping away from design, I also love how Ada acts immediately after getting the slightest bit of power.

She is PETTY.

She taunts Prospero (and let’s face it, you cheered. Don’t lie to me!), which I find so interesting because suddenly, Ada is the one giving opinions.

Ada is finally allowed to express herself.

Here, she takes it out on Annabel, which makes total sense. Annabel abandoned her and is the embodiment of what Ada craves outwardly. But Ada also recognizes that she herself is a servant who was forced to serve people like Annabel and denied their comforts because of her status. If Ada hadn’t been a maid, if maybe she had been a noble or a “true lady”, maybe should would have been allowed a romance or allowed to keep her child or at least allowed to live.

The Banshee is such a perfect moment, because until this scene, Ada has bottled up her insecurities and played the part of a loyal lackey and been this “phony”. As a servant, her entire livelihood would have revolved around keeping up appearances (or disappearances) around her masters, but as a ghost, Ada is more genuine than she has ever been.

And that’s so wonderfully displayed by how Annabel defuses the situation:

To the very end, we see Ada being vulnerable. Annabel takes advantage of her insecurities, and as the Banshee, Ada doesn’t try to hide the fact that it devastates her.

If the Montressor moment didn’t guarantee a place in my heart for Ada, Episode 71 definitely did. I’m not going to argue that characters in Nevermore haven’t experienced worse, but I will argue that no character in season one ever gets close to how pathetic and distraught Ada is here.

And what’s so heart-wrenching about this for me is that Ada is aware of how pathetic she is. She knows she’s been acting like an idiot and throwing a tantrum like a child, which is a surprising amount of insight and maturity for someone we have been led to believe is quite frankly an idiot. And yeah, I relate to those feelings of self-loathing and not knowing what to do or even where to start triaging a disaster I made myself.

Now, Montressor takes advantage of this like the abuser he is by swooping in and wooing Ada, but before that, I’m going to rewind like the shipper I am to replay this:

Again, we see Morella trying to help Ada! And obviously, that’s not what Ada needs at that moment, but it’s worth keeping in mind that out of everyone in the lecture hall then, Morella is the first and really only one to reach out to Ada. (Montressor is a manipulator. He doesn’t count.)

Last time skip, I promise!

The end of the Wall arc doesn’t quite reach the highs (or is it lows?) of Ada’s character development, but I’m so excited for what it sets up in season two.

So, Lenore and the gang find where Montressor has Cask of Amantillado’d Duke and they dig their favorite French man out while beating the shit out of our cowboy(?). There’s a ton of great moments (hell yeah, Pluto! Get him!) but the battle really swings in the misfits’ favor when Duke hypnotizes Ada to traumatize Montresor.

One, this is just an amazing display of Duke’s spectre, two, it shows that Montressor has reasons (maybe not great reasons but at least they’re reasons) for being such an asshole, and three, it shows us that mental spectre powers are straight up busted.

We already knew from Prospero that Ada’s fear factor could trap a person inside a vision of their own trauma so realistic they can feel the physical effects of it, but she can also send a man with a broken Fibula into a full blown frenzy, AND Duke’s hypnosis is something even he can’t dispel.

(Does this look like the face of a man who has things under control?)

It also sets up this exchange:

Morella is able to break through Duke’s hypnosis, and she does it without attacking Ada’s insecurities like Annabel did. Now, I’m a hopeless MorellAda shipper, so of course I reading into this, but even then, it showcases how important Morella is to Ada. After all, Morella is basically the only person who has stuck by Ada’s side this whole time.

…At least until this happens:

Morella has had enough of Ada’s excuses, and just like Prospero basically tells her to shove off.

But the painfully ironic part about this is, Ada is telling the truth. This ONE time, it really isn’t her fault. It’s Duke’s.

But Morella won’t let her get a word in and I love how Flynn drew Ada’s face. It’s a different kind of fear than when Ada was groveling in front of Montresor or reeling from Prospero’s rejection. Here, she isn’t afraid of being abandoned by Morella; she’s afraid of losing Morella.

I know that difference might sound REALLY contrived to some people, but in this case, Ada has a way to keep Morella in her life that doesn’t involve debasing herself and believes that Morella will listen to her. For the first time ever, Ada thinks she has a little control over the situation together with a friend, not an enemy. They can talk things out, and that really shows how close her connection with Morella is and how that connection can be the catalyst for Ada to start developing some self-respect.

Except Morella totally shuts her down.

Of course, I’m disappointed that there’s this “divorce arc” but it makes sense in context and it’s healthier for Morella to make a clean break from the posh crew (even though Ada clearly needs her wife more than ever, like come on, don’t leave her in Monstresor’s clutches!)

Speaking of which, I’m much more disappointed with how Ada immediately crawls back to Montresor and Annabel after being chastised. If there’s one thing I have on my season two checklist, it’s Ada learning to have some confidence in herself (and maybe tossing Montresor to the Hunt).

And I really want an apology from Morella and Duke to Ada. Now THAT’S delusional, and I might be the only one who thinks Ada deserves those apologies, because let’s face it, Ada is a wreck, but it would be nice, especially if she gives out the several dozen apologies she owes the misfit crew too, so that she can hang with them and spend more time with her wife Morella.

Anyway, yeah.

I really like Nevermore.

And I really like Ada. I think she’s severely underrated.

Of course I love Lenore and Annabel, and Morella is a precious and badass cinnamon roll, and Duke is so SO cool, and Pluto is cute as hell, and Eulalie is basically manga-Orihime (which is amazing), but there’s something so HUMAN about Ada.

I empathize with her in ways that I just can’t with the rest of the cast because… they’re just too awesome. I have difficulty believing Lenore or Annabel will ever feel something as fundamentally devastating as Ada has. At their core, they’re just stronger people. Ada is someone who needs more support and it’s nice to see those weaker characters treated with the same amount of care as a protagonist who we typically see stumble a lot but ultimately succeed. With side characters, there’s a genuine chance that they fail permanently and that adds so much to Ada’s stakes.

And honestly? I’ll say it. I think a lot of the students had alright lives or even good lives, they just happened to be cut short traumatically. Exceptions for Lenore (obviously) and Pluto (baby, you deserved so much better than your deadbeat dad), possibly Eulalie for having to live through WWII, but you’re not going to tell me that Montresor didn’t have a good run being awful, Duke didn’t have a successful performance career, and Prospero wasn’t a wealthy bastard. But who knows? We haven’t delved too much into the others’ backstories, so I could be very wrong.

Anyway, I guess this was just a very long-winded way of me saying I love Ada because I’m a total girl-failure and also I’m super excited for season two.

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blacknedsoul-blog · 7 months ago

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Montresor (and Willtresor) are the Bad Ending of White Raven III: now it is personal

Well, after realizing that I have like (check the list) two unfinished "sagas" of essays, I remembered that I had this 80% done and I told myself that maybe it was an excellent time to get on with this shit to keep kicking the archetypes and gothic tragedy essay under the rug

When I thought about this ("hey, if Montresor has so many similarities to Lenore and Annabel, where does that leave Will?"), my first thought was that the parallel would be this:

We have a charming blondie charlatan who arrives just in time to offer their "friendship" (wink, wink) to a poor individual who couldn't be hungrier for affection and validation. A deal sealed with a handshake, otherwise.

Here the parallel between Will and Lenore is drawn in that they are both rather reactive people: they don't take the initiative to do things, they react to things that happen around them. For example, Will wasn't the one who came up with the idea of putting Duke behind the wall, just as Lenore didn't come up with this whole fake rivalry scheme.

But neither of them refuse to participate, either because they think they can get away with it, or because they don't stop to think about the consequences of the things they get into. And, in general, they tend to panic when things don't go their way and immediately back off (even when that's not possible).

But this is where the parallel ends, because their personalities and approaches are completely different: Will tends to curl up in a ball and look for excuses not to get hurt, while Lenore is an extremely blunt weapon capable of taking whatever is thrown at her.

So you can imagine the look on my face when, after thinking it over, I realized that the person Will has the most in common with is not Lenore.

It's Annabel.

Because if we had a nickel for every time we saw a character in Nevermore…

Be willing to tolerate physical harm to protect an object of affection whose game has backfired.

Idealizing that object of affection to obsessive levels.

Taking harmful attitudes out of a desire to be accommodating because they think that's what that person expects of them.

And putting up with it even though it is tearing them apart inside...

We would have two nickels. It's not much, but it's interesting that it happened twice.

With that, I could up the ante and point out something else that Annabel and Will have in common: they're both invisible people. Will is someone no one gives a second glance to, while Annabel is seen more as an object or an idea than an individual (a pretty accessory in life, an unbeatable queen in death). They don't really matter to anyone.

Except for one person. One person for whom they are willing to give absolutely everything. Their lives, their physical integrity, their identity.

This creates an enormous fear of being abandoned by that person, when they have given them such an important part of their self-construction, who are they without them?

Then there is the particular way in which they both understand relationships. Annabel has openly stated that she sees social relationships as commercial exchanges. It is not known whether Will has a similar view, but in practice he behaves much like Annabel in this respect: they see themselves as important to the extent that they can be useful to their particular person. Tools to be used, rather than individuals deserving some form of appreciation, care, or even affection for simply being them.

Under that premise, it's to be expected that Montresor or Lenore will discard them the moment something more useful or better comes along, because that's what you do with tools. If some of them end up in the trash, it's because Annabel or Will have failed to remain useful, and they need to make amends for their mistakes in order to be considered worthy of a second look.

Which makes it tremendously ironic that Lenore says this to Will…

When in the midst of a panic attack, this is one of the first concerns Annabel has to express.

At this point, the difference between the two situations jumps out: Lenore cares about Annabel. Where Montresor is more than happy to use Will's complexes to keep him chained to him, Lenore is far from being comfortable with all that crap. Again, what draws the lines in the end is that there are people who have their hearts in the right place and there are people who don't.

But I think there's one thing that's a little darker: please watch Montresor's face when he realizes that the person he's choking is Will.

And watch his complete lack of reaction when Lenore pulls it out of his face.

I think the fucked up thing about the situation is that Montresor seems to care about Will. At least enough to feel a certain amount of remorse. But in a world where there are winners and losers (a perspective he shares with Annabel), where it doesn't pay to care about the losers if you're a winner, Montresor doesn't have the resources to treat Will any better. Even if he wanted to, he's too deep into toxic patterns of behavior to show him any degree of kindness, because the only way this man is able to relate is through abuse, control, and manipulation.

This is extremely fucked up when you consider that this is the fuzzy line that separates Lenore and Montresor in the roles they have within the relationship with Annabel and Will.

At the end of the day, the Willtresor is a dark reflection of the White Raven, because that's the consequence of instrumentalizing the relationship in this way: you have one party who benefits from what the other is willing to do for them -and no matter how much they care, it still relegates them to the role of tools- and another person desperately picking up crumbs of validation because they don't think they deserve any better.

#nevermore webtoon #annabel lee nevermore #lenore nevermore #white raven #lenore vandernacht #annabel lee whitlock #annabel lee x lenore #lennabel #nevermore webcomic #Montresor Nevermore #Will Nevermore #“And where's Ada in all this shit?”#I don't know but she's definitely not in a nice place #She is as desperate to be loved as Annabel and as manipulative as Will #I give signed that Montresor is going to drag one of the two into the abyss with him

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