deep analysis of a very obscure thing in lockwood and co (bc why not)
Omg ok (spoilers for episodes 2 and 3 of lockwood and co, and also the books)
So the song that plays when Lucy is holding the ring in episode 2, during the experiment, that she says is Annabel Ward and her lover’s song (“it’s their song”), is Peer Gynt Suite No. 2: Solveig’s Song.
The version I listened to that made me go “oh okay this is the same song” (after playing it through my earphones in one ear and playing the episode in the other and desperately trying to get the timings to match up to see if there were differences in the singing) is by Edvard Grieg — Yvonne Kenny, The Melbourne Symphony Orchestra & Vladimir Kamirski. From what I could work out, the song starts in the episode from just before the singing starts.
The story behind the song is as follows:
"The long-suffering Solveig is devoted to Peer and she sings the song just as he – once more – abandons her. As she sits at the spinning wheel, she sings that although the years may pass she knows that he will come back to her – and that he will find her waiting for him, just as she promised.”
Lyrics:
Perhaps both winter and spring will pass by
And next summer and the whole year will expire
But surely you will return to me, I am certain
And I shall be waiting as I once promised.
May god give you strength, wherever in the world you may go
May god give you joy, if you before his footstool stand
Here I shall wait until you come back
And if you wait above, we’ll meet there again, my friend.
I did an initial analysis and stuff and then did further research, so I’ve rejigged the document I had before to make more sense here :D
Story of the whole play:
The title character, Peer Gynt, is based on a Norwegian folk hero who is a rogue and will be destroyed unless saved by the love of a woman.
He is described as a lazy and arrogant peasant youth who leaves home to go in search of his fortune. He’s very confident that he’ll succeed, but he keeps having disasters on his journey.
At one point, he goes to the wedding of a wealthy young woman (that he might have married), where he meets Solveig. She falls in love with him, so naturally his first thought is to abduct the bride from her own wedding and abandon Solveig.
Then he has really cool and awesome adventures, going around the world and gaining wealth and fame from all his different exploits, but he is, at the middle of it all, deeply unhappy. Eventually, when he is old and disillusioned, he goes back to Norway, where Solveig awaits him, welcoming him home and redeeming him.
Annabel and John Fairfax are sort of foils to Solveig and Peer respectively, in that they are what happens as a result of a different kind of abandonment (Annabel’s murder).
Solveig is what Annabel would have been had she stayed alive and Fairfax had simply broken things off in a more traditional sense (i.e. if he hadn’t killed her), and while Peer is redeemed and saved by the love of a woman, Fairfax is destroyed by it, because he twisted the love into hate.
Now for the parallels between Fairfax and Peer:
Peer is a peasant with little success in life
-> in episode 3, as they get off the train, Lockwood notes how Fairfax “came from nothing”.
Peer has a series of unfortunate disasters on his hunt for success -> Fairfax (in the books), before the Problem, spent his time drinking, gambling, and getting into show business, instead of going into the family business. In the show this does not seem to be the case, but it’s a nice parallel that includes the books!
Peer abandons Solveig to run off with the bride
-> I interpreted this as Fairfax abandoning (murdering) Annabel for his own bride, which is his desire for success. In a way his bride is the Fairfax iron company, because he’s practically married to it.
After the abduction, Peer has really successful and fantastical adventures, very different to the disasters that he had previously experienced before the kidnapping
-> after Annabel, Lockwood again (Lucy says he has a hard-on for Fairfax which I think is hilarious) in episode 3 (just before talking about how Fairfax came form nothing) notes that Fairfax “succeeded in everything he’s tried. Publishing, show business - he didn’t even start smelting until he was in his thirties. Now look at him”. Fairfax by his own admission also worked in casinos, adding another job (or adventure) to his list.
Peer gains wealth and fame
-> Fairfax gains wealth and fame (just dropping in “miss Kingston got her hair done special” because I love it and it's vaguely related)
And this is where the similarities split off from one another:
Peer is deeply unhappy
-> Fairfax seems to be perfectly fine with his situation.
Peer comes back home old and disillusioned
-> Fairfax in a way comes home, as he ends up back in Combe Carey Hall (although this is not where Annabel was killed, it is still one of his properties), and he is old, but he is not disillusioned. He says in episode 3 that he doesn’t regret buying the ring, he regrets “leaving it behind when I bricked her into that chimney” and that he “knew it was monstrous. But I couldn’t throw my whole life away for one mistake. Not then, not now.” He still isn’t willing to give up his life, because he is perfectly content where he is.
The final parallel I want to note is between Annabel and Solveig. While one was murdered and the other neglected but still devoted and in love, both women wait for their old lover. In completely different ways, sure, because one is sitting at her spinning wheel hoping that he’ll come back and see that she’s the right one for him (cue “you belong with me”) and the other is bricked into a chimney as an angry Type Two ghost that kills people, but both are waiting.
“She’s been wanting to see you for a very… long time, Mr Fairfax” Lucy says.
Annabel is devoted to Fairfax, and as she dances and sings along to the song, he abandons her (kills her). while waiting in that cavity in the wall, and her spirit is bound to the ring/necklace, she is waiting for him.
We see in episode 3 that when Lucy lets Annabel out of the ring, throwing it in the air to set her ghost free, Annabel doesn't attack the agents, or even Ellie who is stood nearby.
She goes straight for Fairfax, because she's been waiting for him. Her devotion to him may have changed into devotion for revenge over the years, but she was waiting for him nonetheless. In a way he did come back to her, even if it was unintentionally, and he ended up being greeted by her one last time.
He is not saved by coming home and finding his version of Solveig, he is instead destroyed, because his version of Solveig was killed along with any love she might have had for him.
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One thing I find really fascinating about this last ep is that the confrontation with Laudna, in Orym's own words, "brought [him] back to himself, a little bit." Because of this, he chose not continue his plan of using Ishta, a blade Dorian refers to as "clearly a threat." Orym turns away from it and admits it's probably a good thing he's been diverted from this path.
Meanwhile, both Laudna and Dorian use Orym and his (now defunct) desire for the sword as a point of comparison and/or mental justification for their own ill-advised risks. Laudna leads with, "Just as Orym wishes to wield that sword, I wish to wield Delilah" (obviously this was said before Orym gave up the sword, but his doing so has not, as far as we know, dissuaded her from this path at all), and Dorian holds the Gambler's Blade "thinking to himself about Orym last night, and how serious he was, how dedicated he was to the cause of wanting this sword that was clearly a threat" and sits with the reality of the situation he's in and decides to take an extra risk on his own life.
All three of them, in some manner, are pinging on the same concept: that the stakes to this fight are enormous and taking a massive risk might be necessary to finish this mission. But in this specific scenario, Orym is the one who backed off, re-evaluated his position, and decided the potential risk (to both the cohesion of the team, and his own mental health/morality, presumably) wasn't worth it. But the impression was already made. Laudna still wants to bring Delilah into this fight (something she'd already basically decided, but chose here to really double down on), and Dorian made the active decision to lower his chance of survival for a better chance to hit. Both of them doing the opposite of what Orym ultimately did, while still keeping Orym in their minds as they do so.
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since Deck the Halls (and not your partner) is very nearly finished I was wondering (@neewtmas I know you've already said you want to know everything and I love you for it) if people would want a post about my writing process for DTH?
it's currently at just over 50,000 words which is the minimum average length of a novel (w h a t ?) so idk I just wondered if that was something people would want
I've got some really (I think) fun symbolism/motifs and parallels and hidden meanings (that aren't actually that hidden but if you reread from the beginning with the fresh knowledge gained in later parts then you might notice some things idk maybe I didn't write it too well), and if people wanted to know how the hell I found the time to write what is essentially a small novel while simultaneously studying a degree then that might answer some questions!
also if anyone has any questions about DTH they want answering, either about the characters, storyline, or my writing process, then pls let me know and I'll answer them in the post!
if this gets to... 20 notes? I'll make the post 🫣
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considering the historical influences in the fashion of Dishonored (and the extent of nsfw fanfiction this fandom has) I’ve been thinking about the layers that would be, realistically, part of the daily dress
which means: dishonored seems to honour the importance of a vest in a properly dressed gentleman’s or lady’s wardrobe
vests were, and I cannot stress this enough, a mandatory part of an outfit, to the point of men wearing only vests if they could not afford a fully tailored suit (trousers + vest + jacket) and a new shirt and opting to only wear a fake collar under the vest for the illusion of a full outfit
shirts were underwear, so to speak. there were no occasions in ‘polite society‘ where one could only wear a shirt without a vest on top.
this is something we see mirrored in both dishonored games, though the style of the vests and clothing have somewhat changed, they still follow the same rules of vests worn with every outfit, as far as we can tell. (we could argue that Jessamine is not wearing one, or that some higher class women aren’t wearing vests under their buttoned up jackets, but since we don’t really see underneath we can’t judge.)
we see the vests be worn even by the Whalers in the first game (which in itself brings up many questions. are whalers, the actual whalers that capture and kill whales, held in high enough regard by the society that they made a vest part of their uniform? or is it merely something that is worn by all? something that every citizen of sound mind would don, were they to leave their house?)
there are a few exceptions to this, of course, but this whole thing came to be by asking a simple question
does the Outsider wear a vest under his leather jacket?
now, in the first game, his jacket is unbuttoned just enough for us to get a good enough peek at what lies beneath. which is to say: there is no hint of a vest underneath. judging by the vests in the first game, the fashion was that the vest would go up high, often covering collarbones or even having a standing collar. what we see on the Outsider is just... an unbuttoned shirt
it’s much the same in the second game, even if we examine his final concept art, his outfit consists of a shirt (more or less underwear) with most of the top buttons unbuttoned, and a jacket on top. no hint of a vest underneath
what I’m trying to say is that the Outsider is a slut
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