“And when you say my name,
may it never give you pain.
I don’t wanna go
but it’s time to leave;
you’ll be on my mind,
my destiny”
Dracula Aesthetics - Quincy P. Morris
637 notes
·
View notes
The comedic timing of Jack's diary entry coming first being like "I'm depressed and not feeling up to much, so I'm going to double down on working myself to the bone so I don't have to think about it" and the Quincy's letter coming straight after "Jack's going to join us at our campfire! There's going to be alcohol! We're going to talk out our feelings in a safe space surrounded by friends!"
593 notes
·
View notes
Love, love, love the expressing differences between all the three suitors on how they present their entries, as well how it immediatly tells us their first characterization points.
Ebb tide in appetite to-day. Cannot eat, cannot rest, so diary instead. Since my rebuff of yesterday I have a sort of empty feeling; nothing in the world seems of sufficient importance to be worth the doing.... As I knew that the only cure for this sort of thing was work, I went down amongst the patients.
(Mem., under what circumstances would I not avoid the pit of hell?) Omnia Romæ venalia sunt. Hell has its price! verb. sap.
Somber in tone, and defeated in spirit. Starts with circumstances that led Seward ignore his own health in favor of burying himself with work. What continues is a seemly methodical description of a patient, yet is unprofessional and dark as Jack admits to want to experiment with Renfield while he is in this mental state.
On top of all of this message being recorded in a phonograph instead of a written diary. It tells that Jack does not prefer to write, maybe because this train of thoughts is going too fast to be put properly on part, or maybe by writing Jack needs to think more about what he has to express, which would end up with censoring some parts of himself.
My dear Art,—
We've told yarns by the camp-fire in the prairies; and dressed one another's wounds after trying a landing at the Marquesas; and drunk healths on the shore of Titicaca. There are more yarns to be told, and other wounds to be healed, and another health to be drunk. Won't you let this be at my camp-fire to-morrow night?
There will only be one other, our old pal at the Korea, Jack Seward.
Yours, as ever and always,
QUINCEY P. MORRIS.
A story telling cadence that indicates how Quincey seems to prefer tale narration when talking. Very personal moments described before an invitation to warm up the idea a campfire after the succesful proposal of Arthur, and the mention of liquor plants the idea of how this space will not be privy with secrets. Including Jack to connect the three of them as friends, and a implication of Quincey knowing of what kind of state Seward might be in to invite him.
Concluding with a very romantic in nature farewell, and the format being the humble written letter. A communication device that has never failed, and is simple to hold Quincey's words with care.
Count me in every time. I bear messages which will make both your ears tingle.
ART.
It's polite, yet informal in tone in a way which tells how Arthur considers Quincey to be a very close friend. The familiarity in the expression "will make both your ears tingle" implies that this is not the first time for Arthur to tell gossip, less ones that could be considered "saucy" in the eyes of people outside of their friend circle.
And lastly, Arthur's 16 words message was sent via telegram, a very expensive message service that charged per word, which tells that mister Holmwood is... ✨💵RICH💵✨
54 notes
·
View notes
Really love when there’s a new bro to the suitor squad and they vouch for each other by going oh yeah he saved my life once, out on the prairie, or out in this adventure or sucked gangrene from my wound, besties forever
233 notes
·
View notes
The Sad Thing About Dracula Adaptations
Is that, I truly think, they believe with their whole chest that painting Dracula as Mina's "liberator" and turning Lucy into a promiscuous woman is progressive and feminist.
Like, the intentions are there, but for some reason they can't get it in their heads that these two changes are far less feminist than they think it is. They pat themselves on the back for being "feminist" by making Dracula about women's sexual liberation, without seemingly comprehending the fact that they just turned it into a more sexist piece of media.
As many Tumblr blogs have pointed out, Dracula is nothing more than a rapist and a serial killer, his interactions with Mina and Lucy are pretty clear allegories for sexual assault. But adaptations frequently paint him as a 'sexual liberator", thus creating an implication that rape is 'sexually liberating". Which is such a slap in the face to sexual assault and rape survivors it makes my jaw drop. But adaptations do it, convincing themselves that this is a "feminist take".
Even if the Harkers were sexually repressed, rape is never a good thing. i never thought I would have to say this, but here we are. And they aren't sexually repressed. They couldn't keep it in their pants long enough to get out of Jonathan's asylum bed. Monogamy and sexual repression are. not. the. same. thing.
In a similar vein, turning Lucy into a sexually promiscuous flirt is not only disloyal to the novel, it adds a layer of sexism that wasn't even there in the novel. The novel never implies that Lucy's death was punishment for being sexually forward (which she ISN'T IN THE BOOK), so it is on the fault of the adaptors that there is this idea that Lucy's death was punishment for being more "liberated". In trying to make a more "feminist' piece, they circled back to making it more problematic, and straight up insulting/invalidating to sexual assault and rape survivors. To me, telling a survivor that their experience was their "liberation" is so, incredibly tome deaf and insulting that i can't understand how someone would believe it.
Let us go over the facts, shall we? Lucy dies a virgin (she didn't get married). She was kind to all living things, peaceful, never wanted to harm anyone, never worked outside the house, and her only desire was to be married before she was twenty.
Mina, on the other hand, is a working woman. It is never stated that she quit her job after getting married, and nowhere is it implied that Jonathan wouldn't be in full support of her working outside the house. Even if she did, she clearly mentions that she plans to work with her husband as a team, so she isn't leaving the workforce anytime soon. She isn't a virgin, because we know she marries during the novel, and had her wedding night in her husband's asylum bed (which carries the same vibes as "Mary Shelly had sex with her husband over her father's grave). She is perfectly willing to harm people , notice how she took an active role in tracking down Dracula. She gets to live happily ever after with Jonathan. Lucy embodies a lot of older virtues for aristocratic women, and she dies
Adaptors can't seem to realize that, if anything, the novel is all for sexual liberation, and women being independent. it just puts in a MASSIVE caveat that everything has to be completely consensual, and that rape is never the victim's fault. There is a feminist take that is already there, in the novel, but for some reason adaptors make changes in the name of "progressive feminism", which just makes things more problematic.
60 notes
·
View notes
But do you have a Quincey M. design? I don’t know if you’ve drawn him or not but I looked and couldn’t find it so I’m sorry to bother you if you do have one and I’m just missing it
You’re all good! I actually realized today I’d never drawn either Quincey M or Lucy W, so here ya go!
117 notes
·
View notes