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Ghost character

A ghost character is a term in the bibliographic and textual study of dramatic literature referring to a figure named in the dramatis personae, stage directions, or text of a play but who neither appears on stage, speaks lines, nor significantly influences the plot or action.^[1] These characters often arise from the playwright's revision process, such as abandoned subplots, adjustments for staging constraints like actor availability, or inadvertent errors during printing and editing of scripts.^[1] In Shakespearean scholarship, ghost characters illuminate the fluid nature of early modern play composition, where drafts might retain traces of discarded elements before final streamlining.^[1] The concept is particularly prominent in analyses of William Shakespeare's works, where such figures appear sporadically across his canon, offering glimpses into his creative experimentation.^[1] Notable examples include Innogen, a silent bridesmaid mentioned only in stage directions in Much Ado About Nothing (1600 quarto edition); Beaumont, a minor figure in Henry V who is listed but never materializes; Violenta in All's Well That Ends Well, referenced briefly without presence; and Valentine, identified as Mercutio's brother in Romeo and Juliet but absent from the dialogue and scenes.^[1] Scholars interpret these as potential "false starts" in plot development or deliberate marginalizations to focus the narrative, rather than mere oversights.^[1] Beyond Shakespeare, the term applies to similar anomalies in other dramatic texts, aiding textual criticism by tracing compositional history and performance adaptations.^[2]

Definition and Terminology

Core Definition

A ghost character is a figure mentioned in a dramatic work or theater production but who never physically appears on stage, speaks lines, or interacts directly with the other characters or action.^[2] The term is primarily used in the bibliographic and textual study of dramatic literature, where the character's existence is acknowledged solely through references in dialogue, stage directions, or dramatis personae lists. Key characteristics of ghost characters include their naming in dramatis personae, stage directions, or text of a play, despite their complete absence from the onstage action.^[2] They often fulfill indirect narrative roles, such as motivating plot developments or enriching world-building, by exerting influence through implication rather than direct participation. These figures may be living, deceased, or otherwise unavailable, but their referenced status creates a sense of offstage reality that shapes the play's events. The concept is most prominently associated with analyses of William Shakespeare's works and early modern drama, highlighting traces of revision processes in play composition.^[1] Ghost characters differ from silent or mute roles, which are visually present on stage but lack spoken lines or overt interactions.^[2] In contrast, ghost characters remain entirely off-stage, ensuring no physical or sensory engagement with the audience or other elements of the work. The term "ghost character" emerged in theater studies, particularly within analyses of Renaissance drama, to designate these "absent presences" that affect the narrative without corporeal form.^[2] This scholarly usage highlights their paradoxical role as influential yet intangible entities. In literary and theatrical criticism, the term "ghost character" is often used interchangeably with "unseen character," "absent character," and "off-stage character," all of which refer to figures who exist within the dramatic world but are never physically present or visible to the audience.^[3] These labels emphasize the character's implied existence through references in dialogue, description, or action, without direct embodiment on stage.^[3] Variations on the concept include "present absence," which describes characters whose influence persists powerfully despite their non-appearance, creating a haunting effect on the narrative or other figures.^[4] In prose literature, where no formal dramatis personae exists, analogous figures are frequently termed "mentioned-only characters," invoked solely through textual references to advance plot or exposition without further development.^[3] Subtypes of ghost characters distinguish between functional and incidental roles: functional ghosts, such as deceased relatives who propel the central conflict, exert significant agency on the story's progression, whereas incidental ghosts, like briefly noted acquaintances, serve primarily for background detail or minor clarification.^[3] Additionally, ghost characters can be intentional—deployed as deliberate narrative devices to evoke tension or theme—or unintentional, arising from scripting oversights or structural necessities that leave figures underdeveloped.^[3] The terminology surrounding absent and unseen characters in theater evolved notably in 20th-century scholarship on modern drama, particularly from post-1950s analyses that began framing these figures as reflections of social marginalization rather than mere plot conveniences.^[4] This shift extended into modern screenwriting guides, where the terms are applied to emphasize off-screen influences in film and television narratives, building on foundational dramatic theory to highlight their role in character psychology and thematic depth.^[3]

Historical Development

Origins in Ancient and Classical Theater

While the specific term "ghost character" refers to minor figures in modern bibliographic analysis of dramatic texts—typically non-speaking, non-appearing names retained from revisions or errors—the use of absent or off-stage figures in drama has ancient roots. However, classical examples often involved characters with significant narrative influence, serving as precursors to the later, more incidental ghost characters. In ancient Greek theater, particularly tragedy, off-stage figures frequently drove plots through prophecy and reported action, though true non-influential ghosts (as defined) are rare due to the oral and performative nature of the texts, without standardized dramatis personae. For instance, in Sophocles' Oedipus Rex (c. 429 BCE), Laius, Oedipus's father, is a pivotal off-stage figure whose murder and abandonment of the infant Oedipus fulfill the oracle's prophecy, unleashing Thebes's plague. Though never appearing or speaking, his influence is central, highlighting fate's inexorable force. Similarly, in Euripides' Medea (431 BCE), Glauce (or Creusa), Jason's bride, remains unseen; her off-stage poisoning by Medea's gifts amplifies the tragedy's horror through a messenger's report. Unnamed gods like Apollo, via oracles, also exert off-stage control, reinforcing themes of moira (fate). These examples underscore how Greek tragedy used unseen presences to build tension via anticipation, but their plot-driving role distinguishes them from later minor ghost characters.^[5] In Euripides' Hecuba (c. 424 BCE), off-stage figures propel the post-Trojan War narrative of retribution and loss, blending invocation with reported events. Achilles' ghost is reported in the prologue by Polydorus' ghost to have appeared off-stage, demanding Polyxena's sacrifice at his tomb to appease the winds; this spectral demand symbolizes lingering heroic claims and compels the Greeks' actions, though Achilles himself does not appear on stage. Neoptolemus, his son, performs the off-stage sacrifice, extending this influence indirectly. Cassandra, Hecuba's daughter, is referenced as taken by Agamemnon but does not appear, her prophecies ignored in the power dynamics. Helen is invoked as an absent catalyst, her abduction by Paris blamed for the war's devastation in Hecuba's accusations, fueling themes of futile grief. These influential off-stage roles evoke pathos through indirect impact, prefiguring but differing from non-influential ghosts.^[6] Roman theater adapted Greek models, using off-stage characters in comedy for satirical humor via deception and reports, often to critique society without direct confrontation. In Plautus' Casina (c. 200 BCE), the slave girl Casina never appears on stage, her absence fueling farce through suitors' rivalry, impersonations, and mistaken identities, satirizing patriarchal and slave dynamics indirectly. This "proxied absentee" allows critique of commodified desire without onstage presence. Terence's Andria (166 BCE) features Chrysis, Glycerium's deceased sister, as an unseen immigrant whose past in Athens sparks romantic deceptions and misunderstandings, enabling plot without complicating staging. In Roman farce, absent figures like unnamed pimps or creditors facilitated verbal satire on vices, preserving comedic tone.^[7] The roles of these off-stage figures diverged: Greek tragedy used them for prophetic and divine inevitability (e.g., oracles binding heroes to moira), exploring hubris and order; Roman comedy employed them for indirect social jabs at class or infidelity, maintaining decorum. Though not "ghost characters" in the modern sense, their foundational use in classical drama influenced later developments. Recognition of off-stage devices emerged in 19th-century philology; scholars like Richard C. Jebb, in his 1887 edition of Oedipus Rex, analyzed figures like Laius for tragic irony, while comparative mythologists like Max Müller noted prophetic roles as precursors to dramatic techniques. The specific term "ghost character" for non-influential remnants arose in 20th-century textual criticism.^[8]

Evolution in Early Modern Drama

The phenomenon of true ghost characters—minor, named but non-appearing, non-speaking figures with negligible plot influence—emerged prominently in early modern drama, particularly English, due to the fluidity of play composition, revisions for performance constraints, and errors in printed texts like quartos. This differed from classical off-stage figures, which often held narrative weight; early modern ghosts reflect textual "traces" of abandoned elements, as plays evolved from manuscripts to print. In the Renaissance, influences from Italian commedia dell'arte introduced off-stage archetypes (e.g., absent lovers or rivals) that propelled scenarios through reference, but these typically influenced plots. English interludes and masques formalized absent presences for allegory. Ben Jonson's early 1600s masques, such as The Masque of Blackness (1605), employed mythical off-stage entities—like implied deities or allegories—that shaped symbolic narratives from beyond the stage, emphasizing courtly harmony via mute implications, though often with thematic weight. These blended spectacle and unseen forces, mirroring monarchical influences.^[9] By the 17th century, Restoration comedy integrated absent figures for intrigue, with hidden lovers or rivals creating tension via reports and identities, as in William Congreve's works emphasizing off-stage plot twists. French neoclassical drama, bound by unities of time, place, and action (as discussed in John Dryden's An Essay of Dramatic Poesy, 1668), confined action to one setting and day, relegating characters and events to off-stage narration for verisimilitude—though again, often influential.^[10] Early modern staging limitations—no scene changes or complex machinery—relied on verbal reports for expansive narratives, fostering incidental absent names. Playbills and prologues sometimes highlighted these "ghosts" as practical devices, evoking social or supernatural elements economically. The term's formalization in scholarship traces to 20th-century analyses of revision traces in printed editions.^[9]

Examples in Theatrical Works

Shakespearean Instances

In William Shakespeare's plays, ghost characters—figures named in the text or stage directions but who neither appear on stage nor speak—serve as subtle mechanisms to evoke backstory and social connections without expanding the cast. These absent presences are a recurring feature across the canon, with scholars identifying numerous examples that reflect Shakespeare's economical approach to dramatis personae.^[1] One prominent instance occurs in Much Ado About Nothing (c. 1598–1599), where Innogen is listed in the opening stage direction of the First Quarto (1600) and First Folio (1623) as "Leonato Governor of Messina, Hero his daughter, Innogen his wife." Despite this introduction, Innogen remains entirely offstage, her absence emphasizing the patriarchal family dynamics surrounding Hero's ordeal and the play's themes of deception and honor. Editor Claire McEachern interprets this as part of Shakespeare's streamlining process, reducing roles for dramatic efficiency while retaining echoes of familial structure.^[1] Similarly, critic Cedric Watts views Innogen's ghostly status as a deliberate device to highlight the marginalization of female figures in the narrative.^[1] This character draws from Shakespeare's source, Matteo Bandello's novella La storia di Timbreo e di Fenicia (1554), where a maternal figure participates more actively, but was likely cut to suit stage constraints.^[11] In Romeo and Juliet (c. 1595), Valentine functions as Mercutio's brother, mentioned in Act 1, Scene 2 in the list of guests for Capulet's feast, yet he never materializes, contributing to the whirlwind of Verona's feuding clans and underscoring the chaotic interpersonal web. Scholar Joseph A. Porter classifies Valentine as a classic ghost character, whose mere mention amplifies Mercutio's irreverent vitality without requiring physical embodiment.^[1] Other notable examples include figures like Beaumont in Henry V (c. 1599) and Violenta in All's Well That Ends Well (c. 1604–1605), illustrate Shakespeare's stylistic reliance on ghost characters.^[1] Shakespearean ghost characters frequently embody noble or familial roles, enabling concise plot advancement by alluding to lineage, alliances, or past events that inform the living characters' motivations. This technique often stems from adaptations of source materials, where fuller ensembles were pared down to fit the practicalities of early modern staging, preserving narrative depth through implication rather than elaboration.^[1]

Instances in Other Playwrights

In the late 19th century, Oscar Wilde employed ghost characters to satirize Victorian social conventions in The Importance of Being Earnest (1895). Algernon Moncrieff invents a fictional invalid named Bunbury, whom he claims to visit in the countryside as an excuse to evade tedious social obligations in London; this absent figure enables Algernon's escapism and underscores the play's themes of duplicity and performative identity, as Bunbury is invoked repeatedly but never materializes on stage.^[12] Henrik Ibsen's Ghosts (1881) features the absent Captain Alving as a spectral presence that ironically subverts the supernatural trope implied by the title. Though deceased before the play begins, the Captain haunts his widow Mrs. Alving and son Oswald through inherited syphilis and repressed family secrets, symbolizing the "ghosts" of societal hypocrisy and moral decay; his off-stage influence drives the action, culminating in the orphanage fire that destroys his memorial. In the 20th century, Samuel Beckett's Waiting for Godot (1953) centers on the titular ghost character, whom tramps Vladimir and Estragon await endlessly on a barren road but who never arrives. Godot embodies existential absence, amplifying themes of futility and human dependency, as the duo's repetitive routines and philosophical banter revolve around this unseen savior figure.^[13] Bertolt Brecht utilized off-stage characters, including implied revolutionaries, to heighten the Verfremdungseffekt (alienation effect) in his epic theater works, such as The Good Woman of Setzuan (1943). Voices and collectives from off-stage—representing proletarian forces or revolutionary masses—interrupt the action to provoke critical distance, preventing audience empathy and encouraging reflection on social structures rather than individual fates. By the mid-20th century, trends in absurdism amplified ghost characters for meta-commentary on presence and absence, transforming them into symbols of existential void and perceptual instability. Playwrights like Beckett drew on earlier precedents to explore how anticipated figures underscore the absurdity of waiting and unfulfilled meaning, as seen in the interplay of invocation and non-appearance that mirrors broader philosophical inquiries into human isolation.^[14]

Examples in Prose Literature

In Novels

In novels, ghost characters frequently enhance narrative complexity by providing backstory and motivation through indirect references, allowing authors to evoke presence without onstage action. A prominent classic example is Mycroft Holmes in Arthur Conan Doyle's Sherlock Holmes canon, Sherlock's elder brother and a reclusive civil servant whose intellectual prowess influences events from afar; he is referenced in multiple stories but physically appears only in "The Greek Interpreter" and "The Adventure of the Bruce-Partington Plans."^[15] Similarly, in Franz Kafka's The Castle (1926), the protagonist K., a land surveyor seeking access to the enigmatic Castle, embodies an absent-like quality as his efforts reveal the elusive, never-fully-materialized authorities that dominate the village's bureaucracy, underscoring themes of alienation and futility.^[16] Twentieth-century novels expanded this device for symbolic and psychological effect. In George Orwell's 1984 (1949), Big Brother represents the unseen embodiment of the Party's totalitarian surveillance, omnipresent in posters and rhetoric yet never appearing in person, symbolizing the regime's intangible oppression and control over truth.^[17] Likewise, in F. Scott Fitzgerald's The Great Gatsby (1925), Jay Gatsby's parents—shiftless North Dakota farmers—are mentioned as the roots of his self-invented identity but remain entirely absent from the narrative, highlighting his rejection of humble origins in pursuit of the American Dream.^[18] These patterns illustrate how ghost characters in novels build depth and mystery, often as deceased influencers or offstage forces shaping protagonists' lives, leveraging the medium's expansive scope to introduce unresolved allusions unlike the constrained "stage" of theater.^[19] Such usage proved especially prevalent in modernist novels for layering psychological nuance, as noted in mid-20th-century analyses of narrative absence.^[20]

In Short Stories and Novellas

In short stories and novellas, ghost characters—often implied or absent figures—exert profound influence through their non-presence, amplifying themes of guilt, loss, and psychological tension within constrained narratives. Edgar Allan Poe masterfully employs such figures to underscore unreliable narration and haunting legacies. In "The Tell-Tale Heart" (1843), the unnamed "you" addressed by the narrator functions as an implied auditor or friend, shaping the story's confessional tone and highlighting the speaker's descent into madness as he seeks validation from this silent presence.^[21] Similarly, in "The Fall of the House of Usher" (1839), the absent familial lineage and implied romantic entanglements within the Usher bloodline—evoked through Roderick's melancholy and the house's decay—manifest as spectral undercurrents, driving the gothic atmosphere without direct appearance.^[22] Modern short fiction extends this technique, using unseen figures to propel character motivations amid social constraints. Anton Chekhov's tales frequently feature off-stage employers or authority figures whose invisible pressures dictate protagonists' lives.^[23] In Ernest Hemingway's "Hills Like White Elephants" (1927), the unborn child serves as a missing father-invoked entity, its potential existence haunting the couple's terse dialogue about abortion and symbolizing unspoken relational fractures without ever materializing on the page.^[24] Novellas, with their intermediate length, leverage ghost characters for layered implication over explicit exposition. Mary Shelley's Frankenstein (1818), often classified as a novella, includes off-page creators like the alchemists Cornelius Agrippa, Paracelsus, and Albertus Magnus, whose pseudoscientific texts profoundly shape Victor Frankenstein's obsessive pursuits during his youth, positioning them as spectral mentors whose outdated ideas fuel his hubris without physical intervention.^[25] This form's brevity necessitates such absences to evoke emotional depth efficiently, allowing readers to infer influences that propel the plot toward tragedy. In contemporary flash fiction and vignettes, ghost characters condense complex themes, capitalizing on the genre's spatial limits to heighten emotional resonance. 21st-century writing workshops emphasize how absent figures—such as deceased loved ones or unrealized possibilities—drive narratives by mirroring real-life voids, as explored in exercises that prompt authors to build tension around what is omitted rather than stated. This approach aligns with broader prose trends, where implication fosters reader engagement in compact forms.^[26]

Examples in Modern Media

In Film and Television

In film, unseen or ghost characters often serve to build suspense or psychological depth without visual presence. A seminal example is the character of Norman Bates' mother in Alfred Hitchcock's Psycho (1960), who is heard through voice-over but remains absent from the screen as a living entity until the film's twist reveal that she is a preserved corpse, manipulated by her son to embody his split personality. This technique heightens the horror by implying a domineering maternal influence that drives the narrative tension.^[27] In television, ghost characters frequently provide backstory or motivation without on-screen commitment, enhancing world-building in ensemble casts. In the Netflix series Orange Is the New Black (2013–2019), Piper Chapman's older brother Danny is repeatedly mentioned as part of her privileged family dynamic, yet he never appears on screen except in a brief family photo, underscoring themes of absent privilege.^[28] Another instance occurs in the BBC's Sherlock (2010–2017), where the criminal mastermind Jim Moriarty is teased through anonymous texts, phone calls, and indirect actions in the first season's episodes, building anticipation as an unseen adversary before his dramatic reveal in the season 1 finale, which amplifies Sherlock Holmes' intellectual isolation.^[29] Screenwriting conventions for ghost characters in film and TV often involve their use in pilots to establish lore efficiently, such as off-screen mentors who guide protagonists via voice or reference without demanding casting resources early on. This practice evolved from radio dramas of the mid-20th century, where character absence was auditory—mentioned but never voiced—to accommodate limited production, a tradition carried into visual media for narrative economy. In 21st-century streaming series like The Crown (2016–2023), this trend persists with referenced historical figures such as Joseph Stalin or Adolf Hitler, who are invoked in dialogues about global events to contextualize the British monarchy's role without depicting them on screen, prioritizing royal-focused storytelling and budget efficiency.

In Comics and Video Games

In comics, ghost characters often manifest as absent figures whose influence permeates the narrative through references, flashbacks, or implications rather than direct appearances, leveraging the medium's sequential panels to heighten tension and emotional weight. For instance, in early DC Comics issues, Bruce Wayne's parents, Thomas and Martha Wayne, serve as archetypal ghost characters; their murder is briefly depicted in Detective Comics #33 (1939), but they remain minimally characterized and perpetually absent, haunting Batman's vigilante drive without further on-panel presence.^[30] This referential absence amplifies their role as motivators, with panels focusing on shadows, alleyway echoes, or Bruce's oaths to underscore their spectral legacy in shaping Gotham's protector. Video games extend this concept into interactive realms, where ghost characters function as elusive lore elements or motivators, often remaining off-screen to encourage player exploration and non-linear engagement. The G-Man in the Half-Life series exemplifies this, portrayed as a sinister interdimensional bureaucrat who observes protagonist Gordon Freeman from distant catwalks, control rooms, or portals, vanishing before direct interaction and influencing events through cryptic monologues and unseen manipulations.^[31] His appearances are fleeting and inaccessible, such as brief video terminal glimpses in Half-Life 2, fostering mystery via environmental storytelling and player-driven discovery rather than overt encounters. Another notable instance is Ifalna, Aerith Gainsborough's biological mother in Final Fantasy VII, whose backstory as the last Cetra is revealed through fragmented memories and Shinra records; she dies during an escape when Aerith is seven, leaving a ghostly imprint on her daughter's quest without further in-game meetings, motivating Aerith's spiritual journey via inherited lore and emotional echoes.^[32] Medium-specific traits distinguish ghost characters here from passive media like film, emphasizing interactivity and serialization. In video games, these figures frequently act as quest motivators, such as off-screen NPCs issuing fetch missions—players retrieve items or information to "appease" absent presences, like spectral guides in titles where unseen entities direct exploration to uncover hidden narratives, blending gameplay mechanics with thematic absence to deepen immersion. Comics, constrained by panel layouts, amplify this referential power through techniques like off-panel sound effects, shadowed silhouettes, or gutter transitions that imply unseen influences, allowing limited space to evoke profound impact without visual clutter and encouraging reader inference across sequential beats.^[33] In the digital era post-2010, fan communities have further expanded ghost character lore in indie games via mods and wikis, transforming implied absences into elaborate backstories. For example, mods for Half-Life series entries introduce expanded G-Man encounters or alternate dimensions, while wikis for indie titles like Ghostlore (2022) compile user-contributed details on ethereal entities, evolving core narratives through collaborative serialization beyond developers' intent.^[34] This participatory expansion mirrors the media's interactive roots, turning ghost characters into evolving communal myths.

Narrative Role and Analysis

Functions in Storytelling

Ghost characters, also known as offstage or absent characters, serve essential narrative purposes in storytelling by influencing events and relationships without physical presence on stage or in the narrative frame. These figures propel the plot forward through indirect references that generate conflict or motivation, such as demands for revenge on behalf of an unseen kin or the anticipation of an arrival that structures the action. For instance, in dramatic works, they enable scripting economy by obviating the need for additional scenes or actors, allowing focus on core interactions while advancing the storyline efficiently.^[35]^[2] In world-building, ghost characters establish broader social networks, historical backdrops, and atmospheres of mystery or foreshadowing without requiring direct depiction. By invoking unseen figures through dialogue or allusion, narratives construct a richer, more layered universe—such as familial legacies or societal pressures—that informs the onstage world and heightens anticipation or unease. This technique creates epistemological tension, blending reported events with enacted ones to engage audiences in interpretive ambiguity.^[36]^[37] For character development, references to ghost characters reveal protagonist traits, emotional depths, and relational dynamics through discussions or implied interactions, often emphasizing themes of loss, absence, or unresolved trauma. Onstage figures' responses to these absent ones—such as grief, guilt, or defiance—expose internal conflicts and growth arcs, enriching psychological portrayals without diverting to extraneous subplots.^[38]^[36] Genre variations highlight the versatility of ghost characters: in comedy, they facilitate humor through exaggeration or ironic non-arrivals, amplifying absurd situations; in tragedy or drama, they evoke pathos by implying unfulfilled potentials or lingering influences, intensifying emotional stakes. Such adaptations underscore their utility across media, from theater to prose, in sustaining narrative momentum.^[35]

Critical Perspectives

In textual criticism, ghost characters provide insights into the compositional history of plays, often representing remnants of revisions, abandoned subplots, or adjustments for staging constraints. Scholars interpret these figures as evidence of the playwright's creative process, such as "false starts" in plot development or deliberate excisions to streamline the narrative. For example, in Shakespeare's Much Ado About Nothing, the ghost character Innogen is seen by some as a symbol of marginalized female voices in a male-dominated world, while others view her as a trace of earlier drafting stages.^[1] In performance and adaptation studies, ghost characters invite reinterpretation, allowing directors to explore themes of absence and marginalization. Productions may restore or invent roles for these figures to highlight gender dynamics or societal exclusions, as in modern stagings that give voice to silent bridesmaids like Innogen.^[1] Scholarship on ghost characters remains focused on Western dramatic traditions, particularly Shakespearean and early modern texts, with gaps in comparative analyses of similar phenomena in non-Western theater. Emerging digital humanities approaches, such as corpus analyses of play texts, are beginning to quantify these anomalies to trace patterns in textual evolution across traditions.^[2]

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Sep 9, 2014 · In this feature, I share with you three comic book "easter eggs." An easter egg is a joke/visual gag/in-joke that a comic book creator (typically the artist) ...
[36]
Half-Life: Alyx's wild ending, as explained by Valve's writers - Polygon
Apr 10, 2020 · We see the death of Eli Vance, and Alyx is given the opportunity to save him, as long as she goes to work for the G-Man. Remember the ending of ...
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Final Fantasy VII Had One Of The Saddest Deaths In All Of Gaming
Feb 27, 2024 · Aerith's biological mother, Ifalna, was ultimately the last living Cetra. Aerith's father, Professor Gast Faremis, worked for Shinra and ...
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Why games are still full of fetch quests in 2024 - PC Gamer
Apr 23, 2024 · Fetch quests, which have earned a reputation as the lowest form of RPG sidequest, typically involve finding items and bringing them back to a recipient.<|separator|>
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Pro Artist's Guide to Comic & Manga Layouts, Paneling, Flow
Panels contain a scene, and gutters are the space between them. Consider page flow, and use panels to separate ideas, and the gutter to control pacing.
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Ghostlore Wiki | Fandom
We're a collaborative community website about Ghostlore that anyone, including you, can build and expand. ... Ghostlore Wiki is a Fandom Games Community. View ...
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Waiting in the wings: when off-stage characters take over | Theatre
Jan 28, 2013 · From Simon Gray to Alan Ayckbourn, many playwrights have kept their most interesting roles out of sight – but very much in mind.
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Summary of each segment:
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[PDF] The Offstage in English Renaissance Drama - Early Theatre
In Site Unscene, Jonathan Walker considers the possibilities of different types of. 'offstage' spaces in the early modern theatrical experience.Missing: limitations | Show results with:limitations
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[PDF] Invisible Characters as the Personification of Mid-Twentieth Century ...
The father's absence on stage, however, intensifies already present tension, anxiety, and expectations. His abandonment of the family places additional.
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“The Ghostly Terrors of the Nursery”: Joseph Sheridan Le Fanu and ...
Mar 17, 2024 · In his famous essay “The Uncanny” (1919), Freud describes uncanny effects as results of repression and the return of the repressed in ...
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[PDF] The Return of the Repressed in MR James' Martin's Close - eGrove
“The return of the repressed” may thus be applied to ghosts as well as to the monsters which manifest themselves in Dracula and Frankenstein. In this essay I ...Missing: readings | Show results with:readings
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Postcolonial Ghosts - Introduction - Presses universitaires de la ...
7Postcolonial ghosts often manifest the return of repressed/hidden events, which took place in the conflict-ridden context of colonization. From this point of ...
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Indigenous spectrality and the politics of postcolonial ghost stories
'post' colonial expressions of recognition and redress, raising questions about the politics of postcolonial ghost stories. In a recent review of the ...
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Postcolonial and Cultural Haunting Revenants—Letting the 'Right ...
This chapter considers how postcolonial Gothic women writers expose the double oppression of gender and race, using figures of the ghost, vampire and zombie ...
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Faith in the Ghosts of Literature. Poetic Hauntology in Derrida ...
3. Literature and the Death of God. The God Derrida invokes is better described in terms of absence than presence. It is not a God that can be fixed and placed ...
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The Ghost as Ghost: Compulsory Rationalism and Asian American ...
The text critiques the dominance of Western rationalism in understanding the ghostly in Asian American literature. It advocates for recognizing non-rational ...
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(PDF) A Corpus-Based Analysis of Word 'Ghost' in the Collection of ...
PDF | To illustrate the concept of ghosts, this research aimed to explain how they were described in Òma Lóngh and Lebu' Kulit language, the collection.