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“Women in comics are the deviation, the invading body, the cancer. We are the cure, the norm, the natural order. All you are is a pair of halfway decent tits, a c*** and a loud mouth. But see, it doesn’t matter how loud you get. It doesn’t matter how many of your lezbo tumblr and twitter fangirl friends agree with you and reinforce your views. You can be all ‘I’m not going to be silent about misogyny so f*** you!’ all you want. In the end all you are is a pathetic little girl trying to effect change and failing to make a dent. You might as well try to drain the ocean of fish. That’s the kind of battle you face with people like me. We won’t quit. We won’t stop attacking. We won’t give up. Ever.”
-Anonymous message sent to Janelle Asselin, Early 2014

To begin this essay, let’s first explore what exactly we are referring to when we talk about war stories. To start with, what is a war? One might answer with a conflict between two foreign powers. But that has issues of it’s own because that would leave out conflicts like the American Civil War. So then, why not redefine it as a conflict between two organized military powers? Well, that leaves out conflicts involving non-military combatants within the conflict such as the French Revolution. Heck, what about wars where one of the two sides is pacifistic? I could go on about the issues of trying to create a catch all definition of a concept as large as war. So, for the purpose of this paper, let us define war as a physical conflict between two populations with ideological differences.
Now that we’ve got that out of the way, let us look at what is typically referred to as a war story. When one hears those two words, one tends to think of stories like The Red Badge of Courage, The Things They Carried, and other stories that focus “…mostly on cultural reactions to specific wars, accepting a causal relationship that privileges the historical event over its representation” (Rowe, 813).
However, there are some issues with that line of thinking. For starters, it’s viewpoint on what a war tends to view its primary characters as those who fight within the war. This limits the amount of stories that can be told in a war narrative because it limits the cast to solely the soldiers within the war. And while yes, there are interesting stories to be told from that viewpoint; it still ignores other viewpoints of a war. What about those who only hear about the war through whispers, never fully being able to grasp the true horror of it all. Or how about those who are outside of the battlefield, but still impact the lives of thousands. Heck, what about those who are stuck in the crossfire, unable to fight, unable to escape.
In addition, typical war stories also tend to take a definition of war that is in conflict with the definition above. Their definition of war tends to be based on the era in which the story is told/read due to it being “…cultural reactions to specific wars…”and these “…recognized “wars”… are conventional means of  “periodizing” literary, as well as much social and political, history…” (Rowe, 813).  As such, it can lead to conflicts not being declared wars (despite clearly being wars) for political reasons (at one point, Vietnam wasn’t considered a war (Rowe, 813)) and some being to small to be considered wars.
As such, I think it would be best to expand the term “War Story” to include both the narratives of those who were non-combatants, include wars that are not necessarily considered wars by the current culture, and explore the society in which the war takes place. To do this, I will explore the texts of Passing by Nella Larsen and Maus by Art Speigelman as well as additional articles related to these texts.

First, let us look at a novel that one would not typically view as a war novel: Passing. The most obvious question to ask when concerning applying the concept of war stories to this narrative is how is this a war story? The short answer to that question is: it isn’t. The longer answer is that it isn’t in the sense of the typical war narrative, but it does fit within our given definition. For Passing is a story about the prelude to war. Specifically, a war that has been brewing since 1865 and finally exploded in 1954. I am, of course, talking about the American Civil Rights Movement.
To start with, the basic plot of Passing is about two women, both of whom are black but can pass off as white due to the lightness of their skin color. One of whom, Clare, decides to fully pass over into the white community, while the other, Irene, decides to remain a black woman. The novel itself explores many ideas such as race relations, gender, and a (probably unintentional) lesbian subtext. But for the purposes of this essay, we shall explore the race aspect of the novel, seeing as that is what the war is about.
As such, we will need to know what the ideology that this conflict is being fought over. To do that, we must understand the societal structures of racism. “Racism “involves the subordination of people of color by white people” (Rothenberg 6). Marked by discrimination and prejudice, racism entails also the exercise of power (conscious and unconscious, intentional and unintentional) by which white people maintain positions of privilege over persons of color (Rothenberg 7)” (Reineke, 74). Essentially, the game is rigged in favor of white people.
Naturally, those in the positions of power would like to keep their power by any means. As such, the Anglos tell themselves that they are superior to the Africans (this power structure (in this context) having begun around the time of American slavery) by either a God given right, the burden of being a white person, and/or flimsy science involving bumps on the person’s skull. They taught themselves that these Africans were not human in the sense that they were, and thus were allowed to treat them like cattle.
At least, until 1865 with the end of the Civil War, which lead to slavery being outlawed in the United States. However, those who grew up within the time of the slavery still had the idea that those African “Americans” were still lesser people. And said white people were in positions of power that allowed them to create laws such as the Jim Crow Laws which ruled that segregation was legal so long as it was separate but equal. Naturally, this was not the case. Black schools received used and out of date books, blacks were made to stand on the bus when a white person needed a seat, and blacks were generally mistreated by those in power, forming Klans and gangs to find, beat, and kill black people.
It is in this world that our novel takes place in. Though, for the most part, not as violent, the novel paints this world as nonetheless terrible. For example, Clare’s husband repeatedly refers to her as Nig, short for “nigger” because “…she’s getting darker and darker. I tell her if she don’t look out, she’ll wake up one of these days and find she’s turned into a nigger” (Larsen, 39).
In addition to this, the novel explores this world via one of its major themes: the meaning of one’s skin color. Throughout the novel, characters pass themselves off as other races in order to reap the benefits of that racial status, such as being allowed into banned locations or being looked at as a human being. Some characters, like Irene, only do it for short periods of time and are still fearful of being found out (Larsen, 16). Others, like Clare, pass completely over as white. So much so that “Only when Bellew follows Clare into Harlem and spies her standing among her black friends, can Bellew see her as black” (Reineke, 88). In fact, it is only after the cat’s out of the bag, that there is any physical racial violence within the narrative (although it could be argued that it is sexual violence, depending on who you think did the deed) as Bellew, Clare’s husband, angrily enters the Redfield residence and screams “So you’re a nigger, a damned nigger” before she is pushed out of a window to her death (Larsen, 111). Bellew reacts with horror (“Nig! My God! Nig!” (Larsen, 111)) but he still doesn’t understand the racial implications of what he has done. For even after finding out that Clare was a black woman, even though his horror over her death is real, he still doesn’t understand that the words he uses to describe her are terrible.
But the war hasn’t begun yet. This story is about a powder keg, a world just waiting to explode. There are people in the society of the novel trying to get equal rights for black people without having a war (Larsen, 69; 119), but war grew ever more inevitable. Soon, something will happen. Not something huge, but big enough.  Perhaps it’ll be someone dying. Perhaps it’ll be a court case about segregation. Perhaps it’ll be something as small as a woman not wanting to leave her seat. Whatever the final straw was, the war came. It was a violent war, with many factions. Some groups still tried to keep the peace like the NAACP. Others saw the futility of doing it the peaceful way and went for the violent solution like the Black nationalists. But they fought a common foe. A foe who wanted all of them dead because they were “inferior beasts” who should know their place or be exterminated like the vermin they were. And it was a war fought all across the nation: from the steps of the Lincoln Memorial, to the churches of Memphis, to the dark streets of Ferguson. Some say that the war ended in 1968. But if one were to look at the world, it’s plain to see that the war marches onwards. It’s appetite, infinite.

Now that we’ve gotten the novel with the least obvious route, let’s look at a novel with a more obvious connection to war: Maus, “…the story of a cartoonist named Art Spiegelman and his father, Vladek Spiegelman, a Holocaust survivor…” (Chute, 456) who relates his experiance to his son, what’s interesting about the first book of Maus is that it explores the war in much the same way as Passing with one notable exception: the war is slowly beginning.
If one were to read the book without the context of the subject matter, then one would not be able to identify it’s nature with the Holocaust based on the first 30 some odd pages.  It would just be seen as a love story between two mice with obstacles from old lovers to depression, but then we the Swastika for the first time. But what’s interesting is that we don’t see the full symbol, it’s partially obscured by the wind (Spiegelman, 34). When we get to a sequence about the eradication of the Jews in Germany, the icon is still partially obscured (Spiegelman, 35). This can perhaps be understood via this exchange between two Jewish passengers: “-Let’s hope those Nazi gangsters get thrown out of power! –Just pray they don’t start a war” (Spiegelman, 35). This is a viewpoint of war shared by typically expounded upon by those looking at a war from an outside perspective soon to experience the same treatment, typically for dramatic irony, which essentially says “My god that’s terrible, but at least it’s not happening here”.
As such, when the war on the verminous Jews does reach our protagonist and those he loves, they naturally try to make the best of the situation.  At first, they try, without much choice, to live within the society as Jews. But the innate hatred of the Jews of this war becomes more and more deadly; they are forced to hide/attempt to flee. They try to hide with those they knew before the war, but they slam the door on the Spiegelmans because they are afraid (Spiegelman, 138). Then they pay others to hide them which works for a while (Spiegelman, 141-144).
But Vladek knows this isn’t going to work forever and as such tries to get his remaining family smuggled out of the country. As he travels to meet with some Polish smugglers, he (metaphorically via literal imagery) wears a mask to cover his identity, for “This mask is hiding their real Jewish identity, which would only make them die” (Ravelo, 16), in order to pass as Polish. But he is nearly caught by children who recognize him for a Jew. Fortunately he is able to trick their parents by not running (Spiegelman, 151).
But, as with many Jews, Vladek is caught. The smugglers betrayed them. Earlier, when the Swastika was still obscured by being too small or blocked by other things, Vladek was able to pass as a escaped Polish POW and convince a train conductor to help him get back home (Spiegelman, 66). But too late does Vladek realize that this is not a war of Nazis and the world, but of anti-Semitism. And the Swastika is seen, unblocked, as Vladek and his wife, Anja, are forced into the largest of all the meat grinders of this war: Auschwitz (Spiegelman, 158).
Which nicely brings us to the second book of Maus, aptly called “And Here My Troubles Began” (Spiegelman, 167). “Between May 16, 1944 and May 24, 1944 over 100,000 Hungarian Jews were gassed in Auschwitz” (Spiegelman, 201). In Auschwitz, you are no longer a person, but a number (Spiegelman, 186). You work until you die, be it of starvation, for they’ll barely feed you (Spiegelman, 209), cold, for they’ll barely clothe you (Spiegelman, 189), or the cruelty of man (Spiegelman, 195). And they’ll even make you build your own death, that is, if you don’t die in the process (Spiegelman, 229-232). And the worst part of all is that there are no good guys in any of the war’s meat grinder; everyone’s out for themselves, and maybe a few others (Spiegelman, 216).

So as we close our look at these two war stories, a question pops into mind: what are these two wars about? Well, yes. There is, in both tales, a single through line that connects both wars together. An idea that will be debated for all time: what is normal? Both the Nazis and the citizens of New York as portrayed in these tales thought that they themselves were the normal ones and not this other. This invading force, this cancer, and the only cure for them is hatred and violence. And this is accepted because to be normal is to be good; to be an other, to not know your place, to reject the “natural order” is to not be human. And if one is not human, then any number of terrible things can be done to them. Even our protagonists aren’t immune to this, as Vladek reacts to a black hitchhiker via hostility, racism, and thinking that “…all blacks steal” (Spiegelman, 258-260). And as I look at the progress of this war continue in Afghanistan, Ferguson, and the streets of London, I see that there is an obvious answer that everyone is ignoring. Because it’s too frightening and, despite the cruelty and hatred it spews, the state of the world as it is… is far more comforting. Inna final analysis, the fact is “Nobody’s normal” (Spiegelman, 174).
Actually, it’s about ethics in games journalism.

Works Cited:
Chute, Hillary. “Comics as Literature? Reading Graphic Narrative.” PMLA 123.2 (2008): 452–65.
Larsen, Nella. Passing. 1929. New York: Penguin, 2002. 

Ravelo, Livia Carolina. "Semiotic Analysis of Art Spigelman's Maus: A War Comic with an Open Ending." Argentinian Journal of Applied Linguistics 1.2 (2013): 8-22. Print.
Reineke, Martha. "Mimetic Violence and Nella Larsen's Passing: Toward a Critical Consciousness of Racism." Contagion: Journal of Violence, Mimesis, and Culture 5.1 (1998): 74-97. Print.
Rowe, John Carlos. “US Novels and US Wars.” The Cambridge History of the American Novel. Ed. Leonard Cassuto, Clare Virginia Eby, and Benjamin Reiss. Cambridge: Cambridge UP, 2011. 813-31.

Spiegelman, Art. The Complete Maus. New York: Pantheon, 2011.
Maus/Passing First Draft
Posted mostly to keep the joke at the end.
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I need to get that journal out of the front page.
Note: Unless directly mentioned, each page has a different cast of characters. The majority of background info given can be inferred by either the body motion of the characters, the facial expressions of the characters, and/or the clothes of the characters.

Page 1: In the foreground, we see a man falling off of a building in a city. He was not pushed, he did not trip: he jumped. The man is about 40 years old. Slightly bellow the man is his phone. It is an IPhone 4S. We see the back of it. The man has his eyes closed with tears pouring out of them. And yet, he is content. In the background, in the building nearby, we see many stories. We see a boy looking out a window to see the man fall. The boy is thinking that the man is trying to fly and wants to see him soar. We see, in the room to the right of the boy, his parents having sex. It is not all that great of sex, and the wife is considering a divorce. In the room beneath the family, there is a party going on. However one of the guests is puking and the designated driver is calling 911. In the room next to them, four teens in a circle are smoking pot. In the penthouse, a man is threatening to throw someone out of the building via the express elevator outside (push off the building). There are many other things going on around the falling man, but I think you can make them up. It’s late at night. The moon is not in sight, but the stars are. Bordering the page, there is a series of panels exploring the falling man’s life. They are, in no particular order and all from the POV of the man, as follows:
• The man is born
• At a ledge of a building, the man holds his IPhone with a message to a woman named Susan saying “Goodbye”. It has just been received.
• The man, age 5, watches The Phantom Menace in theaters.
• Some bullies are scared off of beating up the man, age 8, by Susan, age 9.
• Two hands, one belonging to the man, age 27, the other to Susan, age 28, hold each other. They have wedding rings on them.
• The man stands in front of a grave, holding flowers, which obstruct the name on the grave.
• The man, age 13, has his first sexual experience via masturbating to Playboy.
• The man, age 23, sees Susan, age 23, for the first time in years, having not seen her since they were kids, and waves to her.
• The man, age 18, graduates from High School.
• The man, age 14, overhears some terrible news from the other room between his father and their neighbor.
• The man, age 19, plays chess against a fellow student.
• The man, age 12, goes fishing with his dad.
• The man, age 15, has a birthday. His is not all that happy.
• The man confirms that the body is his wife’s.
• The man, age 6, watches his dad put down the family dog who has rabies.
• The man, age 30, stargazes with his wife, age 31.
• On their honeymoon, the man and Susan go to the Eifel tower.

Page 2: In a college dorm, a woman is writing on her computer. From our perspective, we cannot see what she is typing, for we see her from the side. The walls on her left side of the room are filled with posters from Doctor Who, Farscape, Star Trek, and Star Wars. Some of them are official posters and some are made by fans of the works. On her roommate’s side of the room, the walls have feminist and Captain Marvel (Monica Rambeau) related posters. To the left of the woman, is her bed. The sheets are red. Her roommates’ bed sheets are eggplant purple. To the right of the woman is a window. It is an altogether nice day for November, but the woman has decided today she will write. We see what she writes, not from the computer she types on, but rather from the thought balloon coming from her. In it, we see a fantasy story in which the female hero is fighting a horde of undead wolves with a sword. The imagined vision we see is slightly crude, hinting at the quality of the story she is writing.

Page 3 Panel 1: A man is lying in bed, beginning to wake up. The man is still under the covers and has been sleeping on his side facing away from the wall. There is an alarm blaring above him on a wooden stand. The time is 8:45 AM. The sheets on his bed are blood red and his pillowcases are as black as night. His walls are bare. His bed is 5X12 feet long, although we do not see the full bed, just the part where the man’s upper torso is.

Panel 2: The man looks to his alarm clock and realizes he’s late. As he checks, we see that the man was not sleeping with a shirt on. We do not see anything below the man’s belly button.

Panel 3: The man rushes to get dressed. Fortunately, he notices that it is raining outside (the window on the side of the room where the feet area of his bed would be) while getting dressed.

Panel 4: The man grabs his umbrella as he leaves the room. The umbrella is located next to the door, which is on the side of the room where the bed isn’t. The walls on this side are also bare.

Panel 5: The man, with umbrella (which is one of those crappy umbrellas that breaks within a week of owning it (which is about seven times as long as the man has owned it) and is sea blue) open, rushes to the bus stop. He has a look of desperation on his face.

Panel 6: Just as the man is about to reach the stop, the city bus leaves.

Panel 7: The man, disgruntled at the knowledge that he’s going to be late, waits at the stop for the next bus. It begins to rain harder than before.

Panel 8: The wind picks up and whisks the man’s umbrella away. The man is shocked by this development.

Panel 9: The man chases after his umbrella with a look on his face, which reads of someone who, if this were a comic with dialogue, would be saying “Crap! Crap! Crap! CRAP!”

Panel 10: The umbrella gets to far away from the man, and he drops to his knees.

Panel 11: The man looks as if he is about to shout the word “Fuck!” to the heavens.

Page 4: In black and white, we see two parents having an argument. We do not know what the argument is over, but from their body language, we can deduce that it is not over anything good. In the background, we see their kids trying to distract themselves from the argument by playing a cooperative video game. By the look on their faces, this doesn’t seem to be working. Reflected upon all of this, we see the family dog, sitting tall on all fours, waiting to be let back inside. He, like us, does not understand why this is happening, but thinks that if he were let inside, he could help in some way.

Page 5: An old man is surrounded by his family while lying in his bed. The old man is hooked up to a machine that gives the heartbeat of the old man. The old man looks happy to see his family. Bordering the top and sides of the page, we see the faces of the old man’s grandkids, children, daughters and sons in laws, and the old man’s wife as they stand around the old man. Some are giving tearful smiles, the wife is just bawling, and at least one of the grandkids is confused as to why he’s in a room with his grandfather. He loves him and all, but he thinks he could see the old man anytime, and doesn’t understand why they’re here now. Bordering the bottom, we see the heart beat of the old man slow down to a flat line.

Page 6 page layout: the page is formatted in a 9-panel structure of 3X3.

Panel 1: We see a part of a guitar in the horizontal direction. There are six stings on the red electric guitar, a big white line going vertically at the left most part, and two silver lines going vertically. The lines are equidistant from each other. The top string is vibrating.

Panel 2: We move to a different part of the guitar, but the format of the panels implies we are just going down the guitar. There are two sections of the guitar that are separated by a silver line. On the most left one, there is a white dot in between the 3rd and 4th strings. A man’s finger is over the top string of the most left section, which is the only string vibrating.

Panel 3: The same as the previous panel, except the man’s finger is on the top string of the right section.

Panel 4: See Panel 1.

Panel 5: See Panel 2, but replace the word “Man’s” with “Child’s”

Panel 6: The same as Panel 3 except the child’s finger is on the left one again instead of the right one.

Panel 7: We see the man, age 30 something, pat his son, age 8, on the back. They are in a living room, on a couch. The TV is to the left of them, and there are a series of rectangular windows on the walls. The couch is tan and the TV is a HD one. The son is holding the guitar and looks dejected, like he’s never going to learn how to play it, but the man gives him a look as if to say that he did a good job, nobody’s perfect on their first try, and he’s actually doing pretty well for his first time.

Page 7 Panel 1: Two women look fondly at a photograph. They both have wedding rings on their fingers. One of them is looking a bit teary eyed at the photograph while the other is just giving a Mona Lisa like smile to the picture.

Panel 2: We see the two women kiss each other to commemorate their marriage. It is a happy affair. The bride on the left (the one who was teary eyed) has her pews packed with relatives and friends, whereas the bride on the right (who was not teary eyed) has only friends come to the wedding. In between the happy couple, there is a catholic priest. He appears to be in his early 20’s. He has the kind of hairstyle only a person crazy enough to dress up as a Green Goblin and try to kill Spider-Man would have. They have a total of five bridesmaids and three groomsmen. To the left of them, is a man playing a violin. Presumably he is playing the Wedding March, but it could be that he is playing something else. Only the memory of those who heard it knows.

Page 8: In a lecture hall, the teacher is giving a lecture on the nature of reality via the multiverse theory (at least, that’s what the chalkboard behind the teacher says). However the teacher has stopped because on of the students (who is in the foreground) is sleeping in class. The teacher knows this because the student is snoring so loud that everybody is looking at him. The teacher is looking rather cross.

Page 9: We see a crowd of people, High School students and faculty alike, watching as two bullies are beating up a student. The two bullies look to be sports players, most likely football. They are tall, muscular (though not to the point of steroid use), and angry with the student. One of the bullies has some food on his clothing, hinting that the reason why the student is being beaten up is because he walked into the bully and got food all over him. The student’s face looks as if a meat hammer had just hit it, his legs look to be broken, and he might be bleeding internally. The student is in the fetal position while the bullies kick him. Meanwhile the crowd looks on. Some look away, some look to be enjoying it, some just look on with minimal interest, and none do anything to stop it.

Page 10 Panel 1: A man and woman, in their late teens, early 20s, are walking to an abortion clinic. The sun is in the sky and the woman is three months pregnant. They are surrounded by people protesting the clinic and look upon the man and woman with scorn for being baby killers. The man and woman feel uncomfortable around the protestors as they enter the clinic.

Panel 2: The couple meets with a doctor to talk about their situation. They are in the doctor’s office, which has bookcases filled with medical journals on two sides of the room, and a window, which is covered on the outside with egg yolks and graffiti. The doctor gives them a comforting smile, as if to say that everything is going to be all right.

Panel 3: The doctor walks them into a room. On the right, there is a poster of a cat hanging on a tree branch with words above it being “Hang in there”. Whatever is on the left of the door is covered by the open door.

Panel 4: The doctor begins to preform an ultrasound upon the couple, and they see that the baby is healthy. It’s in a clean room, although not 100% sterile. There are no windows in this room, although there is a poster, which shows the cycles of a baby being born from the sperm entering the egg to the newborn baby.

Page 11: Inside the passenger seat of a car, a teenager is looking passively out a window. The teen face is reflected upon the window as the night sky is lit ablaze by the nearby car crash. The crash has a total of two injured people, one death, and three people in shock. The teen is half asleep listening to music. It has been a long ride and the crash doesn’t even register upon the consciousness of the teen.

Page 12 Panel 1: We see the whole interior of a confessional. On the left, is a man. The man is talking, but his word balloon has images in it instead of words. The images involve the man recounting his numerous murders and how he hid them in his basement. The man perceives them as pleasurable and is only going to confessional because he knows murder is a sin. On the right part of the confessional, we have the priest. The priest is saying nothing, but is rather thinking about his experiences and friendship with the man who is confessing to being a serial killer.

Panel 2: The man exits the confessional and heads for the exit on the left. The man feels as if he has lifted a great burden from his shoulders and goes out with a spring in his step.

Panel 3: The priest exits the confessional and heads for his office on the right. The priest is feeling conflicted yet knows what he must do. He is not happy for what he is about to do.

Panel 4: The priest glumly sits at his desk, pulls out his cell phone, and dials 911. The room is what one tends to expect of a priest’s office (crucifix on one wall, bookshelf with bibles and other religious texts). On the priest’s desk, there is a coffee mug that says “I Hate My Boss” on the left, and three DVDs on the right. The DVDs are Jesus Camp, The Last Temptation of Christ, and a third one we cannot see the spine of. Behind the priest, is an old square TV. Behind that, is a stain glass window that doesn’t make any particular shape, although if you look closely at it, you can see a boat.

Page 13 Panel 1: A woman is getting dressed for work in her bathroom. Outside, we see that it is raining. Her bathroom has a sink littered with cups, toothbrushes, and other things one tends to expect on the sink of a bathroom on the left, a toilet slightly behind the sink, and a shower on the right.

Panel 2: The woman with her umbrella (which is one of those umbrellas that does not break within a few days and is yellow) is walking down the street towards the bus stop when a man (the one from page 3) barely passes her by.

Panel 3: She turns to see the man distraught at the loss of his umbrella, about to shout to the heavens.

Panel 4: The man looks as if he is about to shout the word “Fuck!” to the heavens.

Panel 5: The hand of the woman holds out her umbrella over the man, which he notices.

Panel 6: The man stands up and looks at the woman with a smile of gratitude over being helpful after a long and terrible morning. The woman smiles back, always willing to help.

Panel 7: The two walk to the bus stop talking about things. Perhaps this is the start of a beautiful friendship. Perhaps this is the start of a long relationship. Perhaps this is just a moment in each other’s lives and the other is nothing more or less than a trustworthy stranger. Who knows.

Page 14 Panel 1: A man in a black suit and red tie slips on a banana peel (specifically from a Big Mike) and falls onto a cherry pie (similar to this sequence: olsenbloom.files.wordpress.com… ). The background simplistic and just one color: orange.

Panel 2: The actor seen slipping on the peel is yelling on his phone after the scene is shot and the crew prepares to film the next one. Presumably he is yelling at his agent for getting him such a crap minor role.

Page 15 Panel 1: A woman is lying on the sand of a populated beach. The woman is listening to music on her iPod. On the iPod, if we look closely at the iPod screen, we can see the song she is listening to is “Sinister Ducks” and the artist is credited as “Alan Moore”. The iPod is set for shuffle. Nearby, there is a lifeguard tower with one of the guards looking at something happening nearby.

Panel 2: The lifeguard gets off of her tower, the woman keeps sun tanning, and some kids run out of the ocean terrified.

Panel 3: The woman keeps sun tanning as the lifeguard rushes to the emergency area with a young girl who just had her left leg bitten off by a shark. The girl and lifeguard are covered in blood. The song on her iPod is now “Total Eclipse of the Heart” by Bonnie Tyler.

Page 16 Panel 1: A college boy is wandering the halls of his dorm holding a nerf gun. He is all alone and thinks that the others are going to gang up on him.

Panel 2: The college boy sees one of his friends. The friend doesn’t notice him.

Panel 3: As the college boy prepares to fire, another student’s hand comes out of the room, holding a nerf gun.

Panel 4: As the other student shoots his unsuspecting prey, the college boy jumps into the nearest open room, his by chance.

Panel 5: The other student thinks he saw the college boy and heads for his direction. The friend plays dead on the nearby wall.

Panel 6: The college boy sees the other student through the peephole of his door. He also sees another nerf gun aimed at the other student’s head.

Panel 7: The other nerf gun fires. The other student notices the shot fired.

Panel 8: The nerf bullet hits the other student. The other student falls to his knees, and then lies down on the floor, playing dead.

Panel 9: The student who caught off the other student points to the other student, as if to see how many players are left.

Panel 10: The counting student points to the friend. He holds out two fingers, meaning two are slain.

Panel 11: The college boy opens his door and opens fire as the counting student realizes that there is one more player left in the game. We do not see if the nerf bullets hit.

Page 17: A silhouetted man stands out side. He sees others flying kites (with one available), people reading books, an open rowboat near the edge of the lake, and people just talking. He is unsure as to what to do for the day. Perhaps he’ll do one of these things. Perhaps he’ll do his own thing. He’s still deciding. The sun is at the noon position in the sky.

Page 18: Outside of an office someone patiently, yet nervously, waits to get an important job interview. In the office the person is waiting in front of, the interviewer is interviewing someone else. They seem to be hitting it off quite well. While waiting, the person imagines two possible ways in which this will turn out. The first being that this will be the start of a long line of rejections, which will end with the person being destitute. The second is the person getting the job with a succession of promotions leading to the person being the boss of the company. The person knows that both of these are unrealistic and is hoping just to get the job.

Page 19 Panel 1: Bambi’s mom is running from some hunters. The hunters are silhouetted by the moonlight, whereas Bambi’s mother has a glow upon her only seen in the beauty of nature.

Panel 2: Bambi’s mom is nearly shot by one of the hunters. The bullet grazed her cheek and took part of her left ear off. And yet, she still has her natural glow upon her.

Panel 3: Bambi’s mom is able to get away from the hunters and onto a road. The hunters, still covered in shadow, notice something and decide that Bambi’s mom isn’t worth it. The glow upon Bambi’s mom contrasts with the greyness of the road and the blurred colors (other cars) on the other side.

Panel 4: Bambi’s mom is run over by a truck. There are no hunters in this panel. There is no glow on the bloodied remains of Bambi’s mom. It’s just blood.

Page 20 Panel 1: Darkness

Panel 2: A silhouetted man holding a body dumps it down the stairs.

Panel 3: The body rolls down the stairs. The body looks as if it was recently killed, via a knock on the back of the head, and is only wearing a pair of boxers.

Panel 4: The body lands next to another body, more decayed than the initial one (in fact, the old corpse is starting to show bone on the forehead). The light of the outside only hits the corpse that was tossed down the stairs.

Panel 5: The silhouetted man closes the door.

Panel 6: The man, whose face we never see, washes his hands.

Panel 7: The man goes and grabs a white strip and puts the strip on his collar, revealing himself to be a priest.

Panel 8: The man walks out of the room to begin his preaching to his choir, who we see through the door the priest is leaving through, waiting eagerly for their sermon.

Page 21: Family of two parents and their child watch television. One of the parents looks to have just finished a long day at work (given that the parent has barely gotten out of the clothes they wore to work), and is beginning to fall asleep on the couch. The other parent appears to have had a less stressful day, and is able to enjoy the show with their child. As for the child, the child is enthralled in the show that is currently on the TV. As for what the show is, we cannot tell due to the view being from slightly above the TV.

Page 22: At night a boy is stargazing outside, lying on the trunk of a cut down tree. He is looking particularly at the moon, with fascination and imagination. In his thought balloon, he imagines himself in a sci-fi garb fighting off Moon Bears with a space gun on the moon. The moon bears are purple bears wearing astronaut helmets.

Page 23: From a first person perspective, we see a man write on a piece of paper. The paper is above a black spiral notebook and the man is right handed. The paper is lined paper with blue horizontal lines, one red vertical line about an inch from the left end of the piece of paper, and three holes punched on the left side of the paper. Beneath the paper is another sheet, although we cannot see what that sheet says. The man is wearing glasses as he writes on the paper with an orange number 2 pencil, which is on the last letter of what the man is writing. The pencil is being held by a hand, the back of which has a little round mark near the wrist. The arms are somewhat hairy. The room in which the man is writing is quite spacious. There are people in the room reading books, looking at their phones, and talking to each other. There is a walkway above the man who is sitting, though we can’t see if anyone is on it. The visible paper reads as follows (with the last word of each line (save the last word listed) being the end of the line on the paper and the numbers to the left of the red line):

14) For a movie, an actor slips on
       a banana peel and lands head
       first into a pie
15) A woman is suntaning on a beach as
       people run out of the water
16) 4 college students have a nerf
       gun fight in the hallway
17) a guy is trying to figure out
       what to do on a sunny day
18) a person waiting for an interview
       ponders whether or not they will get
       a job
19) a deer is hit by a truck
20) A priest dumps another body
       into the basement
21) Parents watch tv with their
       child
22) a boy dreams of fighting moon
       bears when he grows up
23) a first person perspective of me
       writing this

Page 24 Page layout: 3X3 layout.

Panel 1: Darkness

Panel 2: We see a blurry image of a person reaching into the darkness. A blinding white light silhouettes the figure.

Panel 3: Suddenly, we are hit with a sensory overload, as the area around us is blindingly bright.

Panel 4: The light becomes less blinding as we become more accustomed to it. We begin to see a collection of people covered in blues and greens. One of those people is carrying us.

Panel 5: We see someone in our slightly blurred vision: a woman no older than 20. She is on a bed in white garbs.

Panel 6: We are given to the woman, whom we can see clearly now. She is smiling. There are tears coming down her cheeks. She’s so happy to see us that she’s crying. She looks haggard, as if she just gave birth.

Panel 7: Which she has, as we see that the POV the previous 6 panels were from the perspective of her new born baby daughter. This panel is from the mother’s perspective. The baby is smiling.

Panel 8: From a third person perspective, we see the mother hold the baby in her arms. The mother feels as though she has something to say. Which she does.

Mother: Hello.

Panel 9: On a black background, we see white text, which reads:

“24 Hours
of Silence.

Vignettes by
Sean Dillon.”
24 Hours of Silence
A comic for UCONN
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The changes between A Scandal in Bohemia and A Scandal in Belgravia are necessary because the latter is a televised modern day adaptation of the former written by Steven Moffat.

One major change between the two works is the opening scene. Dr. John Watson, the narrator of the original story, begins with an introduction to the importance of Irene Adler to Sherlock Holmes. We flashback to Watson heading home from a patient, when he passes the Baker Street residence of Sherlock Holmes. Having not been there since the two became distant after Watson’s marriage, John decides to pay the detective a visit. They share pleasantries; Sherlock makes a deduction about Watson’s work, and then decides to share a letter he received. The letter claims that a member of the Royal Houses of Europe would be stopping by to give them a case. And, shortly thereafter, he does. (Doyle, 6-19)
In the adaptation however, things had to be shifted and altered to accommodate the televised nature of the program. One change is the timing of the drift in the relationship between Sherlock and Watson. The TV show does not introduce Watson’s wife, Mary, until the start of the third season; as such, Sherlock and Watson are still flat mates at 221B Baker Street. (Moffat, Scandal)
Another change to the opening is the timing of when Sherlock gets the Adler case. In the original, the case is given almost immediately. But, in the adaptation, the case is brought up mid-way through the episode, which is important for two reasons. First, the televised story needs to catch up to modern day, which is eighteen months after the events of the previous episode. To do so, Moffat includes a montage of a variety of cases Sherlock both takes and does not take, until we reach the present day. The montage has another motive: to set up events that occur later in the episode. Throughout the montage, we see multiple cases involving dead bodies being stolen from their rightful locations. However we do not notice this connection due to the comedic elements of the montage including Sherlock telling two little girls that there’s no such place as heaven. (Moffat, Scandal)
But perhaps the most obvious change to the opening is the fact that the adaptation has to complete the cliffhanger set up by the previous episode, The Great Game. In it, Sherlock and John are trapped by snipers hired by Moriarty with the only thing between the pro and antagonists being a bomb, which Sherlock aims his gun at. (Gatiss, Game) This needs to be resolved because the audience has waited a long time for a conclusion to the cliffhanger of the previous season and expects some explanation. So Moffat, who spent the majority of his career writing sitcoms[1], decides to use the build up to play a joke on the audience. As such, the episode properly starts (after a recap to reestablish the tension from the previous episode) with Moriarty’s phone going off, playing The Bee Gees song “Staying Alive”. We are then treated to one half of a conversation between Moriarty and the person on the other end. After the conversation ends, Moriarty calls off the snipers and reveals that he got a better offer and promptly leaves. The importance of this is to set up who is on the other end of the phone as someone with a fascination with Sherlock, namely, Irene Adler[2]. (Moffat, Scandal)

The addition of side characters that were not in the original story is yet another major change to the source material. One such character is Molly Hooper, a character created for the series. Molly was originally meant as a one off character in the first episode of the series, however the writers liked her performance so much that they decided to add her as a side character. Initially, Molly had a schoolgirl crush on Sherlock, but her character grew into one who could stand up to the man. Molly’s character development starts in this episode when Sherlock is especially cruel to her and the rest of John’s guests on Christmas Eve. Sherlock deduces that Molly has a new boyfriend based on the present she places on the top of the pile of presents and that she is wearing makeup to compensate for the size of her mouth and breasts… only for it to be revealed that the gift was for Sherlock. It is at this point that Molly realizes that Sherlock is not the right person to have a crush on, and grew as a character. This change is important because the Christmas party is a pivotal moment in Sherlock’s development and shows him beginning to realize how his actions affect other people[3]. (Moffat, Scandal)
Mycroft Holmes, Sherlock’s older brother, is another character added to the story. Mycroft assumes the role of “…Wilhelm Gottsreich Sigismond von Ormstein, Grand Duke of Cassel Felstein, and hereditary King of Bohemia” (Doyle, 16), the man who gives Sherlock and Watson the task of tracking down Irene Adler to retrieve compromising photographs. In the context of the adaptation however, there is more going on with Mycroft. For starters, the information that Adler has on Mycroft is not just the pictures of the Royal in a compromised position, but also information that is valuable to both the English crown and a certain foreign ally[3]. (Moffat, Scandal) The importance of Mycroft in this adaptation is that he is meant to be the version of Sherlock who never got out of the house and met other people (Morrison, Flex) and thus views others as goldfish[3]. (Gatiss, Hearse)
But perhaps the most important of all the side characters added to the adaptation is Moriarty, this season’s major antagonist. Moriarty was introduced at the end of the previous season[4], and is shown to be what Sherlock could have been if he was not on the side of the angels. (Thompson, Fall) Throughout the season, Moriarty acts as a looming threat that is inevitably going to come to the forefront and ruin Sherlock. Moriarty is highly intelligent and extremely clever, but he needs a diversion to pass the time when all that surround him are ordinary people[5]. He decides to mess up Sherlock’s life, not realizing that Sherlock is not just cleverer than an ordinary person, but as clever and dangerous as Moriarty[6]. (Thompson, Fall) In the context of the episode, Moriarty acts as the catalyst for the events of the ending to happen[3]. (Moffat, Scandal)
There are many important reasons why these characters are in the episode. For Molly and Mycroft, they exist to be side characters to the series and, like any good character in a TV show, grow as the show continues. Mycroft, in particular, exists to be a warped mirror of Sherlock, where they’re similar in many aspects, but there are parts of them that are alien to the other. As for Moriarty, apart from killing Sherlock, he exists in the series to be an inversion of Sherlock (psychopathic to Sherlock’s sociopathic, jovial to his seriousness, etc.).

Another example of change is a main character whose role expanded from the original: John Watson. In the original, Watson is a married everyman and his role is to narrate the adventures of Sherlock Holmes. However, in the adaptation, he is not married because his wife, Mary, is not introduced until the premiere of the next season. That does not mean that John lacks a love life. For example at the aforementioned Christmas party, Watson invites his current girlfriend who proceeds to dump him because she doesn’t want to compete with Sherlock, with whom Watson seems to have a stronger bond. In addition she is frustrated with Watson because he continually mixes her up with his previous girlfriends. (Moffat, Scandal)
This is an important change because it ties into an idea that isn’t brought into the forefront until the end of season three: What kind of person would go out on life threatening adventures with Sherlock after serving in Afghanistan? The answer to this question, as mentioned in His Last Vow, is “John, you are addicted to a certain lifestyle. You’re abnormally attracted to dangerous situations and people...” (Moffat, Vow) So of course a relationship with a normal person isn’t going to work: because John isn’t normal, no matter how much he thinks he is. He’s the kind of person who would, instead of acting surprised and befuddled by Sherlock’s return, hit Sherlock multiple times. (Gatiss, Hearse) He’s the kind of person who would make jokes at the expense of the man he just killed. (Moffat, Pink) He’s the kind of person who would be bored with suburbia. (Moffat, Vow) He’s the kind of person who would be fine with killing someone despite being a doctor. (Moffat, Pink) He’s the kind of person who would bring a gun to Sherlock’s parents house. He’s the kind of person who would still be in love with Mary despite her shooting his best friend and everything she told him about her being a lie[7]. (Moffat, Vow) He’s the kind of person whose best friend would be Sherlock Holmes. (Moffat, Gatiss, Thompson, Three)

However of all the characters that changed for the adaptation, Sherlock himself is the most important. The change is mostly one of how the character is contextualized. In the original piece, Sherlock is the world’s greatest detective. He could be, at times, a jerk, but few people call him out on it and he barely changes throughout the course of Doyle’s writing. For the adaptation however, they contextualize Sherlock in the basic Steven Moffat plot. In the event one does not know how that song and dance goes, the plot goes thusly: a clever, witty jerk is made better by the people around them (Sandifer, Curse)[8]. Or, to quote the show, “Friends protect people.” (Thompson, Fall). Mycroft will never let Sherlock die in Siberia (Gatiss, Hearse), Molly calls him out when he is being a jerk and ruining himself (Moffat, Vow), and Watson causes Sherlock to be “…redeemed only by the warmth and constancy of your friendship” (Moffat, Gatiss, Thompson, Three). The effect of people on Sherlock is shown by how exponentially Sherlock changes from the beginning of the series. In the first episode of season three, after being alone for two years, Sherlock reveals to John that he is alive and expects that he and John will go back to their adventuring ways just like the good old days; the two of them against the world. John promptly hits him for suggesting that he leave his life and fiancé for some jerk who he thought was dead for the past two years[9]. (Gatiss, Hearse) Or, for a more Moffat example, compare the mere month[10] gap between The Sign of Three (where Sherlock is not condescendingly cruel to children and one of the bridesmaids (Moffat, Gatiss, Thompson, Three)) and His Last Vow where he goes back to doing drugs[11] and is even crueler to Molly than he was at the Christmas party. (Moffat, Vow)
In the context of this episode, we see Sherlock’s development in a multitude of ways. First off, in the aforementioned Christmas scene, after insulting Molly, Sherlock apologizes for his actions when, in previous episodes, he would have been uncaring towards her misery. This is a departure from Sherlock as portrayed in the short story and the beginning of the series. That Sherlock would never consider the emotions of another person worthy of his concern. Another example of Sherlock’s development would be in the morgue in which he, in a moment of self-awareness, says to Mycroft “Do you ever wonder if there’s something wrong with us” (Moffat, Scandal) where earlier in the series, he would have said that he is better than everyone. And, of course, there’s the ending[3].

Perhaps fittingly, my final example for changes made for A Scandal in Belgravia from A Scandal in Bohemia is the ending. In the original story, we end with Irene Adler escaping from both Sherlock and the king with the blackmail material. However, in a letter to Mr. Holmes, she claims she won’t use the blackmail material on the king, but still keeps it as a deterrent towards the king. The three men[12] accept this situation, and Holmes asks solely for the photograph of Mrs. Norton[13] as payment. (Doyle, 36-40)
However that’s not how life works. If someone is threatening to blackmail you into not doing something, you’re not going to trust him or her when they say “it’s fine if you do the thing, but I’ll still hold onto the blackmail”. This is reflected within the adaptation in which we reach a similar situation to the ending of the story, except none of the characters accept this. In the adaptation, there’s more to this story than just a few pictures. As it turns out, Irene has more than just incriminating photos. She also has crown secrets, one of which she decides to share with Sherlock, claiming that someone is trying to kill her over it and only he can save her. Being a clever, arrogant, lovesick fool, Sherlock explains what is on the phone and how he figured it out... and she sends this information to Moriarty. This is what she bargained in exchange for Sherlock’s life: a piece of information that Moriarty could use to introduce himself to Mycroft[14]. Because of this, Irene is able to make a deal with Mycroft for protection because he believes she may have more life threatening secrets. But Sherlock is able to figure out the code to the phone where the information is stored, and Irene doesn’t get the deal.
A few months later, Mycroft meets with John to bring him news that Irene was able to make a deal with the Americans, and got placed in their the witness protection agency and that Sherlock will never see her again.
At least, that’s what Mycroft is planning to tell Sherlock because the truth would hurt his brother, and, no matter how much they bicker, Mycroft will never hurt Sherlock in that way. The truth, as he tells John, is that Irene was killed by a group of terrorists and her body was found, beheaded. John notes that she faked her death before, but Mycroft countered that this time he was thorough. “It would take Sherlock Holmes to fool me.” (Moffat, Scandal)
As such, John tells Sherlock the lie because he wouldn’t do that to Sherlock either. And so, after John told Sherlock the news, Sherlock asks solely for the camera phone where all the information was kept. John, initially reluctant due to it being government property, relents and gives Sherlock the phone. As John leaves to give the file back to Mycroft, Sherlock looks at the text history on the phone, and we see one new message “Goodbye Mr. Holmes.” (Moffat, Scandal) And we fade to black. (Moffat, Scandal)

The thing about Moffat is that he’s really good friends with Paul Cornell, to the point where he named one of his characters an anagram of Cornell’s name[15] in a story featuring characters and references to Cornell’s work and was best man at Cornell’s wedding. In short, Cornell has been an influence on Moffat. Cornell is a massive Frock[16] and as such, the episode does not end on that note but instead cuts to some time ago, where Irene is about to be beheaded. She is allowed to send one last message, and she sends the aforementioned text. Once sent, she resigns herself to her demise. And we fade to black. (Moffat, Scandal)
But, the thing about Sherlock, despite all that has happened, is that he loves her.  We are shown that love by a familiar text noise[17], which causes Irene to turn her head and see Sherlock, who proceeds to save her from her demise (Moffat, Scandal). Because “Romantic relationships are the ones you do the irrational stuff for. They’re the ones you don’t just take bullets and chances for, they’re the ones that without, you don’t know how you’ll live.” (Hazel, Romance) And so, we return to the present, with Sherlock softly laughing to himself and saying “The Woman.” (Moffat, Scandal) And, as he walks away, we fade to black. (Moffat, Scandal)

Annotations
1) From the start of Joking Apart (1991) to the end of Coupling (2004), a total of 13 years, which was much longer than the eight he spent writing science fiction, Sherlock, and the first Tintin movie.
2) However, I don’t have much to say on that subject beyond “A royal having an affair with a commoner when they were young was not as worthy of blackmail material as one of the royals having a BDSM lesbian relationship and other crown secrets including things that might have lives at stake or, for that matter, at all”.
3) “I’ll explain later.” (Moffat, Curse)
4) Although he acted as a force behind the scenes throughout the scenes, being a sponsor to the schemes of the previous two episodes. (Gatiss, Game)
5) Goldfish, if you would.
6) And Moriarty loved him for it. If we assumed that the big problem with disguises was “However hard you try, it's always a self-portrait” (Moffat, Scandal), and Moriarty first appeared as a gay man who hit on Sherlock, then this idea works. (Gatiss, Game)
7) As an aside The Sign of Three became even better if you look at it through the lens of a polygamous relationship between John, Mary, and Sherlock. (Sandifer, Three)
8) In the context of the paper, he said women, but other works by Sandifer have expanded it to the broader use of people. (Sandifer, Rogers, Slate)
9) Compare his jerk like attempt to reconnect with John to the opening of season two where he apologized for his behavior towards Molly. The lack of people in his life for the past two years caused him to think this was the right way to say “Surprise, not dead!”
10) Which, incidentally, is where the elements taken out of the beginning of the original work are moved.
11) Something he hasn’t done since before the series began.
12) Sherlock, Watson, and the King
13) Née Adler
14) With the introduction, he can use Mycroft to take down Sherlock through means that are shown in a later episode (Thompson, Fall)
15) “One who did, their most celebrated poet and philosopher Orcnell, only mentioned the Doctor once in he writings, and then merely in the prologue to his collected works, Four Seasons and A Wedding.” (Moffat, 184)
16) “Paul Cornell, simply put, is a romantic sop.” (Sandifer, Shadow)
17) Irene had set Sherlock’s phone to have any texts from her make the sound of her having an orgasm.

Works Cited
Doyle, Arthur Conan. "A Scandal in Bohemia." The Adventures of Sherlock Holmes. Pleasantville, NY: Reader's Digest Association, 1987. 5-40. Print.
Moffat, Steven. "A Scandal in Belgravia." Sherlock. BBC. BBC One, London, 1 Jan. 2012. Television.
Gatiss, Mark. "The Great Game." Sherlock. BBC. BBC One, London, 8 Aug. 2010. Television.
Morrison, Grant, Frank Quitely, Peter Doherty, and Ellie De Ville. Flex Mentallo: Man of Muscle Mystery. New York: Vertigo/DC Comics, 2012. Print.
Gatiss, Mark. "The Empty Hearse." Sherlock. BBC. BBC One, London, 1 Jan. 2014. Television.
Thompson, Stephen. “The Reichenbach Fall.” Sherlock. BBC. BBC One, London, 15 Jan. 2012
Moffat, Steven. "His Last Vow." Sherlock. BBC. BBC One, London, 12 Jan. 2014. Television.
Moffat, Steven. “A Study in Pink.” Sherlock. BBC. BBC One, London, 25 July. 2010. Television.
Moffat, Steven, Mark Gatiss, and Stephen Thompson. "The Sign of Three." Sherlock. BBC. BBC One, London, 5 Jan. 2014. Television.
Sandifer, Philip. "You Were Expecting Someone Else 15 (The Curse of Fatal Death)." Philip Sandifer: Writer. Blogger, 16 Jan. 2013. Web. 29 Mar. 2014.
Robinson, Hazel. "This Is No Modern Romance." FreakyTrigger. Freaky Trigger, 27 Mar. 2014. Web. 30 Mar. 2014.
Moffat, Steven. "Curse of the Fatal Death." Red Nose Day 1999. BBC. BBC One, London, 12 Mar. 1999. Television.
Sandifer, Philip. "Psychochronography." The Sign Of Three. Tumblr, 5 Jan. 2013. Web. 29 Mar. 2014.
Sandifer, Philip, and Mac Rogers. "Doctor Who, Season 7, Part 2." Slate Magazine. Graham Holdings Company, 20 Apr. 2013. Web. 03 Apr. 2014.
Moffat, Steven. "Continuity Errors." Decalog 3: Consequences: Ten Stories, Seven Doctors, One Chain of Events. London: Doctor Who, 1996. 169-88, 241. Print.
Sandifer, Philip. "Time Can Be Rewritten 33 (The Shadow of the Scourge)." Philip Sandifer: Writer. Blogger, 10 Oct. 2012. Web. 30 Mar. 2014.
Sherlock Paper
In which I compare the episode of Sherlock A Scandal in Belgravia to its literary counterpart.
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I'm gonna upload that Sherlock thing I wrote.
I need to get that journal out of the front page.

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deathchrist2000
sean j. dillon
Artist | Student | Literature
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Favourite genre of music: Classic Rock
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Personal quote: Aww Fuckballs.
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sebcarey Featured By Owner Nov 12, 2014  Hobbyist Traditional Artist
thanks for faving my Captain Marvel pic. I'm giving away the original art on my facebook page - will ship to anywhere in the world! Just comment "Yes please" on the fb page to be entered into the draw!
www.facebook.com/freelancepeacekeepingartist
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:iconsirusianne:
sirusianne Featured By Owner Nov 11, 2014  Professional Traditional Artist
Thanks for the :+fav:~~! :heart:
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