Wallpaper Ghost
Gretel Parriera
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For this October edition, artists and designers from across the globe once again challenged their creative skills and designed wallpapers to spark your imagination and make the month a bit more colorful as it already is. Just like every month since we embarked on this creativity mission more than nine years ago.
Putting up creepy wallpaper in your otherwise happy home is already going to give it a gloomy vibe. But as this Reddit post shows, when you turn the lights out things get even eerier as a ghost will appear out of nowhere. For extra spookiness, It'll even move around your wall as if it's truly haunting you.
This ghostly wall is just one of several new items added to New Horizons today. Fans have been eagerly waiting for new content to be released for the long-stagnant debt-simulator after months of receiving nothing. This new DLC adds new activities for players to engage in such as designing vacation homes for villagers and setting up Brewster's cafe over at Blathers' museum. Plus, you can now see your hair when you're wearing a hat! That's worth the price of admission alone.
Regardless of how you get the Happy Home Paradise DLC, there certainly seems to be tons of new items and activities that Animal Crossing fans will enjoy. There may even be other ghosts and ghouls hiding around your island.
As you can see for yourself via the Animal Crossing: New Horizons subreddit post just below, the hidden secret in the Graveyard Wallpaper is a ghost. It turns out that this spooky spectre only pops up when you dim the lights in your house, and not only that, but it actually changes positions around the room every time you change the lights.
This is also pretty spooky for another reason: that's a photorealistic ghost. As commenters have pointed out underneath the original subreddit post, this stands neck-and-neck with the creepy Anatomical Model resembling actual humans instead of Villagers, positioning the humanoid characters in Animal Crossing as some sort of abomination.
If you're wondering where to get hold of this Graveyard Wallpaper though, there's a known method through the paid-for Happy Home Paradise DLC. One commenter reveals that if you spend over 20 minutes remodelling Gruff's home in the DLC, you only need return to the home after redesigning it, and you'll be rewarded with the wallpaper, floors, and rugs you used.
The story describes a young woman and her husband. He imposes a rest cure on her when she suffers "temporary nervous depression" after the birth of their baby. They spend the summer at a colonial mansion, where the narrator is largely confined to an upstairs nursery. The story makes striking use of an unreliable narrator in order to gradually reveal the degree to which her husband has "imprisoned" her due to her physical and mental condition. She describes torn wallpaper, barred windows, metal rings in the walls, a floor "scratched and gouged and splintered," a bed bolted to the floor, and a gate at the top of the stairs, but blames all these on children who must have resided there.
When her husband arrives home, the narrator refuses to unlock her door. When he returns with the key, he finds her creeping around the room, rubbing against the wallpaper, and exclaiming, "I've got out at last... in spite of you." He faints, but she continues to circle the room, creeping over his inert body each time she passes it, believing herself to have become the woman trapped behind the yellow wallpaper.
Many feminist critics focus on the degree of triumph at the end of the story. Although some claim the narrator slipped into insanity, others see the ending as a woman's assertion of agency in a marriage in which she felt trapped.[10] The emphasis on reading and writing as gendered practices also illustrated the importance of the wallpaper. If the narrator were allowed neither to write in her journal nor to read, she would begin to "read" the wallpaper until she found the escape she was looking for. Through seeing the women in the wallpaper, the narrator realizes that she could not live her life locked up behind bars. At the end of the story, as her husband lies on the floor unconscious, she crawls over him, symbolically rising over him. This is interpreted as a victory over her husband at the expense of her sanity.
Susan S. Lanser, a professor at Brandeis University, praises contemporary feminism and its role in changing the study and the interpretation of literature. "The Yellow Wallpaper" was one of many stories that lost authority in the literary world because of an ideology that determined the works' content to be disturbing or offensive. Critics such as the editor of the Atlantic Monthly rejected the short story because "[he] could not forgive [himself] if [he] made others as miserable as [he] made [himself]". Lanser argues that the same argument of devastation and misery can be said about the work of Edgar Allan Poe.[11] "The Yellow Wallpaper" provided feminists the tools to interpret literature in different ways. Lanser argues that the short story was a "particularly congenial medium for such a re-vision ... because the narrator herself engages in a form of feminist interpretation when she tries to read the paper on her wall".[11] The narrator in the story is trying to find a single meaning in the wallpaper. At first, she focuses on the contradictory style of the wallpaper: it is "flamboyant" while also "dull", "pronounced," yet "lame," and "uncertain" (p. 13). She takes into account the patterns and tries to organize them geometrically, but she is further confused. The wallpaper changes colors when it reflects light and emits a distinct odor that the protagonist cannot recognize (p. 25). At night the narrator can see a woman behind bars within the complex design of the wallpaper. Lanser argues that the unnamed woman was able to find "a space of text on which she can locate whatever self-projection".[11] Just like the narrator as a reader, when one comes into contact with a confusing and complicated text, one tries to find a single meaning. "How we were taught to read," as Lanser puts it, is why a reader cannot fully comprehend the text.[11] The patriarchal ideology had kept many scholars from being able to interpret and appreciate stories such as "The Yellow Wallpaper". With the growth of feminist criticism, "The Yellow Wallpaper" has become a standard text in many curricula. Feminists have made a significant contribution to the study of literature, according to Lanser, but she also remarks that if "we acknowledge the participation of women writers and readers in dominant patterns of thought and social practice then perhaps our own patterns must also be deconstructed if we are to recover meanings still hidden or overlooked."[11]
"The Yellow Wallpaper" is sometimes cited as an example of Gothic literature for its themes of madness and powerlessness.[15] Alan Ryan introduced the story by writing: "quite apart from its origins [it] is one of the finest, and strongest, tales of horror ever written. It may be a ghost story. Worse yet, it may not."[16] Pioneering horror author H. P. Lovecraft writes in his essay Supernatural Horror in Literature (1927) that "'The Yellow Wall Paper' rises to a classic level in subtly delineating the madness which crawls over a woman dwelling in the hideously papered room where a madwoman was once confined".[17]
Paula A. Treichler focuses on the relationship portrayed in the short story between women and writing. Rather than write about the feminist themes which view the wallpaper as something along the lines of "... the 'pattern' which underlies sexual inequality, the external manifestation of neurasthenia, the narrator's unconscious, the narrator's situation within patriarchy", Treichler instead explains that the wallpaper can be a symbol to represent discourse and the fact that the narrator is alienated from the world in which she previously could somewhat express herself. Treichler illustrates that through this discussion of language and writing, in the story, Charlotte Perkins Gilman is defying the "... sentence that the structure of patriarchal language imposes". While Treichler accepts the legitimacy of strictly feminist claims, she writes that a closer look at the text suggests that the wallpaper could be interpreted as women's language and discourse. The woman found in the wallpaper could be the "... representation of women that becomes possible only after women obtain the right to speak". In making this claim, it suggests that the new struggle found within the text is between two forms of writing; one rather old and traditional, and the other new and exciting. This is supported by the fact that John, the narrator's husband, does not like his wife to write anything, which is why her journal containing the story is kept a secret and thus is known only by the narrator and reader. A look at the text shows that as the relationship between the narrator and the wallpaper grows stronger, so too does her language in her journal as she begins to increasingly write of her frustration and desperation.[14]
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