"Hey, keep your distance, Gisela is angry. Look at that black scarf hitting the wind."
I imagine it to be like a plague warning. Good. They'll leave me alone.
Well, life doesn't work that way. It takes interaction, conversation, to coax the emotion onto the scene. Most of the time I pretend to be fine. But the Manipulator is allowed to have visions of vibrant outbursts. She might even force the Marionette to be her guinea pig.
It's pink for HAPPY.
"Can you see me now? Can you see my pink scarf? Watch me dance my happy dance? I"ll tell you a happy story today."
There is one problem. Mariela has a scar. Sadness is painted all over her face. The French call it tristesse. The melancholy of the young. Francoise Sagan made it popular in her 1954 novel "Bonjour Tristesse." I think she was eighteen when the book was published.
There is another type of sad, "Ennui'" also French. It indicates weariness, boredom, lack of interest. Ennui is a subcategory of sadness foreign to Mariela, (though the Manipulator is familiar with it) as Mariela is always engaged.
So the question remains. Can a scar be overruled by a scarf? I think it can be. I think that allowing Mariela to wear different scarfs to show her prevailing mood is a great way to indicate to the audience what to expect from her opening act. Once you get to know her you will be able to chime in.
"Oh yeah! That's great! She's in control! She's wearing royal blue today."
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